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the self-explanatory


10 March – 23 April 2005
Aggelos Antonopoulos, Antzi Karatza, Valerie Bregaint, Yiannis Ziogas, May Kotsana

Π37 art gallery

The Self explanatory (curated by Yiannis Kolokotronis)

Evidently , is the reflection of images creating the thought
It is the most healthy reaction :
1. the art of sadomasochistic happenings going on since 1960
2 . in lackluster art amateur videos trapping
3 . in manic-depressive and unfinished environments since ’70 promises to ‘ liberate ‘ the art of the constricting boundaries .
Certainly , the possibility of the modern artist uses unscrupulous old and new techniques, materials and advanced technology , to form new images that do not just investigate the specificity of the local culture instead broaden the artistic themes with benchmarks multiculturalism . The new images ” cultural syncretism ” coordinated the fields of cybernetics and cyberspace make
Self flatulence in the invisible , in history, in psychology , in vision
Thus when Yannis Ziogas exposes two equally sized bins one red, one gold and the gap in between the wall completes the triptych , has figured out how to represent an entire tradition , much broader than philosophy. Leaves undetermined whether to extend the lengths of phantom boards and color of the intermediate gap in the wall that will hang , depend continuously on the psychology of the buyer : Blank wall can be colored as desired , according to the thinking available !
Since pigmentation of Kazimir Malevich until monochrome Robert Rauschenberg and Yves Klein monochrome and minimalist surfaces painted with industrial spot colors repeated the question :
It is understood the power of conception that fills the internal images with transparency ?
It’s obvious surprise in the space surrounding images without roots , without background?
In previous centuries , the art without roots , the ‘ non- art ‘ was the new art form . Studying the possibilities of the ‘new art form ‘ tens of artists in the western world struggled to highlight the yperantikeimenikotita to standardize personal experience . They made the methodical support money and the social role taken by the artist . The art became another perspective of life beside the system of matter and religion and the artists took their share.
Today , the new art form based on the assumption that
Evidently , the rejection
Spoiled rehash from the center to the periphery
The purported ‘ sincerity ‘ and ‘ truth ‘ of the artist
The alleged ‘ global ‘ value of a work of art ( which engages the
trading in a supposedly global market , western standards )
Evidently , the search for ecstasy in meditation
Angelos Antonopoulos multiplies images obsession he has with the human foot because it has captured the ‘ imagery of the limbs ‘ as a process of thought as to exorcize the discontinuity that prevents or requires movement ( physical and imaginary ) . The human experience can not perceive a world without traffic . But it is inadequate is a conscience that operates based only on the experience of matter ? Reacting to the systematic mechanized world , the focus on the stationary leg is essentially a new study on the relationship of the image with ideas . A series of mental actions between mobility experience and the recommendation of immobility . It is also an opposite action (reaction ) to the overall mechanism that supported the view of Andy Warhol that would be the camera. So Does evidently , the search for energy reflected in the format of an image ?
Valerie Bregaint the belief that automatic gesture is the link between an elusive concept and percutaneous experience , creates images that demonstrates the archetypes as a spiritual pantheism romantic feelings divorced from social origin . The gesture relaxes the language has nothing to say. Awareness allows to unfold simultaneously dream and fantasy . Flatulence , empty and defuse experiential surreality . If every piece of art had to withdraw the past or, the visual experience of reality then we would have lost the most important element of the picture: the uncertainty .
Self is searching for the mystic and the most visible .
A monastic discipline of Zen Buddhism seems to have brought the attention of Mae Kotsanas the environment and knowledge, to touching ritual awe at the surface of the canvas four to five wide mild and subtle touches to erase some and leave others to the verses to the point that allows the viewer to understand the robustness of the spread of color. Like purifies touch the depth of thought and dispersing images soul to awaken the ‘ mental eye ‘ . Erasing brushed catalyzes the power of fascination . Be deprived yourself to spread the charm of flatulence ! To fulfill the observation of Michel Foucault: language is not discussed in any silence : each interruption despite not forming a white spot on cover seamless
It is obvious that if the art had lost its sharpness would be indifferent . If the
artists remained faithful to the description , the images will risk being religious value as the standard icons of Jesus and Mary that push the faithful to prayer , remarked Nicholas Kalas . But persistence does not lead to standardization when research knowledge dominates the artistic experimentation !
The provocative and dangerous obsession Angie Karatzas over the cat on the thinking and psychology of man over the meaning of the image , refers to the substance of the representation and energy materials . When the image no longer gives external information on the subject, immersed in the energy of the myth begins the search for balance between the senses and the soul of the idea . After the game follow the structures that define the rules of the imagery , the artist puts target to exceed: to redeem the consciousness of the words from literature , myths , by time narration, memory. How much power is hidden in the caricature of a cat, the amorphous and fuzzy feeling when you break away from the bonds of similarity with the issue ?
It is obvious that any attempt to approach art with cognitive methods is misplaced ! After eliminating the poetry of image formats , decrypt and after removal of the symbols of her , then the logical – semantic degradations suffered , vacuum surrounds the thought of the artist shall again reconsider the power of concealment , deleting any predetermined significance. The error is objective and ironic content. The production of a new image to reproduce reality, copies through lightning indeterminacy , of falsehood , of awkward uncertainty. If the language describing the truth , the picture confirms the duration of Fraud! But what kind of fraud, empirical or transcendental ?
To see the invisible you must remove the sense of reality . To peripaixeis structure of logic must TAMPER without fear of punishment . To open the meaning of the visible need to malign , change the meaning of the relationships of even the most random among them!
For this
It is obvious that any change that enhances uncertainty and indeterminacy of art accomplishes only strengthen the lightness of thought in the gap of the images.