Codes & Keys
Elena Marinou
11 February - 4 March 2016
A dialogue with the Greek artists of the so called “generation of the ’60s”
TECHNOHOROS art gallery
Artist’s statement
Choosing as my interlocutors Greek artists of the dispersion the so called “60’s generation”, I attempted to artistically conciliate with: Nafsika Pastra, Alexis Akrithakis, Vlassis Kaniaris, Nikos Kessanlis, Danil (Panagopoulos), (Dimitris) Mimis Kondos, Michalis Katzourakis, Pantelis Xagoraris, Constantin Xenakis, Pavlos (Dionyssopoulos) and Costas Tsoklis. The visual reflections of each of these artists, triggered the style and morphology of my own comments on their work. I searched the materialised and conceptual consistency hearkening the messages of the current visual idiom without cutting off the umbilical cord that tied me with them. Inevitably, I found myself confronted with convergences, divergences and conflicts that occurred as the challenges of the 60’s and early 70’s and the context in which these artists expressed themselves, came, for different reasons, to lean over those of contemporary life. The use of QR Codes, apart from a critical stance towards the new tools of advertising to increase sales and remove the “intermediate", form the conceptual and morphological basis of my pictures. The systemic structure of the code allows infinite and unique combinations of black and white squares which correspond to defaulted words. In this case, to titles of the artists’ artworks above mentioned and web links that I have created. I insist on the relationship of the image (artwork) with the viewer, through the principle of painterly values integrating, however, the interactive participation of the viewer in reading the work. In this way, not only do I maintain the “Intermediate”, who keeps the right of choice while viewing, but also the freedom to find the decoding keys according to his/her subjective reports. An absurd, perhaps, composition that gives to the new image, mine, a meaning that allows the maintenance of the unity of reasoning.
Elena Marinou - By looking back you see clearly in front Art is madness without disease George Lappas
If there is a deficit and actually a very serious one in contemporary Greek art, that is the one related to the lack of historical memory and consciousness of continuity, despite the fact that this continuity governs and organises the artistic phenomena always and everywhere. Perhaps this is due to the tendency to misery or the syndrome of “the Bourgeois Gentleman” that stigmatises the short history of our domestic art. Namely, we would like to be the “centre” and that is the reason why we cannot compromise with the idea of the “periphery”. In other words, at art events it is observed a peculiar autism that encloses the artist exclusively in his work, preventing him from seeing around and a little backwards, which perhaps would make him able to see, more clearly and constantly, in front. This phenomenon is due to many factors such as the defective learning which is generally provided in all education levels, especially in the Schools of Fine Arts (art, with the meaning of self-expression, is always the most intrusive and therefore the most difficult “lesson”). Furthermore, an inherent characteristic of each generation is to maintain its existence through the patricide of its typical and also its substantial teachers. That means that we exist because we delete the previous ones. This aesthetic cannibalism often comprises the modus vivendi of the artists, at least the most insecure of them. Personally speaking, I started my career in the 80’s by observing and studying how the generation of the 60’s demystified the generation of the 30’s, especially Yannis Tsarouchis and Spyros Vassiliou. I could not reconcile myself to the idea that the hellenity/hellenic element of the generation of the 30’s was not necessarily contrary to the internationalism of the generation of the 60’s, until I met Vlassis Caniaris, who was a student and collaborator of Tsarouchis and Moralis. Recently, Dimitris Alitheinos - who along with the unexpectedly perished George Lappas, Nicos Baikas, Diohanti, Nikos Alexiou, Giorgos Xenos and Angelos Papadimitriou constitute the dream team of my generation - organised as a curator a series of exhibitions in a small space on Milioni street,
named “Oplostasio Technis” (armory of art), just to remind to the younger ones of some very important ancestors, unjustly neglected, such as George Touyas, Vassilis Skylakos and Foula Sakellis. For all these reasons, the exhibition-suggestion by Elena Marinou was a very pleasant surprise to me as she converses directly with her “visual ancestors” and their work, creating in this way a new work of art, a product of apprenticeship and inspiration of research and self-reflection. There is nothing more comforting! An artist of nowadays who recognises that the generation of the 60’s constitutes a body of history which represents the Greek modernism Internationally and approaches the creations of that generation and of that era not in a folkloric way or as an anniversary, with the meaning of a mythical way, but through a rigorous working method. Not only to join her hands with it but also to diversify herself from it and above all to comprehend. She is dealing art as a process of method, apprenticeship and an inner sight instead of an emotional delirium. We underline this: By looking back you see clearly in front. More precisely, the artworks of Elena Marinou are captivating hybrids that comment, through the weapons of modernism, on the current postmodern system. Her own personal style is the denial of the personal style, which means the ego of the artist, on the profit of both history and our common memory, that has to continue operating without distorted lenses. Her artworks are smart because they are not fakery “smarties” and they are sensitive because they do not pretend any authenticity. In general, the exhibition with its dual character, in the way that the “student’s” artworks are placed next to the compositions of the “teachers”, is both educational and “entertaining”. And we refer to the ancient Greek meaning of the word “entertainment”. To disperse fears and insecurities. Making again a good use of the old but not old-fashioned codes, the ancient but not useless keys. With the present exhibition we have an implemented small Museum-bridge with the generation of the ‘60s, at a very crucial moment of the crisis both of the country and of the museums which Greece should have created, but until now has been unable to carry out.
