Dionisis Christofilogiannis Solo exhibitions 2013 60 picks per minute, Costa Navarino, curated by Dimitrios Antonitsis, Greece 2012 60 years Goethe-Institut Athen, Goethe Institut of Athens, Greece 2011 time present and time past, K-Art Gallery, Athens 2011 Apollo si Dionysus, Museum of Arts Cluj Napoca, Romania 2009 Grasp the trends, NY Arts Beijing Gallery, curated by Basak Malone, Beijing 2008 Dionisis Christofilogiannis, Nakagawa Gallery, Tokyo 2008 Al1, Muramatsu Gallery, Tokyo, curated by Dr. J. Kolokotronis, Tokyo Selected Group Exhibitions 2013 In the Studio, Kunsthalle, Athens 2013 Exercises on Democracy, curated by Nicos Charalambidis, Open Case 303, Athens 2013 Civilisation (genres and cases), curated by Alexios Papazacharias, the art foundation, Athens 2013 TO.BE, Giomisti Kefali, Sifnos, Greece 2012 The obsolete man of Schopenhauer, with Oana Farcas, Kaspar Samuelsen, Nakagawa Gallery, Tokyo 2012 Circus Crew , curated by Lydia Pribisova, Larm galleri, Copenhagen 2012 Justice is Mine, CAMP Contemporary Art Meeting Point , Athens 2012 Lidinos for Syria, curated by Nikos Charalambidis, Aegina, Greece 2012 Hosted in Athens, curated by DLProjects, Athens 2012 Returning from Utopia / New Reality, curated by G. Tserionis, ABOUT Cultural Venue, Athens 2012 Past. History, Time, Memory and Nostalgia , Santorini Bienalle 2012 2012 Narcissism, k-art gallery, curated by C. Christofis, Athens 2011 Hope, Nerima Museum , Tokyo 2011 The Cutting Edge, Hydra School Projects, curated by Dimitrios Antonitsis, Hydra, Melina Merkouri, Hydra 2011 NROOM, N-Room Art Space, Tokyo 2011 The Cutting Edge, Museum of Arts Cluj Napoca, Romania 2011 I fought the X and the X won, curated by Raphal Vella, Museum of Arts Cluj Napoca, Romania 2011 I fought the X and the X won, National Museum of Valletta, Malta 2011 Emergency Room, Wroclaw, curated by Thierry Colonel, Poland 2011 VAFA, International Video Art Festival Macau, China 2011 LUMEN_EX, Museo of Contemporary arts Iberoamericano, Spain 2011 Fake Paradise, K-Art Gallery, curated by C.Christofis, Athens 2011 ART ATHINA, International Contemporary Art Fair, Athens 2010 Post Factory, curated by Lam Hon Kin, JCCAC, Hong Kong 2010 Mobilnale2, curated by H, Gjergji and Lydia Pribisova, TINA-B, Prague 2010 CELESTE PRIZE 2010, Invisible Dog, New York 2010 I am Solitary I am an Army, curated by Beers.Lambert, Surface Gallery, England 2009 The collection, Nakagawa Gallery , curated by Tarohei, Tokyo 2009 Emergency Room, PAN, Contemporary Museum of Naples, curated by T. Colonel, Naples 2008 Emergency Room, Galerie Taïss, curated by T. Colonel, Paris 2008 ROOTS, by art-naute in Strasbourg, curated by M. Schumacher, France 2008 modern landscapes, Crete and Athens by art-naute, Greece 2008 TresCourts , International Film Festival- French Cultural Center, Romania 2008 Patras International Video Art Festival , Greece 2008 New York International Film Festival , New York 2008 Athens Video Art Festival , Gazi Keramikos, Athens 2007 Emergency Room Ileana Tounta Art Center, concept T. Colonel, Athens 2007 Personal Stories, ArtVo Gallery, Sibiu, Romania 2007 Dancing with Mazilu, ODEON, Bucharest, Romania 2007 East and West Kentaurus Awards European Exhibition, Munich 2006 Dancing in Havana photo Exhibition, Havana, Cuba 2006 Greek Artists, Hellenic Centre of London, UK 2006 National Art Museum Satumare, Romania AWARDS: “CELESTE PRIZE 2010”, USA, “Magna cum Laude”, RO, “Tres Courts”, International Film Festival - French Cultural Center, RO, “Kentaurus Awards” in Painting, Munich, DE, “Athens Voice”, 1st National Award for Painting, GR, “Italian & Romanian Institute of Arts in Bucharest”, Award for Painting, RO SCHOLARSHIPS: 1. IKY, GR, 2. Hellenic Bodosakis Foundation, GR RESIDENCY: 1. The Cutting Edge, Belis, Romania, 2. NY arts Beijing Gallery, 316 Art Village, Beijing, China3. Balchik, Bulgaria, 4. Research Classical, Modern and Religion Dances /Havana, Cuba SCENOGRAPHY and VIDEOS for THEATER: 1. “Viata Lights”, National Theater of Timisoara, RO, 2. "REMEMBER"set design and videos in National Theater of Timisoara, RO, 3. "How I learned to Drive" , Theater of Braila, RO, 4. Theater Turda, Romania, 5. Theater of Cluj Napoca, Romania
Education PhD, fine Arts in Cluj Napoca , Romania MA , fine Arts in Cluj Napoca , Romania Master of Science in Industrial Design – Strathclyde University, Scotland Honours degree, BA (Hons) in Mech. Engineer – Sheffield Halam University, UK Bibliography and more info on request
