Thursday, September 4, 2014

Photometria Festival στη Θεσσαλονίκη και άλλες πόλεις




                                                                                                                                                      Η έκθεση Photometria Awards 2014 "Reflection" συνεχίζει το ταξίδι της σε διάφορες πόλεις της Ελλάδας. 4-21 Σεπτεμβρίου θα φιλοξενηθεί στην Θεσσαλονίκη στο Art Room Propaganda Rollin Co Store (Ισαύρων 7).

Oι πόλεις και οι ημερομηνίες του tour είναι:

Πάργα, Villa Rossa  20 Ιουνίου - 8 Ιουλίου 2014

Πάρος, Ξενοδοχείο Αργοναύτης 12- 30 Ιουλίου 2014

Κεφαλλονιά, Saristra Festival 8-10 Αυγούστου 2014

Θεσσαλονίκη, Art Room Propaganda Rollin Co Store 4-21.9.2014

Αθήνα, Athens House of Photography 24.9-13.10.2014

Βόλος, Πολυχώρος Τσαλαπάτα 6-23 Νοεμβρίου 2014

Χανιά, Νεώριο Μόρο (Ιστιοπλοϊκός όμιλος Χανίων) 2-9 Δεκεμβρίου 2014

Άργος, Αψέντι καφέ 17 Δεκεμβρίου 2014 - 11 Ιανουαρίου 2015

Πάτρα, 22 Ιανουαρίου - 1 Φεβρουαρίου 2015

Μυτιλήνη, 2 - 6 Μαρτίου 2015, εκθεσιακός χώρος ΦΕΜ , Πιττακού 15

Πρέβεζα, 20-29 Μαρτίου 2015
 


                                                                                                                                                  Το Saristra Festival είναι το σημαντικότερο καλλιτεχνικό γεγονός των Ιονίων Νήσων, ένα μουσικό και εικαστικό φεστιβάλ στα ερείπια του παλιού χωριού των Βλαχάτων Κεφαλλονιάς. Εκθέσεις εικαστικών τεχνών, προβολές ταινιών, σεμινάρια και διαλέξεις καθώς και δραστηριότητες για παιδιά φιλοξενούνται στα χαλάσματα των σπιτιών.                                                                                                                                http://saristrafestival.gr/ προγραμμα/παραλληλεσ-δραστηριοτητεσ/



                                        Φωτογραφία απ'τον Πολυχώρο Τσαλαπάτα στον Βόλο

Το Εργοστάσιο Πλινθοκεραμοποιίας Ν.  & Σ. Τσαλαπάτα ήταν ένα από τα μεγαλύτερα του είδους του. Τα εργαστήρια και οι βιομηχανικοί χώροι έχουν αναστηλωθεί και αποτελούν σήμερα σπάνιο δείγμα διασωζόμενου βιομηχανικού συγκροτήματος στον ελληνικό χώρο.

http://www.piop.gr/MuseumNetwork/MouseioPlinthokeramopoieiasTsalapata/ToMouseio.aspx

                             Φωτογραφία απ'την έκθεση στη Φωτογραφική Εταιρεία Μυτιλήνης 

Φωτογραφική Εταιρεία Μυτιλήνης
Πιττακού 15, 81100 Μυτιλήνη, 2251041555, photo@fem.gr

Saturday, August 16, 2014

Mannequin

Mixed Media on Canvas (three panels forming a triptych, 114x46cm)
http://www.thinkfree.gr/30-χρόνια-σκετβε-1983-2013-μεγάλη-έκθεση-τω-2/

Red Despair

























Oil, acrylic and pastel on paper (two panels: each 29,7x21,0cm)

Memento Mori




































Mixed Media on Canvas, 40x40cm

In Blue


Mixed Media on Canvas, 50x50cm

The "Abstraction" paintings









This series of paintings represents the artist’s obscure inner condition in pursuit of individuality and the “absolute”. This work was the result of “inner unrest” and an overwhelming desire to express the ineffable -a kind of “mirroring” of the inner self into the material environment.

The paintings could be best described as self-signifying, self-referential entities which speak in a cryptic “imagistic” language. Potentially, the paintings could function as “portals” which transport the viewer to the realm of pure aesthetic and intellectual speculation.

