Η έκθεση Photometria Awards 2014 "Reflection" συνεχίζει το
ταξίδι της σε διάφορες πόλεις της Ελλάδας. 4-21 Σεπτεμβρίου θα φιλοξενηθεί στην
Θεσσαλονίκηστο Art Room
Propaganda Rollin Co Store (Ισαύρων 7).
Oι πόλεις και οι ημερομηνίες του tour είναι:
Πάργα, Villa Rossa20
Ιουνίου - 8 Ιουλίου 2014
Πάρος, Ξενοδοχείο Αργοναύτης 12- 30 Ιουλίου 2014
Κεφαλλονιά, Saristra Festival 8-10 Αυγούστου 2014
Art Room Propaganda Rollin Co Store 4-21.9.2014
Athens House of Photography 24.9-13.10.2014
Βόλος, Πολυχώρος Τσαλαπάτα 6-23 Νοεμβρίου 2014
Χανιά, Νεώριο Μόρο (Ιστιοπλοϊκός όμιλος Χανίων) 2-9
Άργος, Αψέντι καφέ 17 Δεκεμβρίου 2014 - 11 Ιανουαρίου 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
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
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.
"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."
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.
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.
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
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,
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
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
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
Schopenhauer, A. (1962) The Essential Schopenhauer. London: Unwin Books.
Schopenhauer, A. (1969) The World as Will and Representation, Vol. I. New York:
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.