Dionisis Christofilogiannis Nationality: Greek Email: email@example.com Address: Vilara 5, 104 37, Athens, Greece
T: +30 6977041634 GR Lives between Athens, Cluj Napoca, Berlin visual artist, theater set designer, founder of DL Projects (http://dlprojects.tumblr.com/)
LIDINOS FOR SYRIA ... completed another edition of the HAM project recently at Palais de BOZAR in Brussels, the journey of the most precious Belgian embroidery continues to Aegina, where through years has been established as kopaneli. A small needle-work of Kopaneliâ€™s purchasing value, not surprisingly, is higher than a gold jewelery. Deceiving the financial crisis, LaginiWorkshops / Exhibition explores the luxury existence of the embroidery through the bombing in Syria; making the whole procedure even more provocative ...Nikos Charalambidis Through a linguistic device, Aegina is connected via Cyprus with Syria that is currently stricken by war. Peanuts, a typical product of Aegina, are called "chalepiana" in Cyprus, from the city of Aleppo (Chalepi) in Syria. The connection of these places on the map is realized by the work provided by laginiWorkshops, curated and based on a concept by Nikos Charalambidis.
Capitalizing, oil on canvas, 200x180cm, Dionisis Christofilogiannis collaboration work with Nikos Charalambidis, 2012
Leidinos comprise the mythical personification of a meal, the identification of folk society with its food. It is obvious that, it is a local transliteration of the archaic myth of Persephone. The annual process of seasons' sequence and the relation of a local community with nature is revealed in these popular rituals. Katerina Kakouris, who has thoroughly researched the prehistoric and preaesthetic forms of theatre, has written that the funeral of Leidinoas is an ancient cult that seeks the fertilization of the earth and crops for the agricultural societies. According to the cult, female members of the society would create an effigy of a farmer made of straw. Its head is made by traditional pottery of Aegina (Lagini) which is painted with male features. He was indispensably applied with genitals (a pestle and two small pomegranates) as token to perpetuation and fertility of animal and vegetal being. They adorn the dead with straw, flowers, aromatic plants, they wear him a cap, for he is a peasant. They lay him on a plank of wood and dedicate him seeds, every kind of agricultural tools, wicker etc. Around him, children hold sticks which refer to candles, while women mourn. After this lament, they burry him forming a procession. The new seeds will sleep deeply, will fall into lethargy, phenomenally dead, but on spring a miracle will happen and they are reborn aside Leidinos. In fact, the kids would dig up the effigy after three days.
on democracy service, oil on canvas, 200x180cm, Dionisis Christofilogiannis collaboration work with Nikos Charalambidis, 2012
Foxhole intervention II, oil on canvas,180x200cm, Dionisis Christofilogiannis, 2013
50x60cm, oil on canvas, 2013, Dionisis Christofilogiannis
50x70cm, oil on canvas, 2013, Dionisis Christofilogiannis
Foxhole Interventions, 50x70cm, oil on canvas, 2013, Dionisis Christofilogiannis
Scaffoldings transforms into foxholes as source of material in a map of an aging city's memories. At the end holes like that creates an imaginary landscape under and on the ground as tunnels that there are not just an underground structure, but is variably connected for example to the Egyptian burial sites, prison design, suburban playgrounds and ancient Greek mythological hideouts. A structure like this draws a hole as a gateway which evokes epochs that are centuries apart but both marked by cultural upheaval, transformation, and decimation. This is architecture as commentary on the human condition. These series of drawings/paintings as timely retrospective suggests how we might confront the complexity of a built world, without necessarily building a thing, leaving in hollow spaces that we always create.
under construction, 50x55cm, oil on canvas, 2013, Dionisis Christofilogiannis
reconstruction series, Dionisis Christofilogiannis, 2013, oil on wood, 40x25cm
reconstruction series, Dionisis Christofilogiannis, 2013, oil on wood, 40x25cm
It is a protest against forgetting and the need of contemporary art to be reinterpreted from the old myths and the archetypes of art hidden within labor, repetition, concentration.