Elena Marinou through her series of artworks “Codes and Keys”, makes a direct conciliatory gesture towards the past of the modern Greek art, while she indirectly denounces the idiotic controversy that underlies for decades among the (regarded as) critics and the (regarded as) artists. All those who bear the burden of theory are accused by the opposite side of the “torchbearers” of the artistic act, of the spontaneity, of the emotions etc., as cerebral and unconnected with the worship of Dionysus. This “theatre of hypocrisy” that keeps considering that the theoretics and the art critics are a priori opponents to the artists and to the talent that only them, almost metaphysically, have, is antiquated and old-fashioned. Whereas, Elena Marinou, having studied the essay of Oscar Wilde entitled “The critic as artist”, wears the theoretic’s gown, not to hide but rather to reveal the dirty and nevertheless, glamorous apron of the artist. And she is doing excellent.
Manos Stefanidis 1/26/2016
Nafsika Pastra
“Analogique” / A dialogue with Nafsika Pastra, Elena Marinou Colour pencils, acrylics and pieces of wood pasted on wood, 60Χ60cm, 2016
“Relations - Rhythms”, Nafsika Pastra, 1988 Oregon pine wood, 141X20,25X9,09cm
Alexis Akrithakis
“Tsiki-Tsiki” / A dialogue with Alexis Akrithakis, Elena Marinou Acrylics and ink on wood, 60Χ60cm, 2013
“Untitled”, Alexis Akrithakis, 1969 Ink and gouache on paper, 50X68cm
Vlassis Kaniaris
“Space in space” / A dialogue with Vlassis Kaniaris, Elena Marinou Paper (for sale, for rent), plaster, wire grid, acrylics on wood, 60Χ60cm, 2013
“Space within space�, Vlassis Kaniaris, 1960 Wire grid, plaster, fabric, wood, 45X66X5cm
Nikos Kessanlis
“Le grand geste blanc ” (The big white gesture) / A dialogue with Nikos Kessanlis, Elena Marinou Digital print on fabric, oils, acrylics on wood, 60Χ60cm, 2013
“Burnt soil”, Nikos Kessanlis, 1982 Mixed media, 200X200cm
Danil (Panagopoulos)
“The black box ” / A dialogue with Danil, Elena Marinou Cardboard, acrylics on wood, 60Χ60cm, 2013
“Untitled”, Danil, 1974 Etching, 70X53cm
(Dimitris) Mimis Condos
“Roman Pictural 1968 ” / A dialogue with Mimis Condos, Elena Marinou Ink and pencil on wood, 60Χ60cm, 2013
“Game for big children�, Mimis Condos, 1965 13 wooden cubes painted with ink, 10X10X10cm each
Michalis Katzourakis
“Untitled ” / A dialogue with Michalis Katzourakis, Elena Marinou Acrylic ink, acrylics, watercolours, wood, sandpaper on wood, 60Χ60cm, 2014
“Windows Prosfygika 11”, Michalis Katzourakis, 2009 Mixed media, 70X52,5cm
Pantelis Xagoraris
“Transformations� / A dialogue with Pantelis Xagoraris, Elena Marinou Video 02:00, 2013 (technical support Babis Venetopoulos) https://vimeo.com/96588915
“Untitled�, Pantelis Xagoraris, 1974 Digital print on paper, 114X35cm
Constantin Xenakis
“Signes Codes � / A dialogue with Constantin Xenakis, Elena Marinou Selection and processing of tags, print on paper and pasted on wood, 60X60cm, 2014
“Road’s Codes and symbols of organisation chart”, Constantin Xenakis, 1971 Gouache on paper, 89X60,5cm
Pavlos (Dionyssopoulos)
“Prospectus massicotées ” / A dialogue with Pavlos, Elena Marinou Street flyers, frottage technique, construction pasted on paper and on wood, 60X60cm, 2014
“Shirt”, Pavlos, 1970 Mixed media, 87X61cm
“Tie”, Pavlos, 1970 Paper, plexiglass
Costas Tsoklis
“600 20 5 Cubes” I / A dialogue with Costas Tsoklis, Elena Marinou Acrylics and oils on wood, 60X60cm, 2014
“600 20 5 Cubes” II / A dialogue with Costas Tsoklis, Elena Marinou Wooden construction and acrylics, 60X60X42cm, 2014
“Untitled”, Costas Tsoklis, 1970 Mixed media, 40X82X12cm
