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George Kazazis ArtWorks TiLL Today


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Ëåîéêü ÅëëÞíùí Êáëëéôå÷íþí 16ïò - 20ïò áé Ôüìïò Äåýôåñïò, Åêäüóåéò “ÌÅËÉÓÓÁ”, 1998 ...Ç ðñþôç äïõëåéÜ ôïõ Ãéþñãïõ ÊáæÜæç áðïôåëåßôáé áðü ìåãÜëïõò êáìâÜäåò ðïõ äïõëåýåé ìå ëÜäéá êáé ðïõ åßíáé ôï ðñïúüí ìéáò åìðåñéóôáôùìÝíçò åñãáóßáò ðÜíù óôçí ðñïâëçìáôéêÞ ôçò ïñãÜíùóçò ôïõ åéêáóôéêïý ðåäßïõ, ìå êýñéï åñãáëåßï ôéò åíáëëáóóüìåíåò åíôÜóåéò ôùí ÷ñùìáôéêþí ó÷Ýóåùí. Ôï ðáñÜëëçëï åíäéáöÝñïí ôïõ ãéá ôçí õëéêÞ õöÞ ôïõ ÷ñþìáôïò åêöñÜæåôáé óôçí áíÜãëõöç ìïñöÞ ôùí Ýñãùí ôïõ, óôïé÷åßï ðïõ ìåôáèÝôåé ôïí ôïíéóìü áðü ôçí êáèáñÜ íïçôéêÞ óôçí ðñáãìáôéêÞ äéÜóôáóç ôçò æùãñáöéêÞò. Áõôü ôï ÷áñáêôçñéóôéêü õðïãñáììßæåôáé áêüìç ðåñéóóüôåñï óôçí åðüìåíç óåéñÜ Ýñãùí ôïõ. Ïé Ýíôïíåò ÷ñùìáôéêÝò áíôéóôßîåéò óõíèÝôïõí áíáðáñáóôÜóåéò öáíôáóôéêþí ôïðßùí, üðïõ ç åêöñáóôéêÞ äýíáìç ôïõ ÷ñþìáôïò öôÜíåé óôçí áðïêïñýöùóç êáé ëåéôïõñãåß ùò êáèïñéóôéêü óôïé÷åßï ãéá ôç äçìéïõñãßá ôçò áìöéóçìßáò ìåôáîý öõóéêïý êáé ìåôáöõóéêïý ÷þñïõ. Ï óõãêåêñéìÝíïò ðñïóáíáôïëéóìüò áõôÞò ôçò áíáæÞôçóçò ðñïóåããßæåé ôéò íÝï-åîðñåóéïíéóôéêÝò ôÜóåéò, ðñïóÝããéóç ðïõ ãßíåôáé ðéï Ýêäçëç óôá Ýñãá ðïõ áêïëïõèïýí. Ï óõìâïëéóìüò ôçò ìïñöÞò óôáäéáêÜ áðïêôÜ ìåãáëýôåñç éó÷ý, åíþ ôá èÝìáôá óôç óåéñÜ áõôþí ôùí Ýñãùí Ý÷ïõí Ýíáí áðñïêÜëõðôï äñáìáôéêü êáé åñùôéêü ÷áñáêôÞñá. Ç åîÝëéîç ôçò áíáæÞôçóçò ôïõ, ó÷åôéêÜ ìå ôçí åêöñáóôéêÞ éäéüôçôá ôçò ìïñöÞò êáé ôïõ ÷ñþìáôïò, áêïëïõèåß áðü ôï 1995 ìéáí Üëëç ïäü êáé öôÜíåé óôï óôÜäéï ìéáò óçìåéùôéêÞò, ó÷åäüí ìç÷áíéóôéêÞò ãñáöÞò, ìå êýñéï ÷áñáêôçñéóôéêü ôï åðáíáëáìâáíüìåíï ìïôßâï, ôá æùçñÜ, ðëáêÜôá ÷ñþìáôá êáé ôá ðåñé-ãñáììéêÜ óýìâïëá ìïñöþí, ðïõ ðáñáðÝìðïõí óôï åéêïíéêü ñåðåñôüñéï ôçò ãñáöÞò ôùí õðïëïãéóôþí.

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Dictionary of Greek Artists 16th-20th century Melissa Publications, 1998 Vol II

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...George Kazazis' early works were big canvases painted with oil; they were the outcome of his meticulous work on the principles of organising the visual field, using as the main tool the variable intensity of chromatic relations. His parallel interest in the material texture of colour is expressed through the relievo effect on the painted surface, an element which shifts the emphasis from the purely intellectual to the actual dimension of painting. This element is further emphasised in his next series of works. The strong chromatic counterpoints make up images of imaginary landscapes where the expressive power of colour reaches its peak and acts as a decisive force in generating an ambivalence between physical and metaphysical space. The direction of this quest brings it close to the neo-expressionistic trends, and this becomes more evident in his subsequent works. The symbolism of the form becomes increasingly powerful, while the subjects in this series of works are of an openly dramatic and erotic character. After 1995 his research around the expressive attributes of form and colour takes a different path and reaches the stage of a semantic, almost mechanical writing whose main traits -the repetitive motifs, the vivid, solid colours and the linear, outlined symbols of formspoint to the imagery of computers.

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Ëáäé óå ìïõóáìá, 70÷41 åê, 1994 Oil on canvas, 70x41 cm, 1994

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Ëáäé óå ìïõóáìá, 73÷48 åê, 1994 Oil on canvas, 73÷48 cm, 1994

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Ëáäé óå ìïõóáìá, 100x130 åê, 1994 Oil on canvas, 100x130 cm, 1994

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Ëáäé óå ìïõóáìá, ìðëÝ ðëáóôéêü, 82x77 åê, 1994 Oil on canvas and blue plastic, 82x77 cm, 1994

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Ëáäé óå ìïõóáìá, 72x50 åê, 1994 Oil on canvas, 72x50 cm, 1994

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Ëáäé óå ìïõóáìá, 73÷48 åê, 1994 Oil on canvas, 73x48 cm, 1994 george kazazis page 3


ARTI Magazine 31/1996

Ëáäé óå ìïõóáìá, 200÷220 åê, 1995

Oil on canvas, 200÷220 cm, 1995

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Oil on canvas, textile, 200÷220 cm, 1994

Ëáäé óå ìïõóáìá, æùãñáöéóìÝíï ýöáóìá, 200÷220 åê, 1994

¸íá êüêêéíï êïõíÝëé, äåí åßíáé ïýôå êïõíÝëé, ïýôå êüêêéíï, åßíáé Ýíá êüêêéíï êïõíÝëé. Ðùò íá âÜëåéò Ýíá ðïñôïêáëß äÝíôñï äßðëá óå Ýíá ãáëÜæéï áóôáêü êáé íá åßíáé óá íá âÜæåéò Ýíá ðéñïýíé äßðëá óå Ýíá ðéÜôï. Ðùò íá åðáíåíåñãïðïéçèåß ç óõììåôñßá - ï ðáëéüò êáíüíáò ôçò äéáêüóìçóçò - óôç ÆùãñáöéêÞ. Óõììåôñßá, áäéÜöïñç êáé âáñåôÞ, ìá ùñáßá êáé ðñïêëçôéêÞ. Ç ÷áñÜ ôïõ íá âÜæåéò Ýíá êáèáñü ãáëÜæéï åðÜíù óå Ýíá áðüëõôï êüêêéíï. Ç ÷áñÜ ôçò áíôéðáñÜèåóçò, ç ðñüêëçóç ôïõ áðñüïðôïõ, ôïõ áðñüâëåðôïõ, ç ðåñéÝñãåéá ôïõ åðáíáðñïóäéïñéóìïý ôïõ ó÷åäßïõ. Ôï âáóßëåéï ôïõ õðïêåéìåíéóìïý. Áõôü, Ýôóé áêñéâþò, ôï èÝëù åäþ êáé ü÷é åêåß. Åãþ èá áíáäåßîù Ýíá áíôéêåßìåíï êáé Åãþ ðÜëé èá ôï õðïâáèìßóù. Ðþò ìðïñïýìå íá áðïöýãïõìå ôï ðåñéôôü áéóèçôéêü áðïôÝëåóìá; ÕðÜñ÷åé Üñáãå, ôï ÷ñþìá ùò Ýííïéá êáé ùò ÷þñïò


Oil on canvas, textile, plates, 200÷220 cm, 1994

Ëáäé óå ìïõóáìá, ýöáóìá, ðéáôá, 200÷220 åê, 1994

A red rabbit is neither a rabbit nor red -it is a red rabbit. How to place an orange-coloured tree next to a blue lobster and make it look like a fork beside a plate. How to reactivate symmetry -that old standard of decoration- in Painting. Symmetry, boring and indifferent yet beautiful and provocative. The pleasure of placing a clear azure over a sheer red. The joy of contrasts, the challenge of the unforeseen, the curiosity of redefining the drawing. The reign of subjectivity. I want this exactly so, here and not there. It is up to me to promote and object, and up to me again to downgrade it. How can we avoid the superfluous aesthetic result? Does colour exist both as concept and space?

Ëáäé óå ìïõóáìá, 200÷220 åê, 1994

Oil on canvas, 200÷220 cm, 1994

george kazazis page 5


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Ëáäé óå ìïõóáìá, æùãñáöéóìåíï õöáóìá, 200÷220 åê, 1995

Oil on canvas, textile, 200÷220 cm, 1995

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Ëáäé óå ìïõóáìá, 200÷220 åê, 1995

Oil on canvas, 200÷220 åê, 1995

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Ëáäé óå ìïõóáìá, 200÷220 åê, 1994

Oil on canvas, 200÷220 åê, 1994

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Ëáäé óå ìïõóáìá, 200÷200 åê, 1994

Oil on canvas, 200÷200 åê, 1994

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Ëáäé óå ìïõóáìá, 200÷220 åê, 1995

Oil on canvas, 200÷220 cm, 1995

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Lego Art Objects

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george kazazis page 9

Ëáäé óå ìïõóáìá, æùãñáöéóìÝíá áíôéêåéìåíá, 200÷220 åê, 1995 Oil on canvas, objects, 200÷220 cm, 1995


Ðåñéóóüôåñï ìå ôçí ëïãéêÞ ðïõ èá êáóêåõáæüíôáí ìéá êüëëá ðåñéôõëßãìáôïò äþñïõ, ç åéêüíá ëåéôïõñãåß ùò Ýíá ìÝóï áðüëáõóçò, ðåñéïñßæïíôáò ôç ÷ñÞóç ôùí óôïé÷åßùí ðïõ ôç óõíèÝôïõí óôçí åíßó÷õóç ôçò äéáêïóìçôéêïôçôÜò ôçò. Êñýâïíôáò áíôéêåßìåíá ìÝóá ó'Ýíá øõ÷åäåëéêü ìïôßâï óáí ôåóô á÷ñùìáôïøßáò, ç ôåëéêÞ åéêüíá åßíáé ìÝñïò ìéáò äéáêïóìçôéêÞò óýíèåóçò ðïëý áðïìáêñõóìÝíçò áðü ïðïéáäÞðïôå âáèõóôü÷áóôç Ýííïéá êáé óçìáóßá. Aêïëïõèþíôáò ìéá øõ÷ñÞ äéáäéêáóßá ìå áíáöïñÝò óå ãïôèéêÜ êáé âéêôïñéáíÜ ìïôßâá, üëá ôá èÝìáôá áóôáêïß, êëåéäéÜ, ëáãïß, ìá÷áéñïðÞñïõíá åßíáé ìÝñïò ôçò ßäéáò, óôåãíÞò áðü êÜèå óõãêßíçóç êáé óõíáßóèçìá, åðéöÜíåéáò.

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1997

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Acrylic on canvas, 220÷220 cm, 1997


With the logic of creating gift's wrapping paper more than anything else, his pictures are a source of enjoyment full of decorative elements. Objects are being hidden in psychedelic motifs like a test of colorblindness, so, as the final image is a part of a decorative composition only seeming to be serious and important. He follows a cool procedure with references in Gothic and Victorian motifs totally strained from any sentiment or emotion.

