HOMO UNIVERSALIS REVISITED: INDEPENDENT PROJECT
CURATED BY MARIA PAPAIOANNOU AND MARIA DIALEKTAKI
“I am always doing that which I can not do, in order that I may learn how to do it”.
Trying out new media and exploring new ways of expression helps expanding the technical, aesthetic and conceptual framework of creation. Yet, it is a very demanding and difficult procedure. Today’s dire financial crisis and the consequent growing general uncertainty make experimenting even harder. Thus, sometimes artists find working within a more recognizable pattern and complying with a given identity simply safer. For others, limiting down their creativity is another way to fit in the demanding and extremely competitive art world. However, from Pablo Picasso and Louise Bourgeois to Adam Chodzko and Ryan Gander, the artistic creation presents an illustrious line-up of artists who kept and keep experimenting with different media, forms and contents.
‘Homo Universalis Revisited’ is an exhibition that investigates the concept of the Renaissance man by means of focusing entirely on the ability of the artist to use and express him-/herself in different mediums and art forms. This exhibition is also an experiment; it will try to see whether the artist of today can personify the restless and inquisitive spirit of the universal man.
‘Homo Universalis Revisited’ is focusing on the role of the artist, which is often taken to be an attempt to recast reality in different expressive modalities. Crucially, artists live and work within a specific sociocultural context, which unavoidably drives, and even channels, their (artistic) creativity. In this sense, the role of the artist constantly changes along with the setting within which they operate.
So, how can the artist of a given ‘today’ express the ever- changing ‘zeitgeist’ in terms of new mediums without losing the constitutive elements of his/her own identity? Paraphrasing the homo universalis, what is the importance, as well as the value of absolute success? How can it be measured when it is being tested and contrasted to the new, the different and the non-recurring?
Eleven artists who work with a wide range of media were asked to experiment with a medium they have never worked before or a new art form. ‘Homo Universalis Revisited’ has invited them to explore different materials and styles and in this way trace the endless possibilities of human creativity through exploring an aspect of their work unknown equally to their audience and themselves.
Artists: Dimitris Baboulis, Leonidas Giannakopoulos, Nikos Gyftakis, Thanos Klonaris, Maria Lianou, Amelia Newton Whitelaw, Oré, Nana Sachini, Philippos Theodorides, Sofia Touboura, Marina Velisioti
Curators: Maria Papaioannou and Maria Dialektaki
CAMP CONTEMPORARY ART MEETING POINT
Loxodrome is an intervention / site-specific installation on the second floor of Iasonos 47 st. As part of this installation the space hosting the project is sculpturally approached through interventions and additions on the space itself as well as other objects / readymades that are incorporated and adjusted to the space. The sculptural manipulation aims towards reappropriating the space, unifying it and creating the circumstances that allow for its empirical experience on the part of the visitor. Similarly to a brief stop in the middle of a long journey, Loxodrome aims to create an enclosed universe, urging the visitor to explore “alternative routes”, different viewpionts and experience alternative micro-destinations – to let loose in the investigation of the new dimension proposed.
At the same time, the installation acts as a platform and an exhibition space for works that form part of the project. Works by guest artists are incorporated into the work, mark the space and become part of a uniform whole, suggesting an alternative view of the architectural built environment hosting the project. [ link ]
Artists: Irini Bachlitzanaki, Alice Evans, Clare Flatley, Dimitris Georgakopoulos, Villi Manolakou, Ifigenia Papamikroulea, Maria Tzanakou, Christos Vagiatas, Augustus Veinoglou
Curators: Augustus Veinoglou, Irini Bachlitzanaki
Now logic must take care of itself: an independent project by Nana Sachini
Taking into consideration the polyphony of the specific region and its extreme contradictions, the exhibition-installation is a questioning about the value of decisions that only seem rational (rational-like) and the value of “spaces-places” that function as holes-voids in the rational structures.
Traditional sculptural materials and readymades, cheap items and/ or with a false semblance of luxury are recomposed into a “noisy parade” of constructs, in a way that the physical and functional properties of materials and objects to be altered.
The title is an appropriation from the work of the philosopher Ludwig Wittgenstein “Tractatus Logico-Philosophicus”, an ambitious project which questions the relationship between logic, language and reality and their limits.
The absence of logic could cause euphoria or/and agitation and annoyance. Furthermore this absence could lead to invention or/and understanding of new systems with new types of tools.
Considering works of art as structures do the spectators’ thoughts-projections on the work reinforce, alter, interpret, shift, deform, erode or do they “give life” to this structure?
The sound in the installation is a composition-edited sound from texts-responses-thoughts-projections from the “first spectators” of the work, who became “co-creators” and “co-destructors” -while they “contributed” to the progress of the work with their comments.
In addition a series of photos- from specific views of the sculptures that the spectator hardly sees- is presented. S/He could see these views only if s/he moved his body “paradoxically”, i.e. if s/he stooped too much, laid, crawled etc.
Nana Sachini studied in Chelsea College of Art and Design, London, UK (Master and Postgraduate Diploma in Fine Art) and in School of Fine Arts in Thessaloniki, Greece(BA Hons in Painting).
Her work embraces various media including drawing, sculpture, installation, performance and photography. [ link ]
THIS IS AMATEUR
U.F.O. (unidentified found object)
Participants: Unknown artistsCurator: This is Amateur
U.F.O. (unidentified found object) showcases found artefacts and everyday objects selected and reassigned by This is Amateur. A selection of ready-mades, outsider art, amateur crafts and cultural leftovers are being drawn out of obscurity and put under the spotlight in an art space thus challenging our concepts of authenticity and artistic value. The combination of different things, never meant to be associated, creates new images and unexpected meanings. [ link ]