There are three key recurring motifs: circular shapes, dark-coloured backgrounds and three-dimensional objects. The circle is a symbol of wholeness/ perfection and refers to the discovery of transcendental awareness. The dark backgrounds symbolize primordial emptiness, the void and the unconscious. Out of the “emptiness” emerge three-dimensional objects which with their “materiality” disrupt the two-dimensional surface of the canvas. By being incorporated into the artwork these discarded objects become “sublimated”- their formal reality is transcended and they are transformed into symbols of spiritual consciousness.

Construction 4 (mixed media, 60x50cm)
Construction 8 (mixed media, 60x50cm)
Transrational Domain (mixed media, 60x50cm)
Subsignals (mixed media, 60x50cm)
Transcendental Imagination (mixed media, 40x40cm)
Merge (mixed media, 40x40cm)

Wednesday, July 30, 2014

Professional Photographer August 2014


"Self Portrait" is featured in Professional Photographer (Aug 2014 issue). Catherine Connor comments:

"If inspiration, innovation and creative thought inspires you, this image will. It has all these ingredients alongside great composition and balance. The colour and tonal range is simply beautiful. It left me moved and inspired. It's breath taking."

www.professionalphotographer.co.uk

Monday, June 30, 2014

Sam Magazine issue 12

                  Two "Erotic Decay" photographs published in Sam Slovak art magazine issue 12.

Wednesday, June 4, 2014

Photometria Festival 2014






An exhibition of 25 photos based on the theme "Reflection". Held at the Municipal Cultural Multiplex (old slaughterhouses) of Ioannina from 4 to 15 June 2014 (Mon-Fri 18:00-22:00, Sat-Sun 10:00-14:00 & 18:00-22:00).The exhibition will travel to seven Greek cities.

Wednesday, May 7, 2014


SOLITUDE



Silent faces looking down on me
Isolated from everything
Is this the way for me?

The faces laugh
(I start to doubt)
Signs from above
(Show me the path)

A solitary life
A lonely death
My Choice, My Way
There’s no turning back




CRISIS


Waiting, waiting in vain
Losing hope again
Faces of despair I see
Creating agony in me

Do you believe in God?
Does God believe in me?
Answer me

Am I going insane?
Am I losing the game?

Faces, faces cold
Tormented, turned to stone
Haunting for ever
My Final Day



Tuesday, April 29, 2014

A/ for Art Festival







































A/ for Art Festival at Warehouse C (Αποθήκη Γ), port of Thessaloniki (3-4 May 2014, 11:00 am onwards).
Featuring contemporary art, performances and live music.
Tickets: 8 Euros, Students/Unemployed: 5 Euros, Fine Art Students: Free

Tuesday, April 8, 2014


Υγρή Σπονδή

Ανήμπορος διαβαίνω
Σ’αγκαθωτά αλώνια
‘Εχω πεθάνει μέσα μου
Εδώ και τόσα χρόνια

Εμπρός μου αδιέξοδο
Αισθάνομαι χαμένος
Στα πόδια πια δεν στέκομαι
Σωριάζω κουρασμένος

Η θέλησή μου βούλιαξε
Δεν θέλω πια να ζω
Στης Λήθης την αγκάλη
Γυρεύω να πνιγώ

Γέρος βαρκάρης έρχεται
Να με συναπαντήσει
Τα βάσανά μου υπόσχεται
Στον ποταμό να σβήσει

Σαν δόλωμα με ρίχνει
Σε σκοτεινά νερά
Και μονομιάς εισέρχομαι
Στου Άδη τη σπηλιά



Tuesday, March 11, 2014

Colin Wilson: 26 June 1931- 5 December 2013


Colin Wilson was a neoexistentialist philosopher, researcher, critic and novelist. His most famous work was “The Outsider”, an analysis of the alienation of the creative individual. According to Wilson “an ‘outsider’…is a self-actualiser who wants to sidestep the demands of everyday life and get down to creation. He (or she) wants to evolve, to move on.” Wilson wrote a vast amounts of books ranging from philosophy and religion to the occult and the history of crime. 


The basic element that underpinned Wilson’s work was the desire to overcome mundane reality and reach a new level of consciousness. Many people tend to think that a typical day is rather tedious and repetitive, but in reality they are just not making the effort to analyze their situation. Wilson insisted that people aren’t one-dimensional beings but also possess the abilities of critical analysis and imagination. He suggested that if we utilized our critical and imaginative abilities we would realize that the world is a meaningful and interesting place filled with infinite possibilities. 