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1998

Acrylic on canvas, 220÷220 cm, 1998

george kazazis page 11


Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1998

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Acrylic on canvas, 220÷220 cm, 1998


ËÜäé óå ìïõóáìÜ, 200÷200 åê, 1997

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1998

Oil on canvas, 200÷200 cm, 1997

Acrylic on canvas, 220÷220 cm, 1998

george kazazis page 13


It's my Party È. Ìïõôóïðïõëïò, Ðåñéïäéêï "ÁÍÔÉ", Ôåõ÷ïò 658, 10/4/1998 Ôï ÈÝìá ôçò Æùãñáöéêüôçôáò óôçí Eðï÷Þ ôïõ Techno ÁõôÞ ôçí åðï÷Þ óôéò êéíçìáôïãñáöéêÝò áßèïõóåò ðáßæåôáé ç ôáéíßá Jackie Brown ôïõ Ôáñáíôßíï. Ç funky áôìüóöáéñá êáé ï öëáóÜôïò åñùôéóìüò ôçò äåêáåôßáò ôïõ '70 Ý÷ïõí åêåß ôçí ôéìçôéêÞ ôïõò ìïéÜæïíôáò ôáõôü÷ñïíá óáí Ýíá áðü ôá ðéï óýã÷ñïíá ðñÜãìáôá ðïõ Ý÷ïõìå äåé ôåëåõôáßá. Ìéá åéêáóôéêÞ äïõëåéÜ ðïõ åêôßèåôáé ôéò ßäéåò ìÝñåò öáßíåôáé íá êÜíåé (ó÷åäüí) ôï ßäéï. ÕðÜñ÷ïõí êáëëéôÝ÷íåò ìå óõ÷íÞ åêèåóéáêÞ ðáñïõóßá êáé Üëëïé ìå óðÜíéá. Ï Ãéþñãïò ÊáæÜæçò (ã.1958) áíÞêåé áíåðéöýëáêôá óôç äåýôåñç êáôçãïñßá áí êáé ôï åêèåóéáêü ôïõ éóôïñéêü áããßæåé ðåñßðïõ ôá äåêáðÝíôå ÷ñüíéá. Ùò áðïôÝëåóìá áõôÞò ôïõ ôçò ôáêôéêÞò, Ý÷åé åîåëé÷èåß óå Ýíá åßäïò cult êáëëéôÝ÷íç, ôïí ïðïßï ìíçìïíåýïõí ïé "åéäéêïß", êñéôéêïß êáé êáëëéôÝ÷íåò, ùò Ýíáí áðü ôïõò ðéï óçìáíôéêïýò æùãñÜöïõò ôåëÜñïõ óôçí ÅëëÜäá óÞìåñá. ºóùò ôï êáëýôåñï ðáñÜäåéãìá ãéá ôï ðþò ç äåýôåñç ìåôÜ-ôï-ìïíôÝñíï ãåíéÜ åëëÞíùí åéêáóôéêþí äßíåé ëýóåéò óôï ðñüâëçìá (ðïõ ëÝåé ï ëüãïò) ôçò æùãñáöéêüôçôáò. ¸ôóé ç áöïñìÞ ôçò Ýêèåóçò óôçí ÁÓÊÔ åßíáé ìéá åîáéñåôéêÞ åõêáéñßá ãéá íá Ýñèåé êÜðïéïò óå åðáöÞ ìå ôç äïõëåéÜ ôïõ. ¼ðïéïò èá ôï êÜíåé ãéá ðñþôç öïñÜ, êáëü åßíáé íá ãíùñßæåé üôé ôá óôïé÷åßá ðïõ èá áíáãíùñßóåé ùò åîáéñåôéêÜ åðßêáéñá Þ ìïäÜôá ìåôÜ ôïí ðñüóöáôï âïìâáñäéóìü áðü ôç "ÍÝá ÂñåôáíéêÞ ÔÝ÷íç" Ý÷ïõí ôçí ðáñïõóßá ôïõò åäþ êáé ó÷åäüí äÝêá ÷ñüíéá. Ðïéá óôïé÷åßá äçëáäÞ; ÐáíôåëÞò Ýëëåéøç óïâáñïöÜíåéáò áðü ôïõò ôßôëïõò ìÝ÷ñé ôç èåìáôïëïãßá, óáñêáóôéêü ÷éïýìïñ, Ýíá ðáé÷íßäé ìåôáîý ðáñÜóôáóçò êáé áöáßñåóçò ìå Ýíôïíá äéáêïóìçôéêÞ äéÜèåóç ìå -funky- ÷ñþìáôá, ÷ñÞóç ôùí ðéï ìðáíÜë Þ ðéï íåáíéêþí áíáöïñþí, äéÜëïãïò ìå ôçí ðïð ìïõóéêÞ. Áðü ôçí ðñïôåëåõôáßá ÝêèåóÞ ôïõ óôçí ãêáëåñß ÌÝäïõóá, ðñßí áðü Ýîé ÷ñüíéá, õðÜñ÷ïõí óÞìåñá ðïëëÝò äéáöïñïðïéÞóåéò. Ïé áíïé÷ôÜ (;) óåîïõáëéêÝò áíáöïñÝò ôçò äïõëåéÜò êáé (ðïëý ðåñéóóüôåñï) ôùí ôßôëùí ôçò ðåñéüäïõ 1989-1992 Ýäùóáí ôç èÝóç ôïõò óå ðéï êñõðôéêÝò áíáðáñáóôÜóåéò, üðïõ -ðáñ' üëá áõôÜ- ï åñùôéóìüò ðáñáìïíåýåé óáí Ýíá áðáãïñåõìÝíï ðáé÷íßäé. Ïé áíïé÷ôÜ ðåñéãñáöéêïß, óõ÷íÜ âùìïëï÷éêïß ôßôëïé Ýäùóáí êáé áõôïß ìå ôç óåéñÜ ôïõò ôç èÝóç óå Ýíá ìïíüôïíá åðáíáëçðôéêü "Üôéôëï". Åßíáé ëïãéêü: Ç åðéöÜíåéá ôçò æùãñáöéêÞò ôïõ ÊáæÜæç Ý÷åé áñ÷ßóåé íá ëÝåé õðåñâïëéêÜ ðïëëÜ ãéá íá ðåñéãñáöïýí ëåêôéêÜ. Ãéá ôçí áêñßâåéá, ç åðéöÜíåéá ìïéÜæåé íá åßíáé ôï Á êáé ôï Ù ôçò êáëëéôå÷íéêÞò ðñÜîçò. ÌïéÜæåé. Ï ÊáæÜæçò ãíùñßæåé ðïëý êáëÜ ôç ëáãíåßá ôçò åðï÷Þò ìå ôçí áéóèçôéêÞ ôçò êåíüôçôáò êáé óôÞíåé ìáæß ôçò Ýíá ìáêéáâåëéêü ðáé÷íßäé. Áöáßñåóç êáé ÄéáêïóìçôéêÜ åßíáé öáéíïìåíéêÜ ôá êõñßáñ÷á èÝìáôá åäþ. ÁíÜìåóÜ ôïõò üìùò áíáóýñåôáé üëç ç ðïëéôéóìéêÞ éóôïñßá ôùí ôåëåõôáßá ôñéÜíôá ÷ñüíùí. Áðü ôçí øõ÷åäåëéêÞ êïõëôïýñá ìÝ÷ñé ôéò êõâåñíïðÜíê ðåñéðëáíÞóåéò. Ôï ðëáßóéï ôï ïðïßï åðáíÝñ÷åôáé óôáèåñÜ åßíáé ç óõììåôñßá. ¼ëá ôá èÝìáôá, áíáãíùñßóéìá Þ ìç, îåäéðëþíïíôáé óáí êáëåéäïóêïðéêÝò óõíèÝóåéò Þ äõôéêïðïéçìÝíá ìáíôÜëáò. Óáí åëÜ÷éóôá áíáãíùñßóéìïõò ÷Üñôåò áãíþóôùí, åîùãÞéíùí ðåñéï÷þí. Ôá ôåëÜñá, üëá ó÷åäüí óôçí ðáíïìïéüôõðç äéÜóôáóç 200x220 åêáôïóôá, ãåìßæïõí ìå åðáíáëáìâáíüìåíá, ðáñáéóèçôéêÜ ó÷Þìáôá ðïõ áêñïâáôïýí ìåôáîý ôçò äéáêïóìçôéêüôçôáò åíüò ÷áñôéïý ðåñéôõëßãìáôïò êáé ôçò åêñçêôéêüôçôáò åíüò bad trip. ¸÷ïíôáò êáíåßò áõôÜ êáôÜ íïõ, èá õðÝèåôå ìéá üøéìç ÷ßðéêç ÷áëÜñùóç. ÁíôéèÝôùò ï ÊáæÜæçò åéóÜãåé êáé ôïí çëåêôñïíéêü ðáñÜãïíôá (ôá Ýñãá óõ÷íÜ óõíôßèåíôáé óôïí õðïëïãéóôÞ ðñéí ìåôáöåñèïýí óôï ôåëÜñï) êáé ôçí áéóèçôéêÞ ôùí pixels, ëéãüôåñï åìöáíÞò ðÜíôùò óÞìåñá áð' ü,ôé óôçí ôåëåõôáßá ôïõ Ýêèåóç ðñéí áðü ôñßá ÷ñüíéá. ¸ôóé, áíÜìåóá óôá êáëåéäïóêüðéá ìðëÝêïíôáé ìíÞìåò áðü ôï éóôïñéêü çëåêôñïíéêü ðáé÷íßäé Pac Man êáé üëç ôç íåüôåõêôç ðáñÜäïóç ôùí video games ðïõ ü,ôé áíôéññÞóåéò êáé áí ðñïâÜëëïõí ïé ðñïóôÜôåò ôçò æùãñáöéêÞò ðáñÜäïóçò, Ý÷ïõí áöÞóåé áíåîßôçëåò ïðôéêÝò ìíÞìåò óôï óõëëïãéêü áóõíåßäçôï. ÊÜðïéïò áüñáôïò êÜííáâïò öáßíåôáé íá êñáôÜåé ôá ðÜíôá óå ôÜîç ìå ôïí ßäéï ôñüðï ðïõ ôï êÜíåé ç ðïð áñ÷éôåêôïíéêüôçôá ôùí êýâùí Lego. Êáé ç èåìáôïëïãßá; Åäþ êáíåßò êéíäõíåýåé íá ôñåëáèåß. Îåêéíþíôáò áðü áíÝìåëåò (;) öéãïýñåò ðïõëéþí, æþùí, êåñÜôùí (!), áõôïêéíÞôùí, ôóéìåíôïìç÷áíþí, ìá÷áéñïðÞñïõíá (ðüóïé Ýëëçíåò èá áðåìðïëïýóáí ôüóï áðñïêÜëõðôá ôç óïâáñïöÜíåéÜ ôïõò;) èá öôÜóåé óå äõóïßùíåò, äéóõðüóôáôåò öéãïýñåò åñùôéêþí ÷ïñþí ðïõ èá ìðïñïýóáí íá áíáóýñïõí óôïí ðïíçñåìÝíï âéâëéïèÞêåò ïëüêëçñåò áðü kama sutra åéêüíåò. ÅîÜëëïõ, ðïéïò èá óêåöôüôáí ðñéí äåé ôç æùãñáöéêÞ ôïõ ÊáæÜæç üôé ç öüñìá ôùí êëåéäéþí (ôçò ðüñôáò) èá Ýäåíå ôüóï áñìïíéêÜ ìå ôá ëá÷ïýñéá êáé èá ðñïêáëïýóå ôï ßäéï øõ÷åäåëßæïí áðïôÝëåóìá. Çäïíéóìüò, áôìüóöáéñá ðÜñôõ, ðáñáßóèçóç áëëÜ, ôáõôü÷ñïíá, êáé êáèçìåñéíüôçôá banalite êáé áíèñùðéÜ. Ç åëëçíéêÞ slacker êïõëôïýñá ôùí 90s, óå üðïéï âáèìü ðñáãìáôéêÜ õðÞñîå Þ õðÜñ÷åé, ìðïñåß íá âñåé óôç æùãñáöéêÞ ôïõ ÊáæÜæç ôï ôÝëåéï ìïôßâï. Ìçí ôï îå÷íÜôå åßíáé ôï ìïôßâï ðïõ Ý÷åé ðñáãìáôéêÜ óçìáóßá. Ìüíï ôï ìïôßâï. 14 óåëéäá ãéùñãïò êáæáæçò

Th. Moutsopoulos, ANTI magazine, no. 658 10/4/1998 It's my Party - The Question of the painterly in the Age of Techno Tarantino's film Jackie Brown, currently on show at the cinemas, is a celebration of the funky atmosphere and the flashy eroticism of the '70s but also one of the most modern things we have seen of late. A body of artistic work which is also exhibited these days seems to be doing (much) the same thing. Some artists exhibit frequently, others rarely. George Kazazis (b.1958) is definitely among the latter, even though his show record spans almost fifteen years. As a result of this strategy he has become a kind of "cult" artist, cited by "experts", critics and artists alike as one of the most important canvas painters in Greece today; perhaps the best example of how the second post-modern generation of Greek artists deal with the problem of the painterly (if it is a problem). Thus the exhibition at the Athens School of Fine Arts is an excellent opportunity for one to approach his work. Those who do so for the first time should bear in mind that the elements they will recognise as highly up-to-date or trendy, after our recent inundation by the "Young British Art", have been present here for some ten years now. Which elements are these? The total lack of self-importance, from the titles to the subjects, a sarcastic humour, an interplay between abstraction and representation and an intensely decorative mood with -funkycolours, use of the most banal or the most youthful references, and a dialogue with pop music. Since his last-but-one exhibition at the Medusa gallery, six years ago, many things have changed. The openly(?) sexual references in the works and (particularly) the titles of the 1989-1992 period have given way to more cryptic images, although eroticism still lurks there like a forbidden game. The openly descriptive and often profane titles have also given way to a monotonously repetitive "untitled". It makes sense: Kazazis's painted surface now says too much for words to describe. To be precise, the surface seems to be the beginning and the end of the artistic act. "Seems to be": Kazazis is fully aware of our age's lust for the aesthetic of the empty, and plays a Machiavellian game with it. Abstraction and Decorative elements are the dominant themes here. Between them, they reference the entire cultural history of the last thirty years, from psychedelics to the cyberpunk. The one consistently recurrent framework is symmetry. All themes, recognisable or not, unfold like kaleidoscopic compositions or Westernised mandalas; like the barely recognisable maps of unfamiliar, extraterrestrial regions. The canvases, almost all in a standardised 220x220 cm, are filled with repetitive hallucinatory patterns which hover between the decorativeness of a gift-wrapping paper and the explosiveness of a bad trip. With all these in mind, one would expect a kind of late hippie laxity. Instead, Kazazis introduces both the electronic parameter (his works are often put together on the computer and then transferred to the canvas) and a pixel aesthetic, although the latter is less pronounced than in his previous show of three years ago. The kaleidoscopes are thus mixed with memories from the classic Pacman screen game and the whole late tradition of video games, which, despite the objections of the champions of painterly tradition, has left indelible visual traces on the collective unconscious. Some invisible grid seems to keep everything in order, in much the same way as the pop architectural structure of Lego bricks. And his subjects? Now this can drive you crazy. He starts from the jaunty(?) figures of birds, animals, horns(?), cars, concrete mixers, cutlery (how many Greeks would so openly shed their selfimportance?) to reach the sinister, equivocal themes of erotic dances which may evoke whole libraries of Kamasutra images to those in the know. Besides, who would have thought, before seeing the art of Kazazis, that the form of the keys (to the door) would fit in so harmoniously with the decorative twirls and would lead to the same psychedelic-like effect. Hedonism, party atmosphere and hallucination, but at the same time everyday reality, banality and humanity. The Greek slacker culture of the 90's, to the extent that it existed or still exists, may find the perfect motif in the painting of Kazazis. Do not forget, it is the motif that really matters. Only the motif. Áêñõëéêï óå ìïõóáìÜ, 220÷220 åê, 1997 Acrylic on canvas, 220÷220 cm, 1997


The Question of the Painterly in the Age of Techno

george kazazis page 15


Ï Ãéùñãïò Êáæáæçò æùãñáöéæåé áíôëùíôáò ôá èåìáôá ôïõ áðï åõðåðôåò öéãïõñåò ðåñéïäéêùí êáé êáëá ïñãáíùìÝíåò äéáêïóìçôéêåò óõíèåóåéò. Ç äïìç ôïõ åñãïõ ôïõ êáôáêëõæåôáé áðü åôåñïãåíç óôïé÷åéá ôïðéêçò êáé óöáéñéêçò êïõëôïõñáò. Ôá ó÷çìáôá, ôá ÷ñùìáôá êáé ïé öéãïõñåò ãåííéïõíôáé áðü ôç ãñáöéóôéêç ëïãéêç ôùí ðåñéïäéêùí life style êáé ìïäáò. Ðñïèåóç ôïõ åßíáé íá äçìéïõñãçóåé ôïí äéêï ôïõ ÷ùñï óôï êïóìï ôçò åéêïíáò, ðñïóðáèùíôáò íá ìáò âáëåé óôç ëïãéêç ôçò ìáæéêçò ðáñáãùãçò åéêïíùí ðïõ ìáò ðåñéâáëëïõí. Õðáñ÷åé üìùò êáé êáôé áêïìç: ôá áöçñçìåíá ìïôéâá óå ó÷åóç ìå ôéò ðïëý ðñïóåêôéêá åðéëåãìåíåò åéêïíåò, ëåéôïõñãïõí óáí ðáé÷íéäéá ðïõ ðñïêáëïõí ïðôéêá. Êáé áõôü ôï ðáé÷íéäé åßíáé ðïëý óçìáíôéêï ãéá ôç äéáäéêáóéá åêôåëåóçò ôïõ åñãïõ.