Curriculum Vitae I was born in Athens. During and after the completion of my studies on Graphic and Interior Design at A.T.E.S. (Athens Technological and Educational School), from 1990 to 1993, I worked privately in the Advertising field, by establishing my creative studio (’94-’03) and consequently engaged in multinational Advertising Companies (’03-’09). In 2009 I initiated my studies at the School of Fine and Applied Arts, faculty of Fine Arts, of the Aristotle University of Thessaloniki, and graduated with excellent in 2014, with professor I. Fokas. During the academic year 2014-2015, I took courses on philosophy, aesthetics and philosophy of media, at the Athens School of Fine Arts (ASFA) with professors Takis Koubis and Dimitris Ginosatis. These courses are part of the school’s educational Μ.Α. programs. During the same period and at the above mentioned school, I participated in the plasterwork studio courses with professor Markos Georgilakis. In 2015, I continued my studies at the Greek-French M.A. program of ASFA & Paris VIII, “Art, Virtual Reality and Multi-User Systems of Artistic expression”. Solo Exhibition: 2016, Technohoros art gallery, 11 Feb. - 4 March 2016, Athens (catalogue) Group Exhibitions: 2016, Anthropographes, The Benaki Museum, Athens (catalogue)/ (The exhibition was then hosted by the Natural History Museum of Meteora - Kalabaka-Greece ) 2016, 1st Art-Thessaloniki International Contemporary Art Fair, Open Art Lab Helexpo, Thessaloniki, Art Director Pantelis Tsatsis, Curator Charis Savvopoulos 2015, TIAF London 2015, UK 2015, Art-Athina 2015, Faliron Pavillion (TaeKwonDo Stadium, booth B5, Technohoros art gallery), Athens 2015, Default5, The rooftile & brickworks Museum N. & S. Tsalapatas, Volos 2015, “Preadexhibition”, Technohoros gallery & Photolio & Typicon SA, Athens 2014, In Art, Zina Athanasiadou gallery, Thessaloniki 2014, The Rem-Brand name project, Technohoros gallery, Athens 2014, New Babylon Revisited, Athens (participation in the group Enclosures of new Athens team supervisor Oliver Schultz, University of Leuphana, Germany) 2014, Default4, Bensoussan Han, Thessaloniki
2014, Graduation exhibition, Macedonian Museum of Contemporary Art, Thessaloniki 2013, Inspire Festival 2013 Metamorphosis, Macedonian Museum of Contemporary Art, Thessaloniki (catalogue) (Museum property) 2013, Rooms 2013 Kappatos Gallery, Athens, curated by Prof. Charis Savvopoulos (catalogue) 2012, Transform 2012, Pandora’s Box, State Museum of Contemporary Art, Thessaloniki. 2012, 11th International Miniature Exhibition, Serbia (catalogue). 2011, Ulus Etching Exhibition, Serbia (catalogue). 2011, Beethoven meets Goya, Teloglion Foundation of Art, Thessaloniki.
Special Thanks to: Michalis Katzourakis Constantin Xenakis Emmanouil Mavrommatis FoďŹ Akrithaki Vagelio Condou Caniaris family The Vorres Museum George Boutlas Petros Doumas - Halkoussis for their support, consult and the artworks of their collections lent to the gallery for the actualisation of the exhibition.
TECHNOHOROS art gallery 4, Lebesi Str. - Acropolis - Athens, Greece www.technohoros.org / info@technohoros.org
Curation: Manos Stefanidis, Electra Douma-Halkoussis E-catalogue Design: Elena Marinou Photos: Elena Marinou Text: Manos Stefanidis Translation in English: Vassiliki Stamouli / Elena Marinou
elenamarinou.weebly.com / marstael2004@yahoo.gr
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2016, Elena Marinou Reproduction or use of all or part of the content of this catalogue can be used only by mentioning the link source