Samuel Johnson once said that “Nature has given women so much power that the law has wisely given them very little.” Thankfully, the legal status of women has changed since the eighteenth century, at least in the Western world. Women do have power, lots of it. But not just talking about power within the family, or power in the workplace, or even power in high political office. I’m talking about a more basic kind of power: power over men. Gently with a embroidery as a female symbol this car (a man’s world) is covered completely.
sleeping car, Romanian and Greek embroidery, 2010
58x43cm, oil on wood, 2011
OBSOLETE MAN, Oil paintings on wood As a vision of totalitarianism, "The Obsolete Man" encapsulates a common fear felt throughout Europe during the cold crisis era: the destruction of the rights of man at the hands of the state. This series of paintings is a set in dystopian future at a point when the state has total control over the lives of man, and can and does declare those men and women who do not serve its ends as "obsolete." Like the librarian named Romney Wordsworth having been declared obsolete by the Chancellor for his occupation at the The Twilight Zone series, back in 1960's, the Europeans beg for mercy in their â€œfinal hourâ€?. As victims appears alone on these paitnings feels no guilt for his actions, and feels no need to sugar-coat them or pretend they are anything other than what they are.
61x43cm, oil on wood, 2011
57x40cm, oil on wood, 2011
Dionisis's world gradually evolves, or devolves, into the v i s i o n o f a nightmarish monochromatic dark world created by a continual collision of the human and the architectural form. The application of dark shades of oil and monochromatic tints, elements like clocks, books, lying flooded bodies, toys, trees etc, besides the strong contrasts, makes everything intentionally more oppressive and tragic.
38x28cm, oil on wood, 2011
CHARALAMBIDIS Nicos and CHRISTOFILOGIANNIS Dionisis, Domestic fragmented amphitheater raises the necessity of its remodeling, oil on canvas, 2012
Drawings on paper commissioned by Goethe-Institut Athen Martin Suter
“ intuitive insight”, Oil on canvas, 200x180cm, 2012, Dionisis Christofilogiannis
Themis ability to foresee the future enabled her to become one of the oracles at Delphi, which in turn led to
her establishment as the goddess of divine justice. Delphi was the place to access the deeper layers of our minds and broaden our sense of perception. The egg and the dragon were the symbols of the oracle of Delphi where if you was prepared you could follow Themis’s justifications: hear with your inner ears and see with your inner eyes.
sacrum, oil on canvas, 200x180cm, 2010-11
what you have in mind? oil on canvas, 200x180cm, 2010
apollonian hymne, oil on canvas, 200x180cm, 2010-11
castalia, oil on canvas, 200x180cm, 2011
Sexual Policies The idea of a sex strike has a history that goes all the way back to â€œgoldâ€? times of ancient Greece. Lysistrata, persuades the women of Greece to withhold sexual privileges* from their husbands and lovers as a means of forcing the men to negotiate peace â€” a strategy, however, that inflames the battle between the sexes. The women of Athens, fed up with the men's endless wars, decide to stop having sex with them until they put an end to the Pelopponesian War. The white lace as a women's ancient craft covers the phallus, as a controller and shield of the most strong symbol of a man. In one strong sense, Lysistrata, like Antigone, performs politically mainly in order to restore traditional patriarchal relations: bring the men home into the beds of their wives. However, she does more than that: she claims that women could run the state, using the practical wisdom of the household, traditionally denigrated in favor of men's political wisdom. Lysistrata deflates such masculinist pomposity in the famous passage comparing politics to weaving. By such a rehabilitation of traditional feminine wisdom she shows that the patriarchal distribution of skills denies to men, and hence to politics, useful skills. *A sex strike, sometimes called a sex boycott, is a strike, a method of non-violent resistance in which one or multiple persons refrain from sex with their partner(s) to achieve certain goals. It's a form of temporary sexual abstinence. Sex strikes have been used to protest many issues, from water resources to employment equity. Sexual Policies I, xerography and gold filings on paper, 20x26cm Sexual Policies II, xerography and gold filings on paper, 29x20cm
drawings on paper, 50x70cm, 2012-3
Recreation of happiness I didn't believe in what everyone around me was saying... I had to give up everything I loved to make something real. I had to suffer. Suffering happens no matter what so I was looking for something else. I wanted to make work at the sea side - to spend a week near to the sea and the waves , walking to the beach and then spend the evenings painting them. Both are individual â€œsportsâ€?. Moving your body through a landscape and processing visual information and transferring it to a page. Its a place where there is no space for anything else - using your body like a tool, performing something that cannot be acted, no room for bullshit or self-inflicted drama. It didn't matter how the paintings came out. And the sea had an answer to my question. This week was an idea of leisure as physical, mental maintenance. (like having yoga lessons twice a week or swimming for an hour every other day can give one a sense of control, peace, restâ€Ś.) And then this looks like a hobby. Doing nothing can, so quickly, turn into something and quite often, hobbies are either apologies for one's misplaced vocation or a firm lack of commitment to laziness. The intellectually conscious notion of leisure is most likely the result of having the time to consider what one was doing while one was doing nothing and then recognizing the desire to do it again.