Wilson’s most important idea was the theory of “peak experience”: these are brief but very intense experiences in which our senses and energies seem to heighten and the world takes on a new positive meaning. Artists and creative people seem to have this type of experience when they are inspired -Wilson proposed that anyone can induce them by sheer effort of the will. He saw these “peak experiences” as indications that humans possess unrealized potentialities and believed that our primary aim in life should be to develop and expand our understanding. He never failed to stress the importance of having a positive outlook on life and opposed pessimist theories which describe life as futile and meaningless.

https://www.facebook.com/colinwilsonmemorial


Sunday, March 9, 2014

Jannis Spyropoulos and Arthur Schopenhauer’s aesthetic theory

Jannis Spyropoulos (1912-1990) was a Greek painter who became known as “the classicist of abstraction” (Jannis Spyropoulos, Retrospective Exhibition Catalogue, 1994). His abstract paintings of “luminous darkness” -as Marina Lambraki-Plaka once called them (Jannis Spyropoulos: A Classicist of Abstraction 1912-1990)- combine technical discipline with emotional and intuitive expression.
By incorporating various elements in his images (paper collage, colour nuances which contrast against dark/monochromatic backgrounds, melted wax, signs, letters, arrows, dots, incisions, scratchings, geometric shapes, symbolic patterns), Spyropoulos attempted to create abstract “inner landscapes” which portray the “essence” of things. The individual components of his paintings seem to lose their material character, reminding one of old master paintings in which the painter endeavored to remove the marks of his brush. Spyropoulos aimed to imbue his paintings with an aura of classicism and timelessness; his “poetic and yet vigorous images…(combined) the skill of the old craftsman with the verve of the pioneer.” ( Jannis Spyropoulos: A Classicist of Abstraction 1912-1990)

                                                 Spyropoulos, J. (1965) Page No. 5


Arthur Schopenhauer (1788-1860) was a German idealist philosopher whose thinking integrated elements from eastern and western philosophies/religions, and among other topics dealt with art/aesthetics, ethics, metaphysics, death and the meaning of life. Schopenhauer’s work had a big impact on other philosophers (such as Friedrich Nietzche who appropriated Schopenhauer’s idea of the “will”) and helped pave the path for psychoanalytic theories (Freud’s notion of the subconscious is present in Schopenhauer’s concept of the “will”). His metaphysical aesthetic theory -which appears in the book "The World as Will and Representation"- had a significant impact on art (especially classical music and abstract painting) and is crucial in understanding the work of Spyropoulos- and the aesthetic work of art in general.
Schopenhauer (The World as Will and Representation, Vol. I, 1969) presents the world as having two basic aspects: that of representation (the way we individually perceive things as being external to the mind) and that of will (an equivalent of the Kantian “thing-in-itself”, the way the world is in itself). The world is the representation of a single Will (the ultimate cosmic force), of which our individual wills are phenomena; because of our individual wills we can never see things as they really are -we “represent” phenomena to ourselves according to our own immediate self-interest.
Schopenhauer suggests (Vol I, Book III) that one way to free ourselves from our distorting will is through art/aesthetic contemplation: in his opinion art can suspend the viewer’s ordinary “will-ful” perception of the world and transport him/her to the higher realm of eternal “Ideas” (Schopenhauer adopts the Platonic concept of the “Idea” as the unchanging archetypal reality which exists beneath the world of phenomena and the confines of time/space/causality). Thus, the viewer is transformed from a “willing” subject into a “purely knowing” subject. Through aesthetic contemplation (Vol. I, p.178-9):

We no longer consider the where, the when, the why, and the whither of things, but simply and solely the what…(Through contemplation we) exist only as pure subject, as clear mirror of the object, so that it is as though the object alone existed without anyone to perceive it, and thus we are no longer able to separate the perceiver from the perception…What is thus known is no longer the individual thing as such, but the Idea…

As described, by “Idea” Schopenhauer means the timeless/eternal truths of our world, the undistorted/enduring elements in all change, the “innermost nature” of things which transcends phenomenal reality. The communication of this “Idea”, Schopenhauer says, is the aim of the aesthetic work of art. In his own words (Vol. I, Book III), “the object of aesthetical contemplation is not the individual thing, but the Idea in it which is striving to reveal itself.” Manos Stefanidis (Concerning Painters, 1988) argues that it is extremely difficult to clearly articulate this world of “Ideas”, since the observer inevitably interposes himself/herself and “contaminates” the purity of the “Idea”. In his opinion (p.135), the only way of participating in “things in themselves” is to be silent, to break off the “discourse”. He acknowledges such an attempt in the “silent” pictorial language of Spyropoulos (p.135):

The interpolation and participation of the observer can produce a personal vision of “things in themselves” in abstract art…The wealth of (the imagination of Spyropoulos) in morphology and colour, the power of his brush, lay close siege to the “things in themselves” as they lie enveloped in ontological silence…

Schopenhauer argues (The World as Will and Representation, Vol. II) that art requires the co-operation of the beholder as it can only act through the medium of the imagination:

Not everything can be given directly to the senses through the work of art, but only as much as is required to lead the imagination on to the right path… the very best in art is too spiritual to be given directly to the senses; it must be born in the beholder’s imagination…

In "The World as Will and Representation" he also analyzes the concept of genius, which for him consists of the capacity for aesthetic experience. He describes genius as (Vol.I, p.185-6):

The ability to leave entirely out of sight our own interest, our willing, and our aims, and consequently to discard entirely our own personality for a time, in order to remain pure knowing subject, the clear eye of the world.

He suggests that it is possible for the artistic genius to reach states of heightened perception wherein (Schopenhauer: Parerga and Paralipomena Vol 2, 2000) “the most ordinary objects appear completely new and unfamiliar”; he argues that the artist-genius is able to remain in such a state for a prolonged period of time -thereby making it possible to transmit this state of “pure perception” by “reproducing” it in his/her art.
In Schopenhauer’s view (The Essential Schopenhauer, p.29-31), art which depicts objects with excessive fidelity to nature (he mentions examples of figurative art such as still-lifes of food/drink and paintings of the nude body) cannot adequately represent the most important element of the work (the underlying “Idea”) - it is more likely to reinforce our usual will-ful/distorted way of perceiving things, rather than transport us to the realm of pure contemplation. He also suggests (Schopenhauer: Essays and Aphorisms, p. 162) that music is the superior artform: since it has no specific “subject” (which is also a characteristic of abstract painting) it can most easily transport the viewer to the realm of imagination and pure, will-less knowing.
Schopenhauer’s theories influenced many abstract painters who attempted to portray “things in themselves” (non-objective representation of things) and the “Ideas” that underlie our world of phenomena. Spyropoulos submerged himself in his work in an attempt to discover and portray the “imaginary reality” beyond the confines of time and space, cause and effect. He once declared that he “arrived at abstraction while seeking the quintessence of certain things” (Jannis Spyropoulos, Retrospective Exhibition Catalogue, 1994, p.38), and that he “spread out darkness in search of light” (Jannis Spyropoulos: A Classicist of Abstraction 1912-1990”, 1995).
One could describe the art of Jannis Spyropoulos as visual music because of the effect it has on our consciousness: through harmonies, rhythm, colour-tones and composition it aims to transport the viewer to the realm of pure speculation. Perhaps his paintings could be described as “works of genius” as they convey a sense of heightened aesthetic awareness- they most certainly are a testimony of his search for “interiority” and “reality” beneath mere surface/form.


                                                 Spyropoulos, J. (1963) Triptychon A


BIBLIOGRAPHY:

Danilopoulou, O. (ed.) (1994) Jannis Spyropoulos (1912-1990) Retrospective Exhibition. Thessaloniki : Macedonian Museum of Contemporary Art.
Hollingdale, R.J. transl. (1970) Schopenhauer: Essays and Aphorisms. Penguin Classics.
Payne, E.F.J. (2000) Schopenhauer: Parerga and Paralipomena Volume 2. Clarendon Press.
Schopenhauer, A. (1962) The Essential Schopenhauer. London: Unwin Books.
Schopenhauer, A. (1969) The World as Will and Representation, Vol. I. New York: Dover Publications.
Schopenhauer, A. (1966) The World as Will and Representation, Vol. II. New York: Dover Publications.
Stefanidis, M. ‘Spyropoulos and Tsarouchis: An unforeseen dialogue on the form of the invisible’ in (1995) Jannis Spyropoulos: A Classicist of Abstraction 1912-1990. Athens: National Gallery and Alexandros Soutzos Museum.
Stefanidis, M. (ed.) (1988) Concerning Painters. Titanium
.

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