”Back to basics: Text”
Curator: Artemis Potamianou
Artists: Zavier Ellis, Guerrilla Girls, Joseph Kosuth, Kostas Bassanos, Yoko Ono, Giorgos Papadatos, Nina Papaconstantinou, Artemis Potamianou, Marios Spiliopoulos, Mark Titchner, Alexandros Psychoulis.
The ΕΝΙΑ Gallery presents on Friday, 31 March 2017 the group exhibition “Back to basics: Text”, curated by Artemis Potamianou.
As part of the Back to Basics series of exhibitions on some fundamental themes and elements of the artistic practice, the exhibition Back to Basics: Text aims to explore the objectives behind the artists’ visual use of text and the methods of approaching it.
The written word has been part of visual art since the beginning of art history. Excerpts from texts have been used in artworks in Ancient Greece, Byzantium and the Renaissance, but always in a secondary, auxiliary, supplementary role as aids to resolving potentially unclear points. In these pieces the written word is never a visual work in itself.
Naturally, the exhibition Back to Basics: Text is not able – and does not aspire – to present all aspects of the use of the written word in the history of visual art. The quest is to establish a dialogue among the works of the participants and pose questions about the purpose of introducing text into the production of artworks and its role in them.
Admission to the exhibition is free
Official opening: Friday, 31 March 2017 at 20:00
Duration: 31 March 2017 to 28 July 2017
Opening hours: Tuesday – Wednesday – Thursday 11:00 – 19:00
Friday 11:00 – 20:00
Saturday 11:00 – 16:00
Dimitris Lambrou / Individual Exhibition
Activist/bookshop Free Thinking Zone, yet again providing young Greek creators with a stepping stone, is proud to host the solo exhibition of Dimitris Lambrou, a great, young Greek visual artist, entitled “Seeking Voices”.
Efthimis Lazongas , curator of the exhibition, (Sorbonne University –Paris I –Pantheon, History of Art Professor at ASFA, Master’s in Visual Arts, curator) notes:
“What possibly could such personalities as Pasolini, Kounelis, Pound, Tarkovsky, Axelos, Foucault, Angelopoulos, Simone de Beauvoir, Emma Goldman, Rosa Luxemburg, Baudelaire, Godard, Beckett, Fellini be doing in Athens? Twenty or more “apostles” of art, cinema, and literature meet up through the remarkable “penmanship” of visual artist, Dimitris Lambrou, who “iconizes” and revives the vanguard of global intellect (in modern times), so that they stand as lighthouses against the darkness of the structural crisis experienced today, at an intellectual, cultural and economic level. It is not at any gallery or art hall that they meet, rather at a select meeting venue for contemporary thought and art, an open conversation field, a place where young artists can take the floor.
Dimitris Karatzas, MET graduate, ASFA graduate, Film Direction at Stavrakos’ School graduate, also notes:
“It is no accident that just before the advent of the first photograph in 1826 by Niepce, David paints his greatest masterpiece “The Death of Marat” (1793), at a time when the portrait, at least in Western Art, has come to feature the hero at his peak moment of victory, that of his death.
It is at this time when photography appears. Photography use has played a double role to this day, namely to state the condemnation of the “aura” on the one hand while transforming the mundane on the other.
As the flagship of urban actualization photography seems to have reconciled several contradictions within itself.
It stood as the magic potion playing a major role in the healing of the wound left, symbolically at least, by a hero with his eyes closed, dying because of his ideals in a mundane scene in his bathtub.
As a visual artist, drawing from the photograph means revisiting that wound which was once healed, reopening it and reading it incessantly.
Such a process becomes even more personal when this is done using drawings as a vehicle, as, even though we may have a minute satellite picture at our disposal, most of the time it takes a simple drawing line on a map for us to find our way.
Drawing from a photograph means cutting up the wound and re-stitching it using your own stitches. This is the main concern underlying Dimitris Lambrou’s work.
Dimitris Lambrou : a brief presentation
He studied at ASFA (Art School Of Athens) from 2004 to 2010, under Professor George Lazongas. Later he completed a Master’s degree at ASFA (2011-2013) with honours.
In 2011 he participates in a European and Mediterranean Biennale entitled” Symbiosis, Rome/ Italy, Thessaloniki/Gr.
In 2013 he takes part independently with a solo presentation of his work in the International Modern Art Venue “Remap 4”, entitled “Story as a Dream / Athens/ Metaxourgeio/ Gr.
2013 also finds him exhibiting together with Vlassis Kaniaris at a historical exhibition in the Lola Nikolaou Gallery, entitled “1+3”.
In 2014 he co-exhibits with his Professor George Lazongas at the Lola Nikolaou Gallery, with the title “Two Generations / Three writings”.
He established the Lustspiel group, which participated in several art happenings in Art Athens in 2013 and 2014.
He has also set up the Dipoles group, together with art scholar and curator Efthimis Lazongas, whose work led to an exhibition entitled Dipoles, at the Art Gallery of Athens.
He has taken part in the “Manipulation” exhibition at the Depo Darm Gallery, and has also taken part in several Art Athens happenings either individually or as a member of a group.
In 2016 he participated in Back to Athens 4, an international modern art venue.
He is currently co-curating with Efthimis Lazongas (art Scholar, Member of Faculty of the ASFA post-graduate programme) a great meeting of young and significant older artists on the subject of “Secret”, which is to take place at the end of 2017.
Opening: Thursday, 6th April, 7 – 10 pm
Duration: until end of July
Schedule: 10:00 – 21:00 weekdays, 10:00 – 20:00 Saturdays, 12:00 – 16:00 Sundays (for 2 Sundays a month) please call in for groups wishing to visit at any other time.
Encounters I May or May Not Have Had with Peter Berlin
Mariah Garnett, Paul Mpagi Sepuya, Neal Tait. Curated by Caroline May
Vamiali’s gallery presents the exhibition “Encounters I May or May Not Have Had with Peter Berlin”, curated by Caroline May. The exhibition borrows its title from Mariah Garnett’s homonymous work and refers to “Peter Berlin” as a concept and as a metaphor to illuminate the notion of desire, highlighting the impulse to “meet with our heroes”. Through these encounters, as real or imaginary, intellectual or deeply personal as they may be, our sense of identity is reshaped and consequently, the process of art making is recharged, re-positioned and re-defined. Peter Berlin is a photographer, artist, model and filmmaker. Serving as his own photographer, model and fashion designer, Berlin redefined self-portraiture and became an international sensation.
Mariah Garnett’s film highlights the artist’s desire for the extravagant gay icon and mystifies the 70s as a decade of sexual liberation. Partly documentary, partly biopic, the film features the artist herself re-enacting Berlin’s erotic persona. As Garnett inhabits the filmmaker’s signature manner of style and dress, she presents a film that galvanizes the kind of gender misidentification that is a consistent point of interest throughout her practice. Garnett’s other film in the show, Other & Father, is a re-enactment of footage that narrates the relationship of her Northern Irish Protestant father and his Catholic girlfriend, aired by BBC in 1971. The original broadcast, which was riddled with half-truths to suit the BBC agenda, led to death threats and his eventual flight from his home. Garnett re-enacts the documentary, starring herself and a trans-woman shifting focus from the ethnic/religious tensions to sexual politics and gender dynamics. Through her deeply personal lens she mediates her own subjectivity as well as that of her chosen medium, which systematizes definitions of identity. The process of filmmaking, the de-mystification and re-mystification of the process, the negotiation of actor/performer and filmmaker are integral to Garnett’s project.
Similarly, Paul Mpagi Sepuya studies how photography (mis)represents or dissects his own identity and exposes the mechanisms of picture making. He documents his subjects in a formal studio setting, at the same time deconstructing and mystifying the process of photography and the relationship between model and photographer. His intimate portraits follow a long tradition of photographers such as Lyle Ashton Harris, Peter Hujar and Rotimi Fani-Kayode. The dignity with which he arms his subjects, black and white men, led the writer and critic Hilton Als to include Sepuya in his 2016 exhibition on James Baldwin, poetically situating him as one of Baldwin’s creative “children”. Speaking about his work, Sepuya claims: “every photograph contains within it the instances of what preceded it. In thinking of photography this way, I am able to bring together and embrace the contradictions that photographic production generates: in its accelerated gratification of desire and simultaneous displacement of its subjects by the resulting image-objects. It allows me to hold, within the studio, all material as potential. Each enters into the frame of another within a chain of production, revision, destruction and re-production”.
This accentuation of desire is central in Neal Tait’s work. His intellectual encounters with his heroes, like Leger and Guston, are prevalent in his works. Using found imagery he starts a painting without having a pre-conceived idea of how it will end. In this sense the painting process is the subject of his work. His identity as a painter is in a constant flux during this process: both doubting and asserting himself in his attempt to capture the essence of desire, employing a dark, unruly and idiosyncratic vocabulary, which poses open-ended questions which alert the viewer.
With the kind support of Arctos Films.
Cy Twombly’s Photography Exhibition
“To my mind, one does not put oneself in place of the past; one only adds a new link.”
Gagosian is pleased to present an exhibition of Cy Twombly’s photography, to coincide with “Divine Dialogues” at the Museum of Cycladic Art. Curated by Nikolaos Stampolidis from the Cycladic Art Museum and Jonas Storsve, curator of the recent Twombly retrospective at Centre Georges Pompidou, Paris, “Divine Dialogues” will show Twombly’s work alongside classical antiquities.
The gallery exhibition comprises more than twenty photographs of natural subjects—tulips, strawberries, cabbages, lemons—taken in Rome and Gaeta between 1985 and 2008, and a bronze sculpture. From his days as a student at Black Mountain College during the early 1950s until his death in 2011 at the age of 83, Twombly captured his daily life in photographs. He recorded the verdant landscapes of Virginia and the coasts of Italy; close-up details of ancient buildings and sculptures; studio interiors; and still lifes of objects and flowers.
Image: CY TWOMBLY, Brushes (Lexington), 2005, Color dry-print, 17 x 11 inches, 43.2 x 27.9 cm (unframed), 6/6, © Nicola Del Roscio Foundation, Courtesy Gagosian
May 25- July 29, 2017
Hours: Tue-Fri 11-6 + Sat 11–3
#CyTwombly #TwomblyPhotographs #GagosianAthens
Image: CY TWOMBLY, Untitled (Gaeta), 2008, Color dry-print, 10 1/4 x 9 7/8 inches, 26 x 25.1 cm (unframed), 4/6, © Nicola Del Roscio Foundation, Courtesy Gagosian
ANTIDORON. The EMST Collection Fridericianum, Kassel
10 June- 17 September 2017. Curated by: Katerina Koskina Assistant Curators: Tina Pandi, Stamatis Schizakis
As documenta 14 continues its journey in Athens, having the National Museum of Contemporary Art (EMST) as one of its main exhibition venues, an important part of the EMST collection travels to Germany, to be part of documenta 14 program in Kassel (10/6-17/9/17). The exhibition ANTIDORON. The EMST Collection will occupy the whole emblematic building of Fridericianum. It comprises 82 artists and 180 works and it is curated by the Director of EMST, Mrs. Katerina Koskina, supported by Stamatis Schizakis and Tina Pandi, Assistant Curators and Iro Nikolakea in the Architectural design. It is presented in the framework of the Museum’s series EMST in the World.
The exhibition at the Fridericianum marks the first time that the most part of the EMST collection is presented outside Greece, through a double relocation that renders EMST’s home, one of the main venues of documenta 14 in Athens, and the Fridericianum, traditionally the centerpiece of a documenta, the temporary home of EMST’s collection.
EMST began creating its collection in 2000. Its acquisitions now include more than 1,100 works by Greek and international artists from the 1960s onward. The exhibition ANTIDORON. The EMST Collection is an adapted version of the extensive museological study that will be displayed in full at the EMST spaces. Presented in the Fridericianum, the birthplace of documenta and the first public museum in Europe, the exhibition deals with issues of border crossings, diasporas, cultural exchange, existential quests, and mythologies, as well as personal and collective memories. Additionally, the Fridericianum’s brief tenure as Germany’s first parliamentary building makes it the most appropriate venue in which to show the works of several artists, active during the troubled postwar era and the ensuing decades of political upheaval and revolutionary re-imagination of society.
While the presentation of the collection maintains its international scope, it also emphasizes the presence of pioneering Greek artists, highlighting and revisiting their national and international journeys.
The title embodies the mutual respect of both institutions, documenta 14 and EMST independently of their diverse commitments and missions, to discourse and to reinterpret essential issues and visual language. It deals with concepts such as trading, exchanging, sharing, giving and offering Antidoron (αντίδωρον, literally the return of a gift) or Antidanion (αντιδάνειo, the return of a loan either linguistic, cultural, or financial). The prefix “anti” reveals a distinct position and consequently a view, not necessarily opposed to, but departing from a different point in order to communicate, to argue, to bridge, to converge, and to accept each other’s’ stances.
Until September 17, Fridericianum in Kassel becomes EMST’s contemporary home in Germany, and ANTIDORON, a gift in return – when translated – symbolizing the shared benefits of this collaboration.
LIST OF ARTISTS:
ALEXIS AKRITHAKIS, NIKOS ALEXIOU, DIMITRIS ALITHINOS, ANDREAS ANGELIDAKIS, STEPHEN ANTONAKOS, JANINE ANTONI, EVGENIA APOSTOLOU, ATHANASIOS ARGIANAS, MANOLIS BABOUSSIS, BERTILLE BAK, LYNDA BENGLIS, ANDREA BOWERS, CHRONIS BOTSOGLOU, YIANNIS BOUTEAS, ADAM BROOMBERG & OLIVER CHANARIN, CONSTANTIN (DIKOS) BYZANTIOS, PEDRO CABRITA REIS, VLASSIS CANIARIS, PANTELIS CHANDRIS, CHRYSSA, DANIL, BIA DAVOU, GEORGE DRIVAS, EIRENE EFSTATHIOU, HARIS EPAMINONDA, KOKEN ERGUN, JAN FABRE, STELIOS FAITAKIS, CARLOS GARAICOA, KENDELL GEERS, GEORGE HADJIMICHALIS, JOANA HADJITHOMAS & KHALIL, JOREIGE, MONA HATOUM, GARY HILL, EMILY JACIR, GULSUN KARAMUSTAFA, NIKOS KESSANLIS, KIMSOOJA, PANOS KOKKINIAS, DIMOSTHENIS KOKKINIDIS, JOSETH KOSUTH, JANNIS KOUNELLIS, PIOTR KOWALSKI, YORGOS LAZONGAS, GEORGE LAPPAS, ANGE LECCIA, STATHIS LOGOTHETIS,
MARIA LOIZIDOU, ANDREAS LOLIS, DANNY MATHYS, YIANNIS MICHAS, NIKOS NAVRIDIS,
NINA PAPACONSTANTINOU, MARIA PAPADIMITRIOU, ILIAS PAPAILIAKIS, AEMILIA PAPAPHILIPPOU, RENA PAPASPYROU, NAUSIKA PASTRA, PAVLOS, JANNIS PSYCHOPEDIS,
ALEXANDROS PSYCHOULIS, WALID RAAD, OLIVER RESSLER, LUCAS SAMARAS, YORGOS SAPOUNTZIS, ALLAN SEKULA, VASSILIS SKYLAKOS, CHRISTIANA SOULOU, ASPA STASINOPOULOU, TAKIS THEODOROS, sculptor, THANASIS TOTSIKAS, NIKOS TRANOS,
STEFANOS TSIVOPOULOS, COSTAS TSOCLIS, DIMITRIS TZAMOURANIS, COSTAS VAROTSOS, KOSTIS VELONIS, BILL VIOLA, VANGELIS VLAHOS, PANΤELIS XAGORARIS, GEORGIOS XENOS
Monday: Closed, Tuesday-Sunday: 11.00 am – 9.00pm
Media Sponsor: KROMA Magazine
The Space Age
Electric and Electronic Art in Greece 1957-1989 exhibition
It has been seventy years since the launching of the first artificial satellite, the soviet Sputnik (Спутник-1, Sputnik 1). It was launched on the 4th of October in 1957. Imagine that it a period in when the most common answer that children gave to the question “What will you do when you grow up?” was “I’ll become an astronaut”. If this makes you feel nostalgia, you were probably born before 1970. If this mystifies you, you were probably born much later. At some point in recent history, everyone, even children, were turned into very down-to earth citizens. The reason for this transformation was not only space research, the Berlin Wall’s fall, the Cold War’s end, the modernism’s end, the ideologies’ end, but maybe all these factors contributed in how everything finally ended up.
Starting from the USA, the term Space Age, has not only become a common saying between people, but it has also been used in official bibliography. It is a term that coincides in time, is connected and even identified with the term Atomic Age, a term that obviously regards the age that is defined by the atomic bomb in Hiroshima and the consequent fear of the absolute disaster during the Cold War. Greece never had a space program, neither atomic nor nuclear energy nor the related guns. During the age in when space exploration was in its beginning’s zenith between the two Cold War Superpowers, Greece was trying to heal its wounds from the devastating Civil War. Nevertheless, as many documents of this age confirm, suffering Greece, was empathizing the space vision as much as any other country, wealthy or poor, on the left or the right side of the Iron Curtain, on the planet during this age. As in any other country the idea of the Astronaut/Cosmonaut, the Spacecraft , the Robot and, a little bit later, the Computer, spread in scientific discussions, journalism and mass culture.
A new kind of art had to be created. The vision of a technological art will initially take the form of an electric and then of an electronic art. If, on an international level, the experimenting with electric visual art has already fruited before the World War II with Laszlo Moholy Nagy’s artworks, in Greece it will be a little late. Practically, the first use of electricity in the Greek art scene will come from the cinema projectors and preamplifiers of the musical instruments and the microphones in the light music. In visual arts, a series of artists from the 60s and on will rapidly cover lost ground.
The exhibition will explore the utopian future implementations and technologies in the fields of Music (Xenakis, Logothetis, Hristou, Mamagakis, Adamis,…), Visual Arts (Takis, Pantelis Xagoraris, Giorgos Zogolopoulos, Kostis Triantafyllou, Minons Argirakis,…), Cinema, Architecture and Urban Planning.
Minos Argyrakis, Takis, Pantelis Xagoraris, Valerios Kaloutsis, Giorgos Zogolopoulos, Thanasis Rentzis, Manthos Santorinaios, Kostis Triantafyllou, Konstantinos Doxiadis, Giannis Hristou, Giannis Xenakis, Anestis Xenakis and many more.
The exhibition will be accompanied by a book (Konstantinos Vassiliou, Thanasis Moutsopoulos) from Asini publications.
General Curator: Thanasis Moutsopoulos
Assistant Curator: Ilia Mpoura
Architectural Editing: Nikos Patsavos
Musical Editing: Nektarios Papadimitriou
Video Art Editing: Nepheli Dimitriadi
Opening Day: Thursday 22nd of June 2017
Arrival time: 20.00
Exhibition’s Duration: Thursday 22nd of June 2017 – Sunday 10th of September 2017
Every day: 18:00-23:00
Communication Sponsors: KROMA Magazine
Epi ton typon ton ilon / Into the print of the nails
The artist Andreas Nicolaou, presents at the Archaeological Museum of Patras, the art installation entitled “Epi ton typon ton ilon / Into the print of the nails”. The title of the installation, has been taken from one of the six paintings that are included in it. In this painting, the finger is placed in the wound of the Greek flag, bringing us face to face with the wounds of our time and challenging us to put a finger on them to wonder and perhaps eventually be convinced that they are real.
The art installation “Epi ton typon ton ilon / Into the print of the nails” is also an ongoing art project and it has been presented for the first time in Art Athina 2016, International Art Fair of Contemporary Art. For the hospitality at the Archaeological Museum of Patras, new works have been added, complementary and evolutionary to the first group of paintings. Our goal is the project to be hosted in the future in other important cultural sites, both in Greece and abroad.
Yiannis Bolis, art historian, writes about “Epi ton typon ton ilon / Into the print of the nails”:
In direct correlation with the emotional, mental and experiential behaviours, the artwork by Andreas Nicolaou looks into the human condition, alienation and the dramatic nature of the human condition in a hostile and fragmented world, raising questions on the existential and ontological order, thus maximizing the significance of its implications. The plasticity of the forms, the critical contrast of light and shadow, the treatment of the relationship between form and space in a remarkably plain, suggestive and dramatic manner and a special sense of monumentality contribute decisively to the unique painting sensitivity, to the intensity of his themes, the core of which has always been man and his destiny. Recurring themes, such as the sensual male and female nudes, are charged with the indicative meaning ascribed by Nicolaou and the manner in which he develops and transfigures them by means of a mature technique, demonstrating a painfully conquered eloquence in the treatment of the language: richer narratives, more in-depth symbolisms, outstandingly well-combined tempo, forms provoking a sense of direct physical experience and intimate contact, while simultaneously distancing themselves, experiencing their own secret life.
Andreas Nicolaou validates the economy of expressive means, consistency, cohesion and the quality of his morphoplastic quest. His dedication and experimentation of a particular way, his ability to draw a content rich in tones and innerness, is open to multiple interpretations and connotations. Notions of Sleep, Love and Death become entangled in an unbroken unity with religious and mythological references claiming a leading role. The modern Pieta with her sacerdotal posture and tenderness, the unresisting tragedy of the tradition of the theme and the contact developed between the woman and the man where the dramatic feeling of loss coexists with the serene impression of acceptance and elegiac grief, as well as the voluptuous naked bodies of the young girls in the arms of Morpheus compose an unexpected universe of images. In fact, they create an almost metaphysical-mystical atmosphere, they transmit and preserve unaltered the primary emotion, the truth and the distinguishing romantic character of their theme, they approach the deeper essence of the forms, which seem to have lost their material, earthly existence being transformed into symbols and allegories. The lonesome, fragile and erotic bodies appear to emerge from the light and sink into darkness, levitate on the threshold between reality and its spectral-dreamlike reflection, on the fringes of an intermediary world, surrendered and exposed to an inescapable predestination, to inner ellipticity and significance, neutral and fragmentary, to moments frozen and unalterable in space and time. The viewer is confronted with this “landlocked” world, the borders of which coincide with the borders of the composition, a world of imperturbable and eerie silence and tranquillity where the representation retreats in the course of the revelation of what is kept hidden below the surface, the mysterious, ambivalent and magical power of the image, which acquires its own defence and life. Furthermore, compositions such as Pieta, young girls screaming in anguish and rage, but most of all Epi ton typon ton ilon, echo the experiences, the response and the critical stance of the artist towards his contemporary realities, documenting moments of the trauma and dead ends of an alienated, transitional and unpredictable era.
Curators: Liana Zoza, Yiannis Bolis
Exhibition Duration: 23rd June – 31st August 2017
Opening Hours: Every day 08.00 – 20.00
Summer Lovers’ Shot Stories at the Gallery “Art Shot”- Sophia Gaitani
The Gallery “ArtShot” Sophia Gaitani invites us to the well-established Summer Exhibition “Summer Lovers” for the 5th consecutive year entitled “Shot Stories“.Greek summer, hot middays, see, sun, freedom and, of course… love!In the center of Athens, right by the Acropolis Museum, artshot-Sophia Gaitani gets together whit Hitchcocktales to co-present the work of well-known Greek artists inspired by the summer and the love inspired by it.The art exhibition will start in June 29th and will last till the end of September while at the same time several gastronomical events will be taking place along with artists who will be painting their work in the gallery.All these great surprises together will give to those of you who visit Athens, one more exciting destination, and the sweetest, most colorful art memory that will accompany you upon leaving the country. The rhythm of the waves, the colors of the sunburt prairies, the smell of the sea and a sky full of stars will surely find their space in your suitcase.Exhibition curators: Sophia Gaitani & Hera PapapostolouArtists that participateSophia Gaitani, Milena Dimitrokallis, Helena Lakkioti, Milly Martionou, Christina Lappa, Maria Filippakopoulou, Yianna Xanthopoulou, Yiorgos Callas, Katerina Kassaveti, Yiorgos Bounias, Yiorgos Syrigas, Dimitris Kretsis, Alexandros Spathoulas, Alexandros Liapis.Ceramist: Sophia Velentza, Mosaics: Magda Roumelioti, Art fashion: Gaitani & kOnDe
ART begins at the end of your comfort ZONE
Paraphrasing the well-known quote “Life begins at the end of your comfort zone” and making a pun with the name of the hosting gallery, 33 Greek contemporary artists wholeheartedly submit painting, sculpture, photography and artistic jewellery works and try to artistically evince the creative transcendence they are called upon to achieve in their involvement with Art.
Because making Art, does not only entail constant personal practice and technical evolution or innovatory vision and inspiration – and consequently an uninterrupted creative, spiritual battle with your own self, but at the same time a daily battle, human, with an impact often on psychological, social, financial, political, moral, livelihood level. This constant struggle against the realistic extentions of life requires sacrifices, requires from the artist to outface difficulties and obstacles in practice and dare, against everyone and everything, in order to illustrate his worries and dreams.
A persistent conflict with external forces, with the adversities created by the sterile daily routine, often with political status quos and deeply rooted perceptions that go against everything innovative and groundbreaking art can counter, social stereotypes and conservatism, people’s scepticism on everything that includes modernism and avant garde.
But, is it a duty of only the artist to get away with it and break the safeguards of a conventional life, in order to create and submit a personal view through his work? Clearly not. But in times lacking healthy standards and ideals, it is certainly his duty as well -among others’- to raise his carriage through his personal impression, to surpass himself and express “artistic word”, perceptive and incompatible. Moreover, according to Erich Fromm’s apposite remark, “The quest for certainty blocks the search for meaning. Uncertainty is the very condition to impel man to unfold his powers”.
Curator : Domna Chanoumidou, Theoretician – Art critic
ART ZONE 42
6-29 of July & 14-30 of September
Tuesday, Thursday, Friday 11:00-14:00 & 18:00-21:00
Wednesday & Saturday 11:00-15:00