Recreation of happiness, Dionisis Christofilogiannis, 2012, painting installation 180x180x4cm
HAM, oil on canvas, in collaboration with Nikos Charalambidis
The Circus Crew http://larmgalleri.dk/ Group show from May 11th – June 23rd, 2012 Opening Friday May 11th, from 17-19 Curated by: Lýdia Pribišová Participating artists: Oana Farcas (RO), Dionisis Christofilogiannis (GR), Eva Mitala (GR), Christian Jankowski (DE), goldiechiari (IT), Laura Lima (BR), Anetta Mona Chisa & Lucia Tkáčová (SK), András Cséfalvay (SK), Delphine Rist (CH), Peter Callesen (DK) and Gudrun Hasle (DK) The show The Circus Crew is a research on relations and connections between contemporary art presentation and archaic performing models as circus, carnivals, parades and processions. The group artists from various countries as Oana Farcas from Romania, Dionisis Christofilogiannis and Eva Mitala from Greece, Christian Jankowski from German, goldiechiari from Italy, Laura Lima from Brazil, Anetta Mona Chisa & Lucia Tkáčová and András Cséfalvay from Slovakia, Delphine Rist from Switzerland, Peter Callesen and Gudrun Hasle from Denmark will reflect on these themes and strategies. They will react to subversive situations in contemporary society, stereotypical identities, exploring experimental investigation in contemporary world of excess and visual overload in context of surviving mentioned atavistic forms of expression. All of these artists already have worked with the concept of theatricality, spectacularity and similar themes; they will create together an integrated playful and glamorous atmosphere which we remember from the childhood, from visiting circuses and also feeling of awe from carnival parades and religious/pagan processions. Exhibitions of art, their performative nature were always closed to carnivals, circuses, processions. The special atmosphere of rituals and some kind of trance, specific ways of behavior are similar. It seems that the more natural way of presenting art, as exhibitions, art fairs, biennials are in crisis and hardly can bring something new in the artistic discourse. Thanks to the biennials, the new kind of art works was born, more ephemeral, de-material, more conceptual, site specific which are often outside the logic of art – market. An alternative step in this process could be changing in the art practice and try to apply some atavistic performing models. There is interesting similarity between contemporary artists and acrobats, magicians, they can create some specific mystery, they are both working with the human emotions, feelings, sub consciousness. Some of the artists would realize performances during the opening.
80x140cm, Hoop-la! the circus is in town!, oil on canvas, 2012
untitled, 60x60cm, oil on canvas
young and restless, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
krikos, 97,5x166cm, oil on canvas, dionisis christofilogiannis, 2012
62x45cm, oil on canvas, 2010, dionisis christofilogiannis
the symbols, 2010, oil on canvas, 200x180cm
the ruler, 2010, oil on canvas, 200x180cm
bonus, dionisis christofilogiannis, 2011, oil on canvas, 200x180cm
untitled, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
pagans, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
bacchus, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
installation view, Ileana Tounta Gallery, oil paintings
fire it up, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
apollo, dionisis christofilogiannis, 2010, oil on canvas, 200x180cm
installation view , Museum of Arts Cluj Napoca
Dionisis Christofilogiannis, Email: firstname.lastname@example.org Address: Vilara 5, 104 37, Athens, Greece.T: +30 6977041634
short portfolio Dionisis