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1998 16 óåëéäá ãéùñãïò êáæáæçò

Acrylic on canvas, 220÷220 cm, 1998


George Kazazis is currently painting from magazine images using played-out motifs and well-organized decorative compositions. His paintings are populated with heterogeneous elements of global and urban culture. A complex patterning occurs everywhere. The shapes and silhouettes are familiar, born out of the graphic culture of trendy lifestyle periodicals and fashion magazines. The themes and motifs introduce the artist's preoccupation and interest in the realm of mass-produced imagery, which surrounds us and a desire to weave this imagery into his own personal schemes, to create his own space within this virtual world. There is an underlying plainness in the work - the abstract motifs in relation to the selected decorative images operate as visually stimulating games. This sense of play is important to the process, allowing an exploration of the primal compulsion to quite simply "give image" to something.

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1999

Acrylic on canvas, 220÷220 cm, 1999 george kazazis page 17


Highlight of the Month (Every month, C3A will present below an artist from its archive February 2000 is the month of George Kazazis)

Ôï êåßìåíï áõôü ãñÜöôçêå êáé ðáñïõóéÜóôçêå áðï ôçí Els Anappe -Éóôïñéêü Ôå÷íçò- óôï Internet óôçí éóôïóåëßäá www.hanappe.com/c3a/, ìå áöïñìÞ ôï áñ÷åßï ôå÷íçò Contemporary Art Archive in Athens, ôïí Öåâñïõáñéï ôïõ 2000 George Kazazis (°1958) was born in Athens, Greece, where he currently lives and works. He received his degree in painting from the Athens School of Fine Arts, where he has equally been teaching since 1990. The large size canvases of George Kazazis are colorful and attractive. Their joy leaves no room for any existential wretchedness or expressionist emotionalism. Instead, images have been woven together into decorative patterns that are reminiscent of textile or wallpaper design. Forget William Morris' familiar Victorian creations and opt instead for the contemporary upbeat MTV style graphics, which have become part of our daily environment. Projected and computer-manipulated images, sleekly transferred into acrylic paint, lie at the basis of these psychedelic concoctions. They were at first taken out from contemporary life, lifted from glossy magazines or the Internet. Often they are still recognizable - figures, forks and knifes - sometimes they have been fragmented and rearranged into repetitive patterns. The resulting canvases capture the mood, the energy and the psyche of the bright side of our contemporary lives, without pretense, without regrets. 18 óåëéäá ãéùñãïò êáæáæçò


Áðåíáíôé óåëéäá

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1999

Opposite page

Acrylic on canvas, 220÷220 cm, 1999

Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1999 Acrylic on canvas, 220÷220 cm, 1999

george kazazis page 19


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20 óåëéäá ãéùñãïò êáæáæçò

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Áêñõëéêü óå ìïõóáìÜ, 80÷80 åê, 1999

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‘Åßìáé ï Èåüò óáò’, Áêñõëéêü óå ðáñêå, 412x223 åê, 1999

Acrylic on canvas, 80÷80 cm, 1999

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ØçöéáêÞ åêôýðùóç óå ÷áñôß, 30÷42 åê, 1999

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Áêñõëéêü óå ìïõóáìÜ, 150÷177 åê, 2000

Acrylic on canvas, 150÷177 cm, 2000

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Áêñõëéêü óå ìïõóáìÜ, 220÷220 åê, 1999

Acrylic on canvas, 220÷220 cm, 1999

‘I am your God’, Acrylic on wood, 412x223 cm, 1999 Print on paper, 30÷42 cm, 1999

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george kazazis page 21


Factory 2003

ÁÓÊÔ, ÁèÞíá, 2003 22 óåëéäá ãéùñãïò êáæáæçò


ASFA, Athens, 2003 george kazazis page 23


Project Space

Palm IIIc, Áêñõëéêü óå ìïõóáìÜ, 100÷85 åê, 2000 Palm IIIc, Acrylic on canvas, 100÷85 cm, 2000

Prada, Áêñõëéêü óå ìïõóáìÜ, 107÷140 åê, 2000 Prada, Acrylic on canvas, 107÷140 cm, 2000 24 óåëéäá ãéùñãïò êáæáæçò


¸íáò ïñãáíéóìïò ðïõ ëåéôïõñãåé ÷ùñéò ìüíéìï ÷þñï êáé äéåõèõíåôáé áðï ôïõò êáëëéôÝ÷íåò ÂáããÝëç ÂëÜ÷ï, Ãéþñãï ÊáæÜæç, Êáßôç ÌðÜñìðá êáé ÄÞìçôñá ÌðÜñìðá. Óêïðüò ôïõ åßíáé íá óõíåñãÜæåôáé óôåíÜ ìå êáëëéôÝ÷íåò, åðéìåëçôÝò êáé áíôßóôïé÷ïõò ÷þñïõò óôçí ÅëëÜäá êáé ôï åîùôåñéêü. Âáóßæåôáé óôçí éäÝá ôçò óýã÷ñïíçò ãêáëåñß, ðïõ óå êáììßá ðåñßðôùóç äåí åßíáé ïé ôÝóóåñéò ôïß÷ïé, áëëÜ ï ôñüðïò ðïõ ëåéôïõñãåß êáé ôï ðñüãñáììÜ ôçò. [Ï Ãéþñãïò ÊáæÜæçò áðå÷þñçóå áðï ôï Project Space ôï 2001]

A scheme that operates without a permanent base and is managed by artists Vangelis Vlachos, George Kazazis, Keti Barba and Dimitra Barba. Its aim is to form close collaborations with artists, curators and similar schemes in Greece and abroad. It is based on the concept of the contemporary gallery, which in no way denotes the four walls of a specific venue but a method of operation and a programme of activities. [George Kazazis left Project Space in 2001]

Sony MiniDisc MZ-R90, Acrylic on canvas, 170÷170 cm, 2000

Sony MiniDisc MZ-R90, Áêñõëéêü óå ìïõóáìÜ, 170÷170 åê, 2000

george kazazis page 25


Els Hanappe, ÊáôÜëïãïò ôçò Ýêèåóçò Elvis Has Left the Building, Project Space, ÁèÞíá, 2000 (Áðüóðóìá) ...Ôá æùãñáöéêÜ Ýñãá ôïõ Ãéþñãïõ ÊáæÜæç ðáñáðÝìðïõí Üìåóá óôç äéáäéêáóßá åîéäáíßêåõóçò ôùí äéáöçìßóåùí êáé óå åêåßíïí ôïí áéèÝñéï ÷áñáêôÞñá ôïõò üðïõ ôï áíôéêåßìåíï ãßíåôáé ç áöïñìÞ ãéá ìéá åéêüíá ðïõ áðïðíÝåé êáôáíáëùôéóìü êáé ðïëõôÝëåéá êáé áíôéêáôïðôñßæåé ôï óýã÷ñïíï ðÜèïò ìå ôéò áíåîÜíôëçôåò ìüäåò, ôçí õðåñâïëéêÞ ðñïâïëÞ

êáé ôçí êáéíïôïìßá. Ç ðñïóÝããéóÞ ôïõ åßíáé öïñìáëéóôéêÞ êáé äåß÷íåé íá åîõìíåß ìÜëëïí ðáñÜ íá êáôáäéêÜæåé áõôüí ôïí êáéíïöáíÞ çäïíéóìü. Åðåìâáßíåé ìÝóù õðïëïãéóôÞ óôéò åéêüíåò ðïëõôåëþí áãáèþí Þ gadgets, ãåìßæïíôáò üëåò ôéò åðßðåäåò åðéöÜíåéåò ìå Ýíôïíá Þ áðáëÜ ÷ñþìáôá Ýôóé þóôå êÜèå åðéöÜíåéá íá áðïêôÜ Ýíá äéêü ôçò ÷áñáêôÞñá êáé íá ëåéôïõñãåß ùò äïìéêü óôïé÷åßï ôçò óýíèåóçò. Ôï ðåñßãñáììá ôçò áñ÷éêÞò åéêüíáò äéáôçñåßôáé áíÝðáöï, áëëÜ ç ôåëéêÞ åéêüíá Ý÷åé õðïóôåß áöáßñåóç...

Elvis Has Left The Building (Project Space)

D-I-Y Do-It-Yourself [Êáôåñéíá Ãñåãïõ, Êáôáëïãïò ôçò åêèåóçò “Elvis Has Left the Building”, Project Space, Áèçíá, 2000] ÊáôÜ ôá ôåëåõôáßá äÝêá ðåñßðïõ ÷ñüíéá ç åëëçíéêÞ êáëëéôå÷íéêÞ óêçíÞ Ý÷åé õðïóôåß óçìáíôéêÝò áëëáãÝò. Ç êáëëéôå÷íéêÞ ðñáêôéêÞ Ý÷åé ãßíåé ëéãüôåñï åóùóôñåöÞò êáé åèíoêåíôñéêÞ, ðéï áíïé÷ôÞ óôéò äéåèíåßò áíôáëëáãÝò. ÐáñÜëëçëá ìå ôçí åìöÜíéóç íÝùí åêèåóéáêþí ÷þñùí ðïõ ðáñïõóéÜæïõí ôç äïõëåéÜ ôùí íÝùí êáëëéôå÷íþí, ç ðáãêïóìéïðïßçóç, ç ðëçñïöïñéêÞ êáé ç ðñüóâáóç óå íÝá ìÝóá óôÜèçêáí êáèïñéóôéêïß ðáñÜãïíôåò ãéá ôçí áëëáãÞ ôïõ êáëëéôå÷íéêïý ôïðßïõ. Åìöáíßóôçêå ìéá íÝá ãåíéÜ ôçò ïðïßáò ôï Ýñãï óçìáôïäïôåß ìéá ñÞîç ìå ôçí ðáñÜäïóç êáé ôéò êõñßáñ÷åò éåñáñ÷Þóåéò ôçò éóôïñßáò ôçò ôÝ÷íçò êáé áíôéêáôïðôñßæåé ôéò ôñÝ÷ïõóåò áëëáãÝò óôç öýóç ôçò êáëëéôå÷íéêÞò äçìéïõñãßáò. Óå áõôÞ ôç ãåíéÜ áíÞêïõí ïé êáëëéôÝ÷íåò ôçò Ýêèåóçò Elvis Has Left The Building. ÃåííçìÝíïé óôá ôÝëç ôçò äåêáåôßáò ôïõ 60 Þ ôéò áñ÷Ýò ôçò äåêáåôßáò ôïõ 70, áðïêôïýí üëï êáé ìåãáëýôåñç åðßãíùóç ôçò äéåèíïýò êáëëéôå÷íéêÞò óêçíÞò êáé ôçò ó÷Ýóçò ôïõò ìå áõôÞí. Áí êáé ôï Ýñãï ôïõò åßíáé âéùìáôéêü áíôëþíôáò óôïé÷åßá áðü ôïí ôñüðï æùÞò óôçí ðüëç óå Ýíá áóôéêü ðåñéâÜëëïí ðïëý óõãêåêñéìÝíï - ÷áïôéêü êáé õâñéäéêü, ðáñïõóéÜæåé ôáõôü÷ñïíá ìéá óõíåßäçóç ôùí óçìáíôéêþí ðáãêüóìéùí èåìÜôùí. Åêôüò áðü ôçí áìöéóâÞôçóç ôùí êáôåóôçìÝíùí êáëëéôå÷íéêþí êáôçãïñéþí ôçò æùãñáöéêÞò êáé ôçò ãëõðôéêÞò, ïé êáëëéôÝ÷íåò ôçò Ýêèåóçò åíäéáöÝñïíôáé åðßóçò ãéá ôçí ðïëéôéêÞ ôçò äçìéïõñãßáò åéêüíùí êáé ôçò áíáðáñÜóôáóçò, åíþ áíôëïýí óôïé÷åßá êáé áðü Üëëïõò ôïìåßò üðùò ï êéíçìáôïãñÜöïò, ç äéáöÞìéóç, ç ìïõóéêÞ, ç áñ÷éôåêôïíéêÞ êáé ç ìüäá. Åðßóçò ìðïñåß êáíåßò íá ðáñáôçñÞóåé ôï åíäéáöÝñïí ôïõò ãéá ôç ó÷Ýóç ôçò ôÝ÷íçò ìå ôéò êïéíùíéêÝò åêöÜíóåéò ôçò êáèçìåñéíüôçôáò êáé ôçí åíåñãü ôïõò åíáó÷üëçóç ìå ôïí ðñáãìáôéêü êüóìï. Óáí áðïôÝëåóìá öáßíåôáé üôé áíôéìåôùðßæïõí ôá Ýñãá ôïõò ëéãüôåñï ùò ðñïúüíôá êáé ðåñéóóüôåñï ùò åñãáëåßá åðéêïéíùíßáò êáé ìÝóá ðõñïäüôçóçò äéáëüãïõ. Ïé ðåñéóóüôåñïé ðåñéöñïíïýí ôç âáñýãäïõðç Ýííïéá ôïõ 'ÁñéóôïõñãÞìáôïò' ÷Üñéí ðéï áèüñõâùí, ðéï óåìíþí ÷åéñïíïìéþí êáé ðéï äéáêñéôéêþí óôñáôçãéêþí. Ðáñüëç üìùò ôçí ýðáñîç áõôÞò ôçò áíáãåííçìÝíçò êáé áíáðôõóóüìåíçò êáëëéôå÷íéêÞò ðáñáãùãÞò óôçí ÅëëÜäá, áðü ðëåõñÜò åêèÝóåùí êáé ïñãáíùìÝíùí äïìþí ãéá ôçí ðñïþèçóç ôçò óýã÷ñïíçò ôÝ÷íçò ç êáôÜóôáóç ðáñáìÝíåé ðñïâëçìáôéêÞ: ç êñáôéêÞ õðïóôÞñéîç ðñïò ôéò óýã÷ñïíåò åéêáóôéêÝò ôÝ÷íåò åßíáé åëÜ÷éóôç, åíþ áðïõóéÜæåé ôåëåßùò ìéá êõâåñíçôéêÞ ðïëéôéêÞ ó÷åôéêÜ ìå áõôÝò· ç åðáöÞ ìå ôï äéåèíÞ ÷þñï åßíáé ðåñéïñéóìÝíç, ïé óïâáñïß óõëëÝêôåò óýã÷ñïíçò ôÝ÷íçò åßíáé ëßãïé êáé ï êñéôéêüò äéÜëïãïò åßíáé ó÷åäüí áíýðáñêôïò, êáèþò äåí õðÜñ÷ïõí åîåéäéêåõìÝíá ðåñéïäéêÜ ôÝ÷íçò. Ç üðïéá äñáóôçñéüôçôá ïöåßëåôáé êõñßùò óôïí éäéùôéêü ôïìÝá êáé óôçí åðéìïíÞ ìéáò ïìÜäáò áöïóéùìÝíùí áíèñþðùí. ÊáôÜ óõíÝðåéá, ïé åõêáéñßåò ãéá ôïõò íÝïõò êáëëéôÝ÷íåò åßíáé ðåñéïñéóìÝíåò, ìå ôéò éäéùôéêÝò ãêáëåñß íá äéáäñáìáôßæïõí êõñßáñ÷ï ñüëï óôçí ðáñïõóßáóç ôçò 'íÝáò' ôÝ÷íçò. Ðáñüëï ðïõ ïé ãêáëåñß ðáñáìÝíïõí ïé êáô' åîï÷Þí ÷þñïé üðïõ äéáôõðþíïíôáé ïé êñéôéêÝò êáé áéóèçôéêÝò éäÝåò êáé äéáìïñöþíåôáé ç áîßá ôùí Ýñãùí, öáßíåôáé íá õðÜñ÷åé Ýíá áõîáíüìåíï åíäéáöÝñïí ãéá êáëëéôå÷íéêÝò åêäçëþóåéò ðïõ ëáìâÜíïõí ÷þñá åêôüò ãêáëåñß êáé åêôüò ôùí ðáñáäïóéáêþí äïìþí ôïõ êüóìïõ ôçò ôÝ÷íçò. Ç óôáäéáêÞ óýóôáóç ïìÜäùí óõíåñãáóßáò êáëëéôå÷íþí ðáñÝ÷ïõí åíáëëáêôéêÝò ëýóåéò êáé åõêáéñßåò óôïõò íåüôåñïõò. Ðñüóöáôá åßäáìå íá ïñãáíþíïíôáé åêèÝóåéò óå äéÜöïñïõò ÷þñïõò, üðùò áðü Ýíáí ðñþçí ïßêï áíï÷Þò ìÝ÷ñé âéôñßíåò êáôáóôçìÜôùí êáé áíåîÜñôçôá áðü ôï ôåëéêü áðïôÝëåóìá, áðïôåëïýí óçìáíôéêÝò áðüðåéñåò áðü ôçí ðëåõñÜ ôùí êáëëéôå÷íþí íá óõíäéáëå÷èïýí ìå ôïí ðñáãìáôéêü êüóìï. ¸÷ïíôáò áðïäå÷ôåß ôïõò ðåñéïñéóìïýò Þ ôçí áðïêëåéóôéêüôçôá ôùí ãêáëåñß ôýðïõ ëåõêïý êýâïõ (white cube) êáèþò êáé ôï üôé ïé õðÜñ÷ïíôåò èåóìïß äåí ðáñÝ÷ïõí ôá áðáñáßôçôá ìÝóá õðïóôÞñéîçò ôçò íåüôåñçò ãåíéÜò, êáé åêöñÜæïíôáò ðáñÜëëçëá ôç äõóáñÝóêåéÜ ôïõò ãéá ôéò ðåñéïñéóìÝíåò åõêáéñßåò íá åêèÝóïõí, ïé êáëëéôÝ÷íåò Ý÷ïõí áñ÷ßóåé 26 óåëéäá ãéùñãïò êáæáæçò

íá õéïèåôïýí ìéá ðéï åíåñãÞ óôÜóç ðñïêåéìÝíïõ íá âñïõí åíáëëáêôéêïýò ôñüðïõò ðáñïõóßáóçò ôçò äïõëåéÜò ôïõò. Êáé åíþ óå Üëëá ìÝñç ôïõ êüóìïõ äåí åßíáé áóõíÞèéóôï íá åêèÝôïõí ïé êáëëéôÝ÷íåò óå 'åíáëëáêôéêïýò' ÷þñïõò - åìðïñéêÜ êÝíôñá, óïýðåñ ìÜñêåô, áêüìç êáé óôïõò äñüìïõò - óôçí ÅëëÜäá ìüëéò ôþñá áñ÷ßæïõí íá áíáðôýóóïíôáé áõôïý ôïõ åßäïõò ïé äñáóôçñéüôçôåò. Ðáñüëï ðïõ ç êñéôéêÞ ðñïò ôïõò èåóìïýò êáé ïé ðñáêôéêÝò post-studio ôçò äåêáåôßáò ôïõ 70 äåí õðÞñîáí ðñïåîÜñ÷ïõóåò äõíÜìåéò óôçí êáëëéôå÷íéêÞ äéáëåêôéêÞ ôçò ÷þñáò ìáò, äéáöáßíåôáé ôþñá ìéá áõîáíüìåíç óõíåéäçôïðïßçóç ôçò óçìáóßáò ðïõ Ý÷ïõí ïé áíåîÜñôçôåò êáëëéôå÷íéêÝò ðñùôïâïõëßåò êáé ìéá áíáãíþñéóç ôçò áíÜãêçò äçìéïõñãßáò ÷þñùí áðü ôïõò ßäéïõò ôïõò êáëëéôÝ÷íåò ãéá ôçí ðáñïõóßáóç êáé ôç óõæÞôçóç ôçò óýã÷ñïíçò ôÝ÷íçò. ¼ìùò ç Ýêèåóç áõôÞ äåí èá ðñÝðåé íá éäùèåß óáí éäåáëéóôéêÞ áðÜíôçóç óôï óýóôçìá ôùí åìðïñéêþí ãêáëåñß· åßíáé ìéá ïñãáíùìÝíç ðñïóðÜèåéá íá äéáôõðùèïýí êáé íá áêïõóôïýí éäÝåò - ìéá áíôáðüêñéóç óôçí áíÜãêç ãéá ôç äçìéïõñãßá åíáëëáêôéêþí äéåîüäùí ãéá ôéò íÝåò ìïñöÝò ôÝ÷íçò êáé ôéò êáëëéôå÷íéêÝò äñáóôçñéüôçôåò, ðïõ ôïíßæåé ôçí éäÝá ôçò áõôïíïìßáò, ôçò áíåîáñôçóßáò êáé ôçò áôïìéêüôçôáò óôçí ïðïßá óôï÷åýïõí ïé åêèÝóåéò áõôïý ôïõ åßäïõò. ¸íá óðßôé, ðÜíôùò, åßíáé áðü ðïëëÝò áðüøåéò éäáíéêüò ÷þñïò ãéá íá äåé êáíåßò Ýñãá ôÝ÷íçò, êáèþò ç ïéêåßá êáé áíåðßóçìç áôìüóöáéñá ðñïóåëêýåé ôïí èåáôÞ êáé äéåõêïëýíåé ôç äçìéïõñãßá áìößäñïìùí ó÷Ýóåùí. Ç Ýêèåóç ãßíåôáé óôï ðåñéâÜëëïí åíüò éäéùôéêïý äéáìåñßóìáôïò êáé äåí õðÞñîå áðüðåéñá áðïìßìçóçò ôïõ ÷þñïõ ìéáò ãêáëåñß Þ åêìåôÜëëåõóçò ôùí óõíåéñìþí ðïõ ðñïêáëåß ï ïéêéáêüò ÷þñïò. Ç åðéëïãÞ ôïõ ÷þñïõ äåí óõíéóôÜ êñéôéêÞ êáôÜ ôçò éäñõìáôïðïßçóçò ôùí åêèåóéáêþí ÷þñùí· ôï äéáìÝñéóìá áíôéìåôùðßæåôáé áðëþò óáí Ýíá öüíôï Þ Ýíáò ïõäÝôåñïò ÷þñïò - ìéá åíáëëáêôéêÞ åðéëïãÞ ÷þñïõ ðáñïõóßáóçò áíÜìåóá óå ðïëëÝò Üëëåò. Ïýôå áðïôåëåß ç åðéëïãÞ áõôÞ áðüðåéñá ðñüêëçóçò Þ áíôßäñáóçò êáôÜ ôùí êáèéåñùìÝíùí ÷þñùí, áí êáé áøçöÜ åî ïñéóìïý ôçí éó÷ý ôùí åðáããåëìáôéþí ôïõ êáëëéôå÷íéêïý êüóìïõ. Ôï ðéï óçìáíôéêü üìùò åßíáé üôé, üðùò óùóôÜ åðéóçìáßíåé ï Bruce Ferguson, ïé åêôüò êáôåóôçìÝíùí èåóìþí äñáóôçñéüôçôåò ôùí êáëëéôå÷íþí Ý÷ïõí ìåãáëýôåñåò ðéèáíüôçôåò íá âñßóêïíôáé "ðéï êïíôÜ óå íÝåò ìåèüäïõò, íÝåò ìïñöÝò êáé - üëï êáé ðéï óõ÷íÜ - óå íÝåò ðñïóåããßóåéò ðïõ óõíäõÜæïõí äéáöïñåôéêïýò êëÜäïõò". Óå ÷þñåò ìå ðñïâëçìáôéêÞ õðïäïìÞ üóïí áöïñÜ ôç óýã÷ñïíç êïõëôïýñá, áõôÝò ïé áíåîÜñôçôåò ðñïóðÜèåéåò êáé åêäçëþóåéò ãßíïíôáé ðéï óçìáíôéêÝò, ðñïêåéìÝíïõ íá åðéâéþóïõí êáé íá áíèÞóïõí ç ðïëõöùíßá êáé ï ðëïõñáëéóìüò - ôá æùôéêÜ äåßãìáôá ðïëéôéóôéêÞò õãåßáò. Áõôü ðïõ åðßóçò êáôáäåß÷íïõí ôÝôïéá åã÷åéñÞìáôá åßíáé üôé ðÝñá áðü ôç öñïíôßäá ãéá ôç óýëëçøç êáé ôçí õëïðïßçóç ôùí Ýñãùí ôïõò, ïé êáëëéôÝ÷íåò áñ÷ßæïõí íá åíäéáöÝñïíôáé åíåñãÜ êáé ãéá ôïí ó÷åäéáóìü ôçò ðáñïõóßáóÞò ôïõò. Ç Ýêèåóç Ýñ÷åôáé óå ìéá ÷ñïíéêÞ óôéãìÞ êáôÜ ôçí ïðïßá ç óõíåñãáóßá, ïé áíôáëëáãÝò êáé ç ìåôáêßíçóç ìåôáîý ôùí äéáöüñùí ðïëéôéóôéêþí ôïìÝùí ãßíïíôáé âáóéêÜ óôïé÷åßá ôçò óôñáôçãéêÞò ôùí êáëëéôå÷íþí êáé ôùí åðéìåëçôþí. Óõíåðþò ç 'Elvis' äåí åßíáé ôüóï ìéá èåìáôéêÞ Ýêèåóç üóï Ýíá 'öéëéêü óôïí ÷ñÞóôç' êÝíôñï óõíÜèñïéóçò êáé áíôáëëáãþí ìåôáîý ôïõ êáëëéôÝ÷íç, ôïõ èåáôÞ êáé ôïõ Ýñãïõ. ¸ôóé, ïé êáëëéôÝ÷íåò ðïõ óõììåôÝ÷ïõí äåí ìïéñÜæïíôáé êÜðïéïí èåìáôéêü Üîïíá ôçò Ýêèåóçò· ðáñüëá áõôÜ, äåß÷íïõí Ýíá êïéíü åíäéáöÝñïí ãéá ôç ëáúêÞ êáé ôçí êáôáíáëùôéêÞ êïõëôïýñá êáé ôéò óôñáôçãéêÝò ïéêåéïðïßçóçò, ðáñïõóßáóçò êáé åðÝìâáóçò, åíþ ôáõôü÷ñïíá äåß÷íïõí ãåíéêÜ ìéá áäéáöïñßá üóïí áöïñÜ ôçí áöÞãçóç. ÁõôÜ ðïõ Ý÷ïõí óçìáóßá åäþ åßíáé ç ðñüèåóç, ç ÷åéñïíïìßá, ç äéÜäïóç êáé ï äéÜëïãïò, áíåîÜñôçôá áðü ôï üñáìá ôïõ êáëëéôÝ÷íç. Ç Ýêèåóç 'Elvis' ìðïñåß íá óõíïøéóôåß, ãéá íá äáíåéóôþ ôá ëüãéá ôïõ Mark Beasley, ùò ìéá "do-it-yourself ïõôïðßá óå ìéêñÞ êëßìáêá".


Text for catalogue of the exhibition "Elvis Has Left the Building", Project Space, Athens, 2000 by Els Hanappe (Extract) ...George Kazazis' paintings directly refer to the sleekness of advertisements and their ethereal quality wherein the object becomes an excuse for a depiction that breathes excessive consumerism and luxury, reflecting the current obsession with never-ending trends, hype, and novelty.

D-I-Y Do-It-Yourself [Text for catalogue of the exhibition "Elvis Has Left the Building" Project Space, by Katerina Gregos] During the course of the last ten years approximately, the Greek art scene has undergone significant changes. Artistic practice has become less insular and ethnocentric, and more open to international exchange. In addition to the opening of new gallery spaces that showcase the work of young artists, globalisation, the information technologies, and access to new media have all been instrumental in changing the artistic landscape. A new generation of artists has emerged whose work has signalled a break with tradition and dominant art historical hierarchies, and

reflects current changes in the nature of art production. The artists in this show belong to this generation. Born in the late 60s and early 70s, they are increasingly aware of the international scene and their relationship to it. Though their work is rooted in local experience and the reality of living in a very specific if chaotic and hybrid urban environment, it demonstrates also an awareness of major global issues. Apart from their concern for often challenging given artistic hierarchies such as 'painting' and 'sculpture', the artists in Elvis Has Left the Building are also concerned with the politics of image-making and representation, as well as being engaged with other creative fields such as film, advertising, music, new media, graphic design, architecture and fashion. In addition, one can observe their concern for the relation of art to the social aspects of everyday reality, and active engagement with the real world. As a result, they seem to approach their works less as commodities and more as tools of communication and objects of discourse. Many of them share a disdain for the overbearing idea of the 'Masterpiece', in favour of quieter, more modest gestures and lower-key strategies. However, despite the existence of this growing and newly revitalised art scene in Greece, the situation in terms of exhibition venues and organised structures for the exhibition of contemporary art continues to remain problematic; public support for the contemporary visual arts is scant and there is a complete lack of any governmental visual arts policy; international contact points are difficult to create, serious collectors of contemporary art are few, and critical discourse is almost non-existent as there are no specialist art periodicals or journals. Most activity is instigated by the private sector and the persistence of a handful of committed individuals. As a result, opportunities for young artists are few, with private galleries being the predominant platform for showcasing young art. While these continue to be the primary sites from which critical and aesthetic ideas and economic imperatives are articulated, there seems to

His approach is formalistic, celebrating rather than decrying this newfound hedonism. He manipulates pictures of gadgets or high life items through the computer by filling in all possible flat surfaces with bright or toned colours, so that each surface takes on a character of its own, acting as a building block within the composition. The outlines of the original picture are kept unchanged but the overall meaning is abstracted...

be an ever-growing interest in artistic manifestations that occur outside the gallery space and traditional art world structures. The gradual formation of artists' collaborative groups are providing alternative options and opportunities for younger artists. Recent shows have been held in spaces as diverse as a former brothel to shop front windows; whatever the final result, they have been significant efforts on the part of artists to break out into the real world. Acknowledging the limitations or exclusivity of the white cube and the failure of existing institutions to provide the necessary tools for support for the younger generation, as well as expressing dissatisfaction with the limited options available for exhibition opportunities, artists have begun to adopt a more entrepreneurial style in orderto find alternative ways of showing their work. Though in other parts of the world it has not been uncommon for artists to show in 'alternative' spaces such as shopping malls, supermarkets, and even the street, actions such as these are only recently beginning to gain momentum in this country; and while institutional critique and the poststudio practices of the 70s have not been dominant forces in artistic discourse in this country, there seems to be a growing awareness of the importance of independent artistic initiative as well as an acknowledgement of the need for artist's instigated sites for the exhibition and discussion of contemporary art. This show, however, should not be seen as an idealised alternative to the economic system of the commercial gallery, but as an organised effort to articulate ideas and be heard, as a response to the need for a creation of alternative outlets for new art forms or artistic activities. As such, it accentuates the idea of autonomy, independence and individualism which this kind of show aims to articulate. The home, however, is in many ways an ideal location for the viewing of art as its accessible atmosphere and informality beckons the viewer and makes it well suited to provoke mutual interrelationships. Though the exhibition takes place in the surroundings of a private apartment, there has been no desire to simulate the gallery space, or to exploit the associations of the domestic space; nor is the choice of space part of a deliberate attempt to conduct a critique on the institutionalisation of art spaces. Instead, this site is treated more as a backdrop or neutral space, an alternative site of display among many possible alternatives. Neither is the choice of this specific space an attempt to fight or challenge the existing mainstream spaces even if, by default, it somewhat deflects the power of art world professionals. More importantly, however, as Bruce Ferguson has correctly pointed out, the activities of artists outside accepted institutions have a greater chance of being "closer to new methodologies, new forms and, increasingly, new interdisciplinary approaches". In countries with problematic contemporary cultural infrastructures, such independently instigated endeavours and events are increasingly important, if vital signs of cultural health such as polyphony and pluralism are to survive and flourish. Moreover, what enterprises such as this demonstrate is, that apart from being concerned with the creation and production of their works, artists are beginning to take an active interest in conceptualising the presentation of the works themselves. This exhibition comes at a time when collaboration, exchange and movement between various disciplines are becoming key elements of artistic and curatorial strategies. As a result, Elvis? is less a thematic show and more a user-friendly forum for exchange between the artist, the viewer and the work. Hence, the artists in it are not tied together by some unifying curatorial concept, though they seem to share a common interest in popular and consumer culture, strategies of appropriation, presentation and intervention, and demonstrate an overall indifference for narration. What matters here is intent, gesture, dissemination, and dialogue, regardless of artistic vision.To borrow the words of Mark Beasley, Elvis can be neatly summed as a "do-it-yourself utopia on a small scale".

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Athenaeum InterContinental - The Dakis Ioannou Collection

Óõëëïãç Óõã÷ñïíçò Åëëçíéêçò Ôå÷íçò ôïõ Îåíïäï÷åéïõ Athenaeum InterContinental ‘ART’, Êáôåñéíá Ãñåãïõ, áðïóðáóìá áðü ôïí Êáôáëïãï ôçò ÓõëëïãÞò, 2000

…Ç äéáìá÷ç ãõñù áðü ôç ãëùóóá ôçò æùãñáöéêçò, ôïí åðáíáðñïóäéïñéóìï ôçò êáé ôçí åðáíåîåôáóç ôùí äõíáôïôçôùí ôçò áöáéñåóçò óôç æùãñáöéêç åßíáé Ýíá Üëëï êõñéáñ÷ï æçôçìá óôç äïõëåéá áñêåôùí êáëëéôå÷íùí ôçò óõëëïãçò. Æçôçèçêå áðü ôñåéò æùãñáöïõò ôçí Åëåíç ×ñéóôïäïõëïõ, ôïí Ãéùñãï Êáæáæç êáé ôçí Áííá Ìáèéïõ - íá

28 óåëéäá ãéùñãïò êáæáæçò

äçìéïõñãçóïõí åñãá ó÷åôéêá ìå ôï èåìá áõôü ãéá ôçí ðñïóöáôá áíáêáéíéóìåíç áéèïõóá äåîéùóåùí. Ôï åñãï ôïõò êáôáðéáíåôáé ìå ôçí áíáæçôçóç íåùí óôñáôçãéêùí êáé áíôéêáôïðôñéæåé ôéò ôñå÷ïõóåò óõæçôçóåéò ãéá ôç æùãñáöéêç êáé ôéò ìåôáâáëëïìåíåò áéóèçôéêåò áîéåò ôçò… …Ïé ðéíáêåò ôïõ Ãéùñãïõ Êáæáæç ðñïâáëëïõí ôïõò ðñïâëçìáôéóìïõò ôïõ ó÷åôéêá ìå ôç äéáôáîç, ôç äéáêïóìçóç êáé ôï íôéæáéí. Ï óõíäõáóìïò áöáéñåóçò êáé ðáñáóôáôéêïôçôáò êáé ç åðéðåäç ãñáöéóôéêç êáé éäéáéôåñá óôõëéæáñéóìåíç ãñáöç áíôëåé áðü ðïéêéëåò ðçãåò ôçò ðïð êïõëôïõñáò üðùò ôá ðåñéïäéêá êáé ôç äéáöçìéóç ãéá íá ðáñáðåìøåé óôïõò ìç÷áíéóìïõò áðïðëáíçóçò ôçò åéêïíáò óôá ìéíôéá…


The Hotel Athenaeum InterContinental Collection of Contemporary Greek Art ‘ART’, Katerina Gregos, extract from the catalogue of the Collection, 2000

...The debate surrounding the language of painting, it's redefinition, and the re-examination of the possibilities of abstraction in painting are some other predominant concerns in the work of a number of artists. Three painters, Eleni Christodoulou, George Kazazis and Ana Mathiou

Áðåíáíôé óåëéäá

Áêñõëéêü óå ìïõóáìÜ, 220÷210 åê, 2000

Opposite page

Acrylic on canvas, 220÷210 cm, 2000

were asked to create works based on these issues in the newly refurbished ballroom. Their work is concerned with seeking new strategies appropriate in reflecting current debates in painting and its changing aesthetic values... ... George Kazazis' paintings display a concern for pattern, decoration and design. His fusion of abstraction and figuration and his flat, graphic, seemingly impersonal and highly polished style draws on a variety of sources from popular culture such as magazines and advertising. Kazazis thus alludes to the seductive nature of media generated imagery while at the same time he negates any ideas of 'personal' expression and painterly 'gesture'...

Áêñõëéêü óå ìïõóáìÜ, 220÷230 åê, 2000 Acrylic on canvas, 220÷230 cm, 2000

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Els Hanappe Underground Gallery 2001

From the Press Release for the individual show of George Kazazis at the Els Hanappe Underground, June 2001. Text by Els Hanappe, Art Historian The large size canvases of George Kazazis are colorful, attractive, and superfluous. Their subject matter directly refers to the sleekness of advertisements and their ethereal quality wherein the object becomes an excuse for a depiction that breathes excessive consumerism, reflecting the current obsession with neverending trends, hype, and novelty. Images have been lifted from glossy magazines and the Internet, manipulated and projected with the help of a computer, and transferred into smooth acrylic surfaces. The rich and decorative patterns borrowed from designs and colors as imposed by the current fashion scene, are juxtaposed with stylish technological items. Technology, once a prime example of functionality, has turned into a series of desirable but redundant objects, so called "gadgets". The resulting luxury of color, of line, of pattern, and of texture, takes advertising to the top and parodies its near perfection that in reality sadly bypasses most people. One wonders how much further we can go to turn our lives into an increasingly aesthetic but also shallow and superficial set of values. George Kazazis' joyful paintings celebrate a newfound hedonism, while all along questioning this newly created class division between those who can afford and those who cannot.

Äåëôßï Ôýðïõ ôçò áôïìéêçò Ýêèåóçò ôïõ Ãéþñãïõ ÊáæÜæç óôçí Ãêáëåñß Els Hanappe Underground ôïí Éïýíéï ôïõ 2001. Êåßìåíï Els Hanappe, Éóôïñéêüò ÔÝ÷íçò. Ïé ìåãÜëïõ ìåãÝèïõò ðßíáêåò ôïõ Ãéþñãïõ ÊáæÜæç åßíáé ðïëý÷ñùìïé, åëêõóôéêïß êáé ðëçèùñéêïß. Ôï èÝìá ôïõò ðáñáðÝìðåé Üìåóá óôç ÷ëéäÞ êáé ôçí áéèÝñéá áôìüóöáéñá ôùí äéáöçìßóåùí, üðïõ ôï áíôéêåßìåíï áðïôåëåß áöïñìÞ ãéá åéêüíåò ðïõ áðïðíÝïõí Üêñáôï êáôáíáëùôéóìü, áíôéêáôïðôñßæïíôáò ôç óý÷ãñïíç ìáíßá ãéá ôçí êáéíïôïìßá, ôçí õðåñâïëÞ êáé ôç óùñåßá íÝùí 'ôÜóåùí'. Ï êáëëéôÝ÷íçò ðáßñíåé åéêüíåò áðü ðåñéïäéêÜ êáé áðü ôï ÉíôåñíÝô, ôéò åðåîåñãÜæåôáé, ôéò ðñïâÜëëåé ìÝóù õðïëïãéóôÞ êáé ôéò áðïôõðþíåé óå ëåßåò áêñõëéêÝò åðéöÜíåéåò. Ôá ðëïýóéá äéáêïóìçôéêÜ ó÷Þìáôá áðü ôá ó÷Ýäéá êáé ôá ÷ñþìáôá ðïõ åðéôÜóóåé ç óýã÷ñïíç ìüäá áíôéðáñáôßèåíôáé ìå êïìøÜ ôå÷íïëïãéêÜ ðñïúüíôá. Ç ôå÷íïëïãßá, ðïõ Üëëïôå Þôáí ðñïðýñãéï ôçò ëåéôïõñãéêüôçôáò, Ý÷åé óôñáöåß óå ðëÞèïò åëêõóôéêÜ áëëÜ ðåñéôôÜ áíôéêåßìåíá, ôá ëåãüìåíá 'gadgets'. ÁõôÞ ç áöèïíßá ÷ñþìáôïò, ãñáììÞò, ó÷åäßïõ êáé õöÞò öÝñíåé ôç äéáöÞìéóç óôï ðñïóêÞíéï êáé ðáñùäåß ôç ó÷åäüí áðüëõôç ôåëåéüôçôá ðïõ óôçí ðñáãìáôéêüôçôá åßíáé äõóôõ÷þò áðñüóéôç óôïõò ðåñéóóüôåñïõò áíèñþðïõò. ÁíáñùôéÝôáé êáíåßò ùò ðïý ìðïñåß íá öôÜóåé áõôÞ ç ìåôáôñïðÞ ôçò æùÞò ìáò óå Ýíá óýíïëï áîéþí ìå áõîáíüìåíç áéóèçôéêÞ áëëÜ ôáõôü÷ñïíá ñç÷þí êáé åðéöáíåéáêþí. Ïé ÷áñïýìåíïé ðßíáêåò ôïõ Ãéþñãïõ ÊáæÜæç åîõìíïýí ôïí íÝï çäïíéóìü, ó÷ïëéÜæïíôáò ðáñÜëëçëá ôçí êïéíùíéêÞ äéÜêñéóç áíÜìåóá óôïõò 'Ý÷ïíôåò' êáé ôïõò 'ìç Ý÷ïíôåò'. 30 óåëéäá ãéùñãïò êáæáæçò


Sony Aibo / Louis Vuitton, Áêñõëéêü óå êáìâá, 155÷110 åê, 2001 Sony Aibo / Louis Vuitton, Acrylic on canvas, 155÷110 cm, 2001

george kazazis page 31


Microsoft X-Box / Christian Lacroix, Áêñõëéêü óå êáìâá, 300÷145 åê, 2001

32 óåëéäá ãéùñãïò êáæáæçò

Microsoft X-Box / Christian Lacroix, Acrylic on canvas, 300÷145 cm, 2001


Nokia 7110 / Gianni Versace, Áêñõëéêü óå êáìâá, 120÷72 åê, 2001 Nokia 7110 / Gianni Versace, Acrylic on canvas, 120÷72 cm, 2001

george kazazis page 33


kaleidoscopeworld

(Ìáñéíá Öùêéäç Kaleidoscope world, Åöçìåñéäá 'Åðåíäõôçò / Symbol', 23 Éïõíéïõ 2001) Áðü ôï 1980 êáé ìåôá, ôï åëáöñõ óå éäåïëïãéá -êáôÜ ôï åëáöñõ óå ëéðáñá- lifestyle åßíáé ï åðéêñáôåóôåñïò ôñïðïò æùçò ôïõ óõã÷ñïíïõ ðïëéôç. ¼ðùò çôáí öõóéêï, ç ôå÷íç êáé ïëç ç õðïäïìç ôçò áíôéêáôïðôñéæå áõôçí ôç äéáèåóç, ìå êõñéï åêðñïóùðï ôçò ôïí Jeff Koons, ï ïðïéïò åßíáé êáôáäéêáóìåíïò íá èåùñåéôáé ôï óõìâïëï ïëçò ôçò åëáöñïôçôáò ôçò äåêáåôéáò ôïõ 1980. Ôïõ áóõóôïëïõ êáôáíáëùôéóìïõ ôçò ñç÷ïôçôáò, ôïõ õëéóìïõ, ôçò åìðïñåõìáôïðïéçóçò ôùí ðáíôùí! Ìåñéêá ÷ñïíéá áñãïôåñá ïé ìåãáëïé ðïëõ÷ñùìïé ðéíáêåò ôïõ Ãéùñãïõ Êáæáæç áðïôåëïõí ôçí ôïðéïãñáöéá ôùí óõã÷ñïíùí ôáóåùí ôïõ óçìåñéíïõ lifestyle, áóêùíôáò êñéôéêç óôç äéáñêç áíáíåùóç ôùí óôéë, óôç äéáìïñöùóç ôùí êáéíïõñéùí áíáãêùí êáé ôï êõíçãé ôïõ 'íåïõ'. Äéáêïóìçôéêá ìïôéâá êáé ÷ñùìáôá áðü ôï ÷ùñï ôçò ìïäáò ðáñïõóéáæïíôáé óå óõíäõáóìï ìå ôá ðéï êáéíïõñéá êáé êáëïó÷åäéáóìåíá ôå÷íïëïãéêá áíôéêåéìåíá, äçìéïõñãùíôáò åéêïíåò ðïõ ðáñáðåìðïõí óôç

Sony Playstation 2, ìåëÜíé óå ÷áñôé, 42÷29,5 åê, 2001

34 óåëéäá ãéùñãïò êáæáæçò

ôåëåéïôçôá ôçò äéáöçìéóçò. Ïé åðéöáíåéåò, ç ãñáììç êáé ç èåìáôïëïãéá, üëá ìïéáæïõí íá óõíôåëïõí óôç ãåííçóç áíáìåéêôùí óõíáéóèçìáôùí óôï èåáôç ï ïðïéïò, ìðñïóôá óå áõôïõò ôïõò ðéíáêåò, åßíáé öõóéêï íá ôáëáíôåõåôáé áíáìåóá óôçí áíåîåëåãêôç åðéèõìéá íá áðïêôçóåé ôá áíôéêåéìåíá ðïõ âëåðåé êáé óôç ðéêñç ãåõóç ôçò áíïõóéáò êáôáíáëùóçò. Óå áíôéèåóç ìå ôï Ìéëôï Ìáíåôá, ï ïðïéïò ðñïôåéíå ãéá ðñùôç öïñá ôá ôå÷íïëïãéêá áíôéêåéìåíá, ùò óõã÷ñïíåò íåêñåò öõóåéò ðñïêåéìåíïõ íá óçìáôïäïôçóåé ôçí åîáðëùóç ôçò ôå÷íïëïãéáò óôç êáèçìåñéíïôçôá, ï Ãéùñãïò Êáæáæçò äåí ìïéáæåé íá ôá ÷ñçóéìïðïéåé ãéá íá åðéóçìáíåé ðñïïäï. Óå ìéá åðï÷ç êáôÜ ôçí ïðïéá ç ôå÷íïëïãéá åßíáé áðïëõôá óõíõöáóìåíç ìå ôçí êáèçìåñéíç æùç, ï Êáæáæçò öáéíåôáé íá ÷ñçóéìïðïéåé áõôÜ ôá áíôéêåéìåíá, ôá ïðïéá ìáëéóôá äáíåéæåôáé áðåõèåéáò áðü ðåñéïäéêá êáé áðü ôï Internet, óå óõíäõáóìï ìå áíèéóìåíá ïëïöñåóêá ìïôéâá ãéá íá åðéóçìáíåé ôçí ðëáíç ôùí äéáöçìéóåùí, ç ïðïéá åßíáé ôïóï ôåëåéá þóôå äõóôõ÷ùò ó÷åäïí ðáíôá êáôáöåñíåé íá êáìøåé ôçí áíôéóôáóç ìáò.

Sony Playstation 2, Ink on paper, 42÷29,5 cm, 2001


(Marina Fokides, "Kaleidoscope world", Ependytis / Symbol newspaper, 23 June 2001) Since 1980 the "low-ideology" -as in "low-fat"- lifestyle is the most prevalent way of living for today's citizens. Naturally, art and its entire system reflected this mood as typified by Jeff Koons, who is forever condemned to be seen as the symbol of the overall levity of the 1980s, with its boundless consumerism, its shallowness, its materialism and the commercialisation of everything! A few years later the large colourful paintings of George Kazazis document the current trends of the contemporary lifestyle and criticise the constantly renewed styles, the emergence of new needs and the pursuit of the "new". Decorative motifs and colours from the world of fashion are combined with the latest and

Nokia 7110, ìåëÜíé óå ÷áñôé, 42÷29,5 åê, 2001

best-designed technological objects to create images which reflect the perfection found in adverts. The surfaces, the lines, the themes -everything seems to generate mixed feelings in the viewer who, before these paintings, is naturally torn between the uncontrollable desire to acquire these objects and the sour taste of mindless consumption. In contrast with Miltos Manetas, who was the first to promote technological objects as contemporary still lifes in order to point to the ingress of technology into everyday life, George Kazazis does not seem to be using them to signify progress. In an age when technology is an integral part of daily life, Kazazis seems to employ these objects, which he takes directly from magazines and the Internet, in combination with fresh flowery motifs to denounce the deceit of advertising, which is so perfect as to manage almost always, unfortunately- to overcome our defences.

Nokia 7110, Ink on paper, 42÷29,5 cm, 2001

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Casio G-Shock DW6900-1V, ìåëÜíé óå ÷áñôé, 42÷29,5 åê, 2001

Casio G-Shock DW6900-1V, Ink on paper, 42÷29,5 cm, 2001

36 óåëéäá ãéùñãïò êáæáæçò


Mariko Mori in a Kinder Egg, ìåëÜíé óå ÷áñôé, 42÷29,5 åê, 2001

Mariko Mori in a Kinder Egg, Ink on paper, 42÷29,5 cm, 2001

george kazazis page 37


Mariko Mori / Karl Lagerfeld, áêñõëéêü óå êáìâÜ, 160÷160 åê, 2001 Mariko Mori / Karl Lagerfeld, Acrylic on canvas, 160÷160 cm, 2001

38 óåëéäá ãéùñãïò êáæáæçò


Sony Playstation 2 / Chloe, áêñõëéêü óå êáìâÜ, 200÷115 åê, 2001 Sony Playstation 2 / Chloe, Acrylic on canvas, 200÷115 cm, 2001

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Ellinomouseion

‘Åëëçíïìïõóåßïí’ Åîé áéùíåò Åëëçíéêç Æùãñáöéêç (Ôïìïò Â') Åêäïóåéò 'ÌÉËÇÔÏÓ' 2001 (óåë. 570) Ç üëç ôïõ Ýñåõíá äéáêñßíåôáé ãéá ôçí ðñùôïôõðßá êáé ôï õðïøéáóìÝíï ÷éïýìïñ ôçò, üðùò åðßóçò êáé ãéá ôç âïýëçóÞ ôçò íá áíáôñÝøåé Þ -Ýóôù- íá áìöéóâçôÞóåé ôïõò êáèéåñùìÝíïõò êþäéêåò ïðôéêÞò óõìðåñéöïñÜò. Ï ÊáæÜæçò üðùò åî' Üëëïõ êáé ï Ã. ÇëéÜäçò êáé ï Ã. ×áñâáëéÜò, åîåëßóóåé Ýíá åéêïíïãñáöçìÝíï éäßùìá ðïõ åíóùìáôþíåé åííïéïëïãéêïýò ðñïóáíáôïëéóìïýò. Ðáßñíåé åéêüíåò áðü ðåñéïäéêÜ êáé áðü ôï internet, ôéò åðåîåñãÜæåôáé, ôéò ðñïâÜëëåé ìÝóù õðïëïãéóôÞ êáé ôéò áðïôõðþíåé óå ëåßåò áêñõëéêÝò åðéöÜíåéåò. Ôá óôáèåñÜ èÝìáôÜ ôïõ Ý÷ïõí íá êÜíïõí ìå äéáêïóìçôéêÜ åðáíáëáìâáíüìåíá ìïôßâá (patterns), ôá ïðïßá ó÷åôßæïíôáé ôüóï ìå ôç ëáúêÞ ôÝ÷íç ôçò áíáôïëÞò üóï êáé ìå ôéò åéêüíåò ôùí computers Þ ôá video games. Ç ðñïöáíÞò êáôáóêåõáóôéêüôçôá ôùí óõíèÝóåþí ôïõ óõíéóôÜ êáé ôï ÷éïýìïñ ðïõ õðáéíßóóåôáé ðáñáðÜíù. Ôá ìïôßâá ðïõ ÷ñçóéìïðïéåß ïñãáíþíïíôáé åñáëäéêÜ, åðáíáëáìâÜíïíôáé êáé êáôáëÞãïõí óå êõêëïôåñåßò äéáôÜîåéò. Ç áíôéðáñÜèåóç ôùí Ýíôïíùí ÷ñùìÜôùí êáèéóôÜ ôïõò ðßíáêÝò ôïõ óçìáßåò ìéáò æùãñáöéêÞò ìåôÜ ôçí pop art êáé ëßãï ðñéí ôçí åðéêñÜôçóç ôçò çëåêôñïíéêÞò åéêüíáò. Ôï åíäéáöÝñïí óôïé÷åßï êáé ôïõ ÊáæÜæç êáé ôùí ïìïúäåáôþí ôïõ êáëëéôå÷íþí åßíáé üôé åðé÷åéñïýí íá êáôáóêåõÜóïõí ìéáí åéêüíá áðïóôáóéïðïéçìÝíç êáé "ìç÷áíéêÞ" ìå äéáäéêáóßá áêñáéöíÞò ÷åéñùíáêôéêÞ. ¸íá ôÝôïéï ÷áñáêôçñéóôéêü åêöñÜæåé áíÜãëõöá ôï âáèýôåñï âßùìá ôçò íåïåëëçíéêÞò êïõëôïýñáò, ç ïðïßá ðáñ' üôé æåé óôçí ðëçììõñßäá ôçò ôå÷íïëïãßáò, åðéìÝíåé óôç ÷åéñïðïßçôç êáôáóêåõÞ ôùí êáëëéôå÷íéêþí ðñïúüíôùí. (óåë. 622) (Áðüóðáóìá)…Áò ãõñßóïõìå üìùò óôçí ôáîéíüìçóç ôïõ Edward Lucie-Smith êáé ôïõ Ýãêõñïõ -üóï êáé øõ÷áãùãéêïý- Art Today, åêä. Phaidon, ôïõ 1996. Óôï êåöÜëáéï "ÌåôÜ ôçí Pop Art" èá ôïðïèåôïýóáìå áóöáëþò ôïí Íßêï Þ ôïí Ðáýëï Þ ôç Ñùìáíïý Þ ôïí ÁêñéèÜêç -÷ùñßò åð' ïõäåíß í' áìöéóâçôïýìå ôçí áôïìéêÞ ôïõò éäéáéôåñüôçôá- áëëÜ êáé ôïí Áúäßíç Þ ôïí ÊáæÜæç… (Ìáíïò Óôåöáíéäçò - Éóôïñéêüò ÔÝ÷íçò)

'Ellenomouseion' Six centuries of Greek Painting (Vol. II) 'Militos' Publications, 2001 (p. 570) Overall his research stands out for its originality and keen sense of humour, as well as for its determination to subvert -or at least undermine- the established codes of visual behaviour. Kazazis -just as G. Iliadis and G. Harvalias- develops an illustrated idiom with its own conceptual orientations. Kazazis takes pictures from magazines and the internet, computer-processes them and prints them on smooth acrylic surfaces. His standard themes are about repetitive decorative patterns associated both with the popular art of the East and with the imagery of computers or video games. The sense of humour we mentioned above lies in the manifestly "constructe" character of his compositions. The motifs he employs are heraldically organised and repeated to form circular patters. The contrast between strong colours turns his works into emblems of a painting after pop art and shortly before the domination of the electronic image. The interesting element, both in Kazazis and his like-minded colleagues, is their attempt to make a distanced and "mechanical" image through a thoroughly manual process. This element is more generally a deeper trait of modern Greek culture which, despite the influx of technology, insists on the manual production of its artistic products. (p. 622) (Extract)...But let us go back to the classification by Edward Lucie-Smith and to the authoritative -as well as entertaining- Art Today (Phaidon, 1996). In the chapter "After Pop Art" we would certainly include Nikos or Pavlos or Romanou or Akrithakis -without in any way questioning their individuality- but also Aidinis or Kazazis... (Manos Stefanidis Art Historian)

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Two brand new Sony Aibo in Becker House (California) designed by Jim Jennings, recorded with the Super NightShot system by SONY DCR-PC 110, acrylic on canvas, 220 x 260 cm, 2001

Art Athina 2001

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The souvenirs from World Trade Center

Óôéò 11 Óåðôåìâñßïõ ôïõ 2001 ïé Äßäõìïé Ðýñãïé ôïõ World Trade Center ôçò ÍÝáò Õüñêçò, êáôÝññåõóáí ýóôåñá áðü ôñïìïêñáôéêÞ åðßèåóç ðïõ ðñïêÜëåóå ôïí èÜíáôï ðëÝïí ôùí ôñéþí ÷éëéÜäùí áíèñþðùí. Ç åéêüíá ôùí åñåéðßùí ðïõ Üöçóå ç ðôþóç ôïõ WTC -áí êáé êáôåäáößóôçêå ëßãåò ìÝñåò ìåôÜ- óßãïõñá áíôáãùíßóôçêå óå êõêëïöïñßá áêüìç êáé ôá ðéï ãíùóôÜ ìíçìåßá ôïõ êüóìïõ.

On September 11, 2001 the twin towers of the World Trade Center in New York collapsed after a terrorist attack which left over three thousand dead behind it. The image of the rubble from the fall of the WTC -although removed a few days later- is certain to have competed against the images of the most famous monuments in the world.

Åðßèåóç ìå joysticks, øçöéáêç åêôõðùóç, äéáóôáóåéò ìåôáâëçôåò, 2003 Attack with joysticks, print, variable dimensions, 2003

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Êïñßôóé ìå Pokemon ìðñïóôÜ áðü ôï WTC, Áêñõëéêü óå ÷áñôé, 22÷19 åê, 2002 Girl with a Pokemon in front of WTC, Acrylic on canvas, 22÷19 cm, 2002

Êïñßôóé ìå Pokemon êáé êáðÝëï ‘Britney Spears’ ìðñïóôÜ áðü ôï WTC, Áêñõëéêü óå ÷áñôé, 21÷17 åê, 2002 Girl with a Pokemon and a ‘Britney Spears’ cap in front of WTC, Acrylic on canvas, 21÷17 cm, 2002

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ÊåíôÞìáôá ãéá ôï WTC, ÌåëÜíéá óå ÷áñôéÜ, 42x29,5 åê, 2002 Embroideries for WTC, Inks on papers, 42x29,5 cm, 2002 44 óåëéäá ãéùñãïò êáæáæçò


Óçìáßá ôïõ WTC #1, ÌåëÜíéá óå ÷áñôé, 42x29,5 åê, 2002 WTC Flag #1, Inks on paper, 42x29,5 cm, 2002 george kazazis page 45


¸íá ëïõëïýäé ãéá ôï WTC, Áêñõëéêï óå ìïõóáìá, åê, 2004 A flower for the WTC, Acrylic on canvas, cm, 2004

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ÌðÜëëåò - Çëéïâáóéëåìá óôï WTC, øçöéáêç åêôõðùóç, äéáóôáóåéò ìåôáâëçôåò, 2004 Balls - Sunset in WTC, print, variable dimensions, 2004

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Çëéïâáóéëåìá óôï WTC #15, ìéêôÜ õëéêÜ, äéáóôáóåéò ìåôáâëçôåò, 2004 Sunset in WTC #15, mixed media, variable dimensions, 2004 Çëéïâáóéëåìá óôï WTC #6, ìéêôÜ õëéêÜ, äéáóôáóåéò ìåôáâëçôåò, 2004 Sunset in WTC #6, mixed media, variable dimensions, 2004 Sunset in WTC #7, mixed media, variable dimensions, 2004 Çëéïâáóéëåìá óôï WTC #7, ìéêôÜ õëéêÜ, äéáóôáóåéò ìåôáâëçôåò, 2004

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Columbine High School

Columbine #0, Áêñõëéêï óå ìïõóáìá, 240x290 åê, 2004

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Columbine #0, Acrylic on canvas, 240x290 cm, 2004


Ôï ðñùß ôçò 20çò Áðñéëßïõ 1999, äõï íåáñïß áìåñéêáíïß, ï äåêáåðôÜ÷ñïíïò Eric Harris êáé ï äåêáïêôÜ÷ñïíïò Dylan Klebal, ðÞãáí óôï ó÷ïëåßï ôïõò, ôï Columbine High School óôï Littleton ôùí ÇÐÁ, åöïäéáóìÝíïé ìå üðëá êáé ÷åéñïâïìâßäåò. Óêüôùóáí 14 óõììáèçôÝò ôïõò êáé Ýíáí êáèçãçôÞ. Ôá ðåñéóóüôåñá èýìáôá âñÝèçêáí óôçí êáöåôÝñéá ôïõ ó÷ïëåßïõ. ¼ëï ôï ðåñéóôáôéêü êáôáãñÜöçêå áðü êÜìåñåò êëåéóôïý êõêëþìáôïò.

In the morning of April 20, 1999 two young Americans, 15-year-old Eric Harris and 18-year-old Dylan Klebal, went to their school, the Columbine High School in Littleton, USA carrying guns and hand-grenades. They killed 14 of their fellow students and one teacher. Most of the victims were in the cafeteria of the school. The whole incident was recorded on closed-circuit TV.

Columbine #2, ÌéêôÞ ôå÷íéêÞ, 2004

Columbine #02, Mixed media, 2004

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Columbine #1, ØçöéáêÞ åêôýðùóç, äéáóôÜóåéò ìåôáâëçôÝò, 2004

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Columbine #1, Print, variable dimensions, 2004


Columbine #3, ØçöéáêÞ åêôýðùóç, äéáóôÜóåéò ìåôáâëçôÝò, 2004

Columbine #3, Print, variable dimensions, 2004

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Columbine High School c-prints

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A Mickey for a Columbine

T n iss hi o u s lo e c ou ng is o c r er e rn

Images of violence, and at the same time images of lifestyle

se o o in Th h ed nw v o f ie inn o l e e b he nc ey t e ick c M

Mickey Mickey where are you? I am in Columbine High School

is d Th ul r co eve en n pp s a u h to

P a r o b r ty b loo a a th d?

Âïìâáñäéæüìáóôå óõíå÷þò áðü åéêüíåò âßáò, áëëÜ ôáõôü÷ñïíá êáé áðü åéêüíåò lifestyle. Ç áíôßèåóç åßíáé óßãïõñá ìåãÜëç. Ôá óõíáéóèÞìáôá ðïéêßëïõí, áëëÜ áðü üðïéá ðëåõñÜ êáé íá ôï äïýìå, õðÜñ÷ïõí êáé ôá äõï ôüóï Ýíôïíá, ïýôùò þóôå êáèßóôáíôáé áíáãêáßá. Ôï ðñùß ôçò 20çò Áðñéëßïõ 1999, äõï íåáñïß Áìåñéêáíïß, ï äåêáåðôÜ÷ñïíïò Eric Harris êáé ï äåêáïêôÜ÷ñïíïò Dylan Klebal, ðÞãáí óôï ó÷ïëåßï ôïõò, ôï Columbine High School óôï Littleton ôùí ÇÐÁ, åöïäéáóìÝíïé ìå üðëá êáé ÷åéñïâïìâßäåò. Óêüôùóáí 14 óõììáèçôÝò ôïõò êáé Ýíáí êáèçãçôÞ. Ôá ðåñéóóüôåñá èýìáôá âñÝèçêáí óôçí êáöåôåñßá ôïõ ó÷ïëåßïõ. ¼ëï ôï ðåñéóôáôéêü êáôáãñÜöçêå áðü êÜìåñåò êëåéóôïý êõêëþìáôïò. Ôï ßäéï ôï ãåãïíüò áõôü åßíáé ôüóï óçìáíôéêü, Üñá êáé éêáíü íá êáëýøåé áêüìç êáé ôç ëÜìøç åíüò ðáãêüóìéïõ óõìâüëïõ. Ôï video îåêéíÜ ìå ôïõò Ìßêõ êáé Ìéíé óå äéÜöïñåò öéãïýñåò. ÔñÝ÷ïõí, óôñïâéëßæïíôáé, ÷ñþìáôá áíáâïóâÞíïõí. ÔåëéêÜ ãßíåôáé party Þ ìáêåëåéü; Ç ìïõóéêÞ áðü ôïõò Manhattan Transfer óôï ôñáãïõäÜêé "My Cat Fell In The Well" (1983), ôïõò óõíïäåýåé áíÝìåëá áëëÜ ôáõôü÷ñïíá êáé ðéåóôéêÜ. Ôï ôñáãïýäé äéçãåßôáé ìå ÷áñïýìåíï ôñüðï ôçí äñáìáôéêÞ éóôïñßá ìéáò ëáìðåñÞò ãÜôáò-star ðïõ Ýðåóå óå Ýíá ðçãÜäé êáé ôçí áíçóõ÷ßá ôçò éäéïêôÞôñéáò ôçò ìÝ÷ñé íá ôçí âñåé. ÎáöíéêÜ ç ìïõóéêÞ óôáìáôÜ êáé êÜíïõí ôçí åìöÜíéóç ôïõò ôá ðñüóùðá ôùí Üäéêá óêïôùìÝíùí ðáéäéþí, ðïõ ðßóôåøáí óôçí áöèáñóßá óôçí áíåìåëéÜ êáé ôçí áèùüôçôá ôïõ Ìéêõ Þ ôïõ ïðïéïõäÞðïôå Ìéêõ, êáëýðôïíôáò ôïí. Óôï ôÝëïò Ýñ÷åôáé ç áíáêïýöéóç ãéá ìáò ôïõò õðüëïéðïõò, ìå ôçí åðáíåìöÜíéóç ôïõ Ìéêõ êáé ôçí åðéóôñïöÞ ôçò ìïõóéêÞò. Ôï èÝìá - æÞôçìá, äåí ìáò áöïñÜ ðëÝïí. Áðïêëåßåôáé ðïôÝ áõôü íá óõìâåß ó' åìÜò.

We are constantly inundated by images of violence, and at the same time by images of lifestyle. The contrast is certainly great. Sentiments vary, but whichever way we look at it, both kinds exist so vividly as to be indispensable. In the morning of April 20, 1999 two young Americans, 15-year-old Eric Harris and 18-year-old Dylan Klebal, went to their school, the Columbine High School in Littleton, USA carrying guns and hand-grenades. They killed 14 of their fellow students and one teacher. Most of the victims were in the cafeteria of the school. The whole incident was recorded on closed-circuit TV. This event is so important in itself as to eclipse even the shine of a global symbol. The video starts with Mickey and Minnie Mouse at various poses, running and twirling amidst flashing colours. Is this a party or a bloodbath? The music form the song "My Cat Fell In The Well" (1983) by Manhattan Transfer accompanies them, carefree yet also persistent at the same time. The song tells in a cheerful way the dramatic story of a glamorous star-cat that fell down a well, and its owner"s distress until it was found. Suddenly, the music stops and the video shows the faces of the unfairly killed children, those who believed in the carefree innocence of Mickey Mouse or any other Mickey Mouse. For the rest of us relief does come in the end, as Mickey reappears and the music starts playing again. The issue is no longer our concern. This could never happen to us. 58 óåëéäá ãéùñãïò êáæáæçò


Video stills of the video-animation "Mickey, Mickey where are you?", duration 3'.25", Š2004

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Video stills of the video-animation "Mickey, Mickey where are you?" duration 3'.25", Š2004

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AIDS: Artists Create JOINT ARTISTS EXHIBITION ON THE OCCASION OF THE WORLD DAY FOR AIDS AT THE HELLENIC-AMERICAN UNION

(ÁðïóðÜóìáôá) Må áöïñìÞ ôçí 1ç Äåêåìâñßïõ, ôçí Ðáãêüóìéá ÇìÝñá ìíÞìçò êáé åõáéóèçôïðïßçóçò ãéá ôá èýìáôá êáé ôïõò öïñåßò AIDS / ÇIV, ç ÅëëçíïáìåñéêáíéêÞ ¸íùóç äéïñãÜíùóå Ýêèåóç åéêáóôéêþí ìå ôç óõììåôï÷Þ ôùí êÜôùèé åëëÞíùí êáé îÝíùí êáëëéôå÷íþí: ×ñüíçò Ìðüôóïãëïõ, ÌÜíèïò Óáíôïñéíáßïò, Goran Micevski, ÁëÝîéá ÁëìðÜíç, ÐÜíïò ×áñáëÜìðïõò, ÄçìÞôñçò Áíôùíßôóçò ÊùóôÞò Âåëþíçò, Common Culture, Íßêïò Ôñáíüò, Ãéþñãïò ÎÝíïò, David Campbell, ¢ñôåìéò ÐïôáìéÜíïõ, Henrik Olesen, ÃéÜííçò ÓêáëôóÜò, Ãéþñãïò ÊáæÜæçò, ËïõêÜò Ëïõêßäçò, ÄçìÞôñçò ×ñçóôßäçò, Terry Shave, Terry Atkinson, Íßêïò Íáõñßäçò, ÄçìÞôñçò Æïõñïýäçò, Stephen Lee, Êùíóôáíôßíïò Ðáðáãåùñãßïõ, ÃéÜííçò Èåïäùñüðïõëïò êáé ¢ããåëïò ×áôæçáñÜðoãëïõ ÔÆÉÁRA. Ôçí åðéìÝëåéá ôçò Ýêèåóçò åß÷áí ç åéêáóôéêüò ¢ñôåìéò ÐïôáìéÜíïõ êáé ï Ãéþñãïò Ìðáíéþêïò ðïõ åß÷å êáé ôçí éäÝá áõôÞò.

Ãõíáßêá óêÝöôåôáé ôï AIDS, ìåôÜ áðï ôçëåöþíçìá ìå ôï êáéíïýñéï ôçò êéíçôü, NOKIA 6220, Áêñõëéêï óå ìïõóáìá, 170÷130 åê, 2003 A woman thinking about AIDS after a phone call made on her new NOKIA 6220 cell phone, Acrylic on canvas, 170÷130 cm, 2003

(Extracts) On the occasion of the World Day for remembrance and awareness of the victims and carriers of AIDS/HIV on December 1st, the Hellenic-American Union is organising an art exhibition at its galleries, entitled "AIDS: Artists Create" with the participation of Greek and foreign artists: Chronis Botsoglou, Manthos Sandorineos, Goran Micevski, Alexia Albani, Panos Haralambous, Dimitris Andonitsis, Costis Velonis, Common Culture, Nikos Tranos, Yorgos Xenos, David Campbell, Artemis Potamianou, Henrik Olesen, Yiannis Skaltsas, George Kazazis, Loukas Loukides, Dimitris Christides, Terry Shave, Terry Atkinson, Nikos Navridis, Dimitris Zouroudis, Stephen Lee, Konstantinos Papageorgiou, Yiannis Theodoropoulos and Angelos Hadziarapoglou ...The works reflect the personal perspective that the artists have concerning the social stigma and the prejudice born by both carriers and victims of the disease ...The sense of repugnance towards AIDS and the attempt to distance one's self from the problem is the source of inspiration for the work by George Kazazis entitled "A woman thinking about AIDS after a phone call made on her new NOKIA 6220 cell phone"... ...The fore-mentioned exhibition is the first one to take place in Greece having AIDS as its central theme and it comprises the heart of a series of informative activities that mainly are aiming at the younger audience, since even today, despite the existing information available, the incidence of new patients with AIDS is rapidly increasing... Curator of the exhibition is the artist Artemis Potamianou.

62 óåëéäá ãéùñãïò êáæáæçò


Domestic ALien

Domestic Allien, ÅðéìÝëåéá Ýêèåóçò ÊùóôÞò Âåëþíçò, Ãêáëåñé ÉëåÜíá Ôïýíôá, Éïýíéïò 2004 (Áðüóðáóìá) Óôéò áñ÷Ýò ôïõ 20 áéþíá, ç åìöÜíéóç ôùí ðñùôïðïñéáêþí êéíçìÜôùí óõíïäåýåôáé ìå ôç óôáäéáêÞ êñßóç ôçò åóùóôñåöÞò ôáõôüôçôáò ôïõ êáëëéôÝ÷íç ðïõ óõíÞèùò åîéäáíéêåõüôáí ìå ôçí áðïìüíùóç óôï åñãáóôÞñéï ôïõ. Ôçí ßäéá åðï÷Þ, åßäáìå íá áíáðôýóóåôáé ç áíÜãêç ãéá ôçí áíáâÜèìéóç ôïõ ñüëïõ ôïõ óôñáôåõìÝíïõ äéáíïïýìåíïõ ðïõ áíáæçôÜ óôï public forum ôùí áóôéêïðïéçìÝíùí êÝíôñùí ôçí äéêáßùóç ôùí êïéíùíéêþí ïñáìÜôùí ôïõ. Åí óõíôïìßá ìéá öõãÞ áðü ôïí éäéùôéêü ðñïò ôïí ðïëéôéêü ÷þñï ôïõ Üóôåùò. ÁõôÞ ëïéðüí ç ìåôáôüðéóç ðñïò ôçí "áíïéêôÞ" óõíèÞêç ìéáò êïéíùíßáò ðïõ áðáéôåß ðåñéóóüôåñï äéÜëïãï êáé åðéêïéíùíßá, áíáíÝùóå ç ðåñéüñéóå áíôßóôïé÷á ðáñáäïóéáêïýò áéóèçôéêïýò üñïõò êáé åðÝöåñå áëëáãÝò óôçí áíôßëçøç ôïõ ðñïóäéïñéóìïý ôçò êáôïéêßáò. Óôéò ìÝñåò ìáò, ç åðßäñáóç ôçò ðïëéôéêïðïéçìÝíçò ôÝ÷íçò Ýíôïíç óå êÜèå äéåèíÞ èåóìü, åðáíáöÝñåé óôï ðñïóêÞíéï ðáñüìïéá æçôÞìáôá ðïõ áí êáé äéáöÝñïõí üóïí áöïñÜ ôçí ôå÷íéêÞ êáé ôç èåìáôïëïãßá óõãêëßíïõí ëßãï ðïëý éäåïëïãéêÜ óå ìéá óôñáôåõìÝíç èåþñçóç ôçò ôÝ÷íçò. Ùóôüóï, ãíùñßæïõìå üôé ç äéáðñáãìÜôåõóç ìå ôïí åîùôåñéêü êüóìï óðáíßùò áíôáðïêñßíåôáé óôá ïñÜìáôá ðïõ åß÷áí ðáëéüôåñá äéåêäéêçèåß. ÌÝóá áðü ìéá ãåíéêåõìÝíç åéêüíá áðïãïÞôåõóçò, ðáëéüôåñåò óõëëïãéêÝò äéåêäéêÞóåéò ðïõ áíôéôßèåíôáé áðÝíáíôé óôçí ïñèïëïãéêÞ ìåôá÷åßñéóç ôïõ äçìüóéïõ âßïõ êáé óôç äéáñêÞ óõññßêíùóç ôïõ ÷þñïõ ôïõ Üóôåùò (âëÝðå ôéò áíáôñåðôéêÝò "ðåñéðëáíÞóåéò" ôùí óïõñåáëéóôþí êáé áñãüôåñá ôùí êáôáóôáóéáêùí), öáßíåôáé áäýíáôïí íá åðáíá÷ñçóéìïðïéçèïýí, åíþ êÜèå ìïñöÞ ïñãáíùìÝíçò áíôßóôáóçò (äéáäçëþóåéò, äéáìáñôõñßåò ), ìáò äßíåé ðåñéóóüôåñï ôçí áßóèçóç ôçò óõììåôï÷Þò óå ìéá öïëêëïñéêÞ óõíåýñåóç êïéíùíéêïý ÷áñáêôÞñá. ÐñáêôéêÜ, áõôü ðïõ ãßíåôáé áéóèçôü, åßíáé ìéá óõíåéäçôÞ áðï÷Þ áðü ôïí ðïëéôéêü ÷þñï ôïõ Üóôåùò ðñïò ìéá åîáôïìéêåõìÝíç óõíèÞêç öõãÞò óôï ðñïóùðéêü ÷þñï, ç óôçí êáëýôåñç ðåñßðôùóç, óôïí åîéäáíéêåõìÝíï õðáßèñéï ðñï-áóôéáêü ÷þñï ôá Óáââáôïêýñéáêá. Ç áðïóôñïöÞ óå ìéá ðïëéôåßá ðïõ áðïôåëåß ðçãÞ áõîáíüìåíùí ðñïâëçìÜôùí, áíáãêáóôéêÜ öÝñåé ôï æÞôçìá ôçò åðéóôñïöÞò ôïõ ðïëßôç óôçí ðñïóôáôåõôéêÞ åóôßá ôïõ óðéôéïý ôïõ. Æïýìå ôç ðåñßïäï üðïõ ç "ëáôñåßá ôïõ íïéêïêõñéïý" åðáíÝñ÷åôáé ýóôåñá áðü ìéá ìáêñü÷ñïíç ðåñßïäï ðåñéöñüíçóçò ôçí ßäéá óôéãìÞ ðïõ åßìáóôå åíÞìåñïé êáé áíÞóõ÷ïé ãéá üôé ìðïñåß íá áðáó÷ïëåé ôï äçìüóéï êïéíü âßï. ¼ìùò ç áíáöïñÜ óôçí ïéêßá óÞìåñá óõíïäåýåôáé ìå ôçí áíáßñåóç ôïõ ìïíôÝëïõ ôçò ðïëõìåëÞò ïéêïãÝíåéáò êáé ôùí áíôßóôïé÷ùí ðñïóáñìïãþí ôïõ óðéôéïý óå áõôÝò ôéò áíÜãêåò. ÓÞìåñá áíôéëáìâáíüìáóôå üôé áðïõóéÜæåé ôï "ðëÞèïò" ìÝóá óôï óðßôé åíþ ðáñÜëëçëá åßíáé áéóèçôÞ ç íïóôáëãßá ôçò ïéêïãåíåéáêÞò óðéôéêÞò áðïìüíùóçò . Óôçí ðáñïýóá Ýêèåóç ïé åéêáóôéêïß åðáíáöÝñïõí æçôÞìáôá ôïõ êáôïéêåßí ìÝóá áðü óýã÷ñïíåò êáé áíôéöáôéêÝò áíáæçôÞóåéò ôáõôüôçôáò äéåñåõíþíôáò ôá üñéá ôïõ óðéôéêïý êáé ôïõ áíïßêåéïõ. ÊïéôÜæïíôáò ðñïóåêôéêüôåñá ôá Ýñãá, ìå åõêïëßá ìðïñïýìå íá äéáðéóôþóïõìå ôçí áíáßñåóç ôùí óôïé÷åßùí ðïõ ðåñéãñÜöïíôáé óôï äéÜóçìï collage ôïõ Richard Çamilton "Ôé, ôÝëïò ðÜíôùí, êÜíåé ôá óçìåñéíÜ óðßôéá ôüóï äéáöïñåôéêÜ, ôüóï åëêõóôéêÜ;". Ç óáñêáóôéêÞ åîéäáíßêåõóç ôïõ äéáìåñßóìáôïò ðïõ ðåñéâÜëëåôáé áðü êáôáíáëùôéêÜ áãáèÜ êáé åðéêïéíùíéáêÜ ìÝóá ðüóï ìðïñåß íá öáíôÜæåé åëêõóôéêÞ óôéò ìÝñåò ôïõ "ÌåãÜëïõ Áäåëöïý"? Ïé åéêáóôéêïß êáëïýíôáé ëïéðüí í'áðáíôÞóïõí óå áõôÜ ôá åñùôÞìáôá ìÝóá áðü ôç äéðëÞ ãéá êÜðïéïõò ôáõôüôçôáò ôçò ðáñÜëëçëçò ó÷Ýóçò ôïõò ìå ôçí áñ÷éôåêôïíéêÞ ðñáêôéêÞ ç èåùñßá. ...Óôï æùãñáöéêü Ýñãï ôïõ Ã. ÊáæÜæç ç ïéêéáêÞ õðåñï÷Þ ôïõ äçìïöéëïýò óðéôéïý ìå ôïõò êáôáññÜêôåò ôïõ Kaufman ðïõ öÝñåé ôçí áñ÷éôåêôïíéêÞ õðïãñáöÞ ôïõ Wright áíôéðáñáôßèåôáé ìå ôï áíÝêöñáóôï îáðëùìÝíï óþìá ìéáò ãõíáßêáò Ýîù áðü ôá ðñïóôáôåõôéêÜ üñéá ôçò ïéêßáò. Ç áðïìïíùôéêÞ áõôáñÝóêåéá ôïõ äéÜóçìïõ óðéôéïý áíôéðáñáôßèåôáé ìå ôçí ðáèïãåíÞò áôìüóöáéñá ôïõ äçìüóéïõ âßïõ . Êáôá êáðïéïí ôñüðï êáé óôéò äõï ðåñéðôþóåéò ìïéÜæåé ç ìéá í' áðïôåëåß ðñïûðüèåóç ôçò Üëëçò... ...ÁõôÞ ç Ýêèåóç öéëïäïîåß áí ü÷é íá êáëýøåé íá äñïìïëïãÞóåé ôçí áíÜãêç ãéá Ýíáí åðáíáðñïóäéïñéóìü ôçò ó÷Ýóçò ôïõ éäéþôç ìå æçôÞìáôá ðïõ áöïñïýí ôï ÷þñï ôïõ êáôïéêåßí. Ï éäéùôéêüò ÷þñïò áðïôåëåß êñßóéìï óçìåßï áíôéðáëüôçôáò áëëÜ êáé óõìöéëßùóçò øõ÷ïëïãéêþí êáé éäåïëïãéêþí äåäïìÝíùí ôùí ïðïßùí ç ðïëõóçìåéáêç ôïõò ôáõôüôçôá ðáßñíåé áðïóôÜóåéò áðü ôéò óôñáôåõìÝíåò ôÜóåéò ôçò åðï÷Þò. Óå ìéá åðï÷Þ ðïõ ç ëõóóáëÝá åðéäñïìÞ ôïõ lifestyle åñìçíåýåé êÜèå øõ÷ïëïãéêÞ äéÜèåóç ùò êáðñßôóéï, ïé ