“TIME WARPS – LABYRINTH LAND”
A Project by Dimitris Lamprou, visual artist
Contemporary Art Exhibition
Curation by Faye Tzanetoulakou, Art Historian
30 & 31 july
Labyrinth installation and soundscape in a complex of metatums by Dimitris Lamprou, Visual Artist
Duration until 15 August
Opening 30 of July
Dr. Faye Tzanetoulakou, Curator – Art Historian
Yiorgos-Icarus Babasakis, Writer – Poet
Dr. Efthimis Lazongas, curator – Art Historian
Orestes Krikonis, Musician of contemporary jazz
Yannis Stefanakis, Painter – Poet
Chrysi Skepetzi, Painter – Poet
Helen Benekou, Director – Lyricist
Performance by: Katerina Androulaki, Visual Artist, Stella Voutoufianaki, Soprano
Cultural production: KROMA
Project Production: Dimitris Lamprou
with the support of the Region of Crete and Municipality of Anogeia
“The monument is not only a document of history but also a document of art and according to Rodin an art that has life, does not restore works of the past – it continues them. The voluntary memory proceeds from an actual present to one that has been. The past of voluntary memory is doubly relative: relative to the present it has been and also to the present with regard to which it is now held or judged to be past. Voluntary memory can only recompose the past with a set of different presents”
Through successive presents it is possible to get in touch with the secret of memory. “Duration is the continuous progress of the past which gnaws into the future and which swells as it advances.”
“Discontinuity is what leads to the innovation of fertile moments (and to creative evolution). Our life is a Discontinuity of actions and only laziness is constant; the action is momentary. Time can be reborn, but first it must die.”
The life of the monument is full of repetitions – anachronisms – failures – starts – recoveries; just like duration and life.
The Discontinuity is the one that transformed it and saved it from destruction according to historical circumstances. What Bergson calls “Fertile Moments” that is, the circumstances and decisions that interrupt the flow of time.
Restoration of the monument in a new form of life – of a death, or otherwise of its previous condition. Its flow over time is modified – its duration. What matters is the very creation that motivates progress and not eternity. To start again life like a musical phrase, that is part of the symphony, to leave from the stagnation and stretch out its hand to the future.
This construction takes place both in space and in time.
Being able to determine one’s position at some point, does not only concern space, but also the concept of time, and the feeling of being lost retains its characteristics both in space and in time.
Emphasis is put on how spatial surfaces and corridors will be experienced by visitors and what sensations will be produced by this composition. The visitor’s experience/ creation of transition from the memory landscape to the experience landscape, is therefore planned.
The space allows a very large number of different movements and activities of the monument visitors. The monument will only come to life through experience: the experience of the subject in the space, i.e. its time.
The flow of the monument will start again from another point and with a different rhythm / Reconstruction of the time of the monument.
Today the space of the monument is dependent on time and the artist – the poet – the architect can only control time. The time of experience separated from the time of the object. The space is a consequence of the planned/ designed time. The art object has shifted from e space to time creating a new space that is perceived through the navigation of the subject in an enhanced reality environment.