Off Season (1)

I.

Off Season

-1-

memories of a carnival long gone

II.

III.

IV.

V.

VI.

VII.

Maria Polyzoidou

AD gallery presented the second solo show of Maria Polyzoidou.

Exhibition duration: March 6 – April 20, 2013

"The artist in this body of work systematizes a method that allows the historical and pictorial event to coexist in a unique result. From the very beginning she defines herself simultaneously as the first viewer of the historical event and the painted image. She handles the distance between these two points as a natural variable size, allowing them to coincide. Bridging the gap between the representation and the represented, her works lead the viewer to face a real image and a painting approach, in both of which reality is a part of and not a reference.

This special approach to painting is contrary to nowadays prevailing trends of the archive’s representation: on one hand a photorealism whose starting point lies in the handling of archives as a sort of political commentary and on the other hand a painting genre that gives emphasis in the personal gesture of the artist that produces images beyond the reality of the represented event.

If in the first case the viewer is turned into a false witness by having the false sense of being present in a historical reality, in the second case he is placed in a gap between narration and the narrative method on one hand and the event per se on the other, experiencing the event only partially. Maria Polyzoidou creates through her new works a space where the viewer can negotiate his presence or absence from the route of history, the creation of image and the construction of meaning, allowing him to exist as an active viewer of a “real painting”. " --Alexios Papazacharias

[ source ]

Passers-by

Passers-by

Georgios Xenos

An exhibition titled Passers-by, onlookers and people looked at by visual artist Georgios Xenos will take place at the archaeological Museum and the Delphi archaeological site from December 16, 2012 to April 30, 2013.

As a whole, the works of art on display are focused on Man, on dealing with and communicating information, and are part of an elliptical type of communication, a particular kind of oracle.

The Passers-by point towards a re-meditation – as a tribute to the Delphic spirit and light – by keeping up the cultural dialogue between the present and the past.

The exhibition is centred on the installation of the Passers-by, a multitude of iron human figures, the seven Gates, an iron construction, the Arc of Information, a Plexiglas installation, Apollo, acrylic matter on paper, the Gate of Writing, ink on paper, and other pieces.

A dialogue between the classic masterpieces of art and the modern visual creations is what the visual artist Georgios Xenos is undertaking with his exhibition in Delphi. The exhibition, entitled “Passers-by”, is to involve individual works and unities of works, mainly constructions (installations), displayed in specifically selected areas of the Archaeological Museum of Delphi and the archaeological site of Delphi. The works “inspired by writing (literature) which has played a central role as the main axis of human existence, encourage a dialectic, attributing to the artistic product its true extent of meaning, thus promoting education and culture, forces magnificently beneficial to societies” quotes Georgios Xenos.

Sunday's dog life

I.

Sunday's dog life

II.

III.

IV.

V.

VI.

Spring's Country

I.

Spring's Country

II.

III.

IV.

V.

VI.

Pavlos Tsakonas

Pavlos Tsakonas
solo show

06.03.13 - 06.04.13

A series of works with acrylics on plywood which balance between painting and sculpture.Oversized  objects, drawn with absolute realism and a quite pop attitude spread inside the gallery, which the artist transforms into a huge showcase conceived as a contemporary "Cabinet of Curiosities".

The objects, sometimes painted in unexpected colors and some other times made in unexpected dimensions create sets according to their placement in space and lead the spectator to explore them in a series of narratives.

A “Cabinet of curiosities” or else "Cabinet of Wonders" was an encyclopedic collection in Renaissance Europe of various types of objects, which had some ethnographic, geologic, religious, scientific, or other interest but which were still difficult to define according to category.

Also known in german as "Kunstkammer" or "Wunderkammern" meaning " art - room" or "Wonder - room", these cases often included works of art, antiquities or historical relics. Their collection and display was seen as a microcosm, a theater of the world and a memory theater As an alternative kind of encyclopedia, such collections were formed by Kings, aristocrats and members of the merchant class or practitioners of science and are considered the precursors to museums.

From a similar point of view, Pavlos Tsakonas aims through this show to anachronistically recreate inside the gallery space a feeling of surprise and inspire wonder in a similar manner to the original “Wunderkammer”. His works, mainly everyday objects meticulously painted in every detail aim to inspire the visitors’curiosity, marvel or surprise. In this manner, the exhibition falls into a kind of refined "Cabinet of Curiosities", commenting on the use of the gallery space as a tool for the production of knowledge while simultaneously exploring the ways in which "surprise" or“wonder” can be manifested through artistic discourse today. [source ]

BB 2

I.

B B - 2

B is for Buildings

B is for Berlin

II.

III.

IV.

V.

VI.

Quiet nights of quiet stars

Quiet nights of quiet stars

quiet chords from my guitar

floating on the silence

that surrounds us.

Quiet thoughts and quiet dreams

quiet walks by quiet streams

and a window that looks out

on the mountains and the sea,

oh how lovely

This is where I want to be

here with you so close to me

until the final flicker of life's ember.

I who was lost and lonely

believing life was only

a bitter tragic joke,

have found with you,

the meaning of existence,

oh my love

Woven Hand

Line-of-sight

I.

Line-of-sight

II.

III.

IV.

V.

VI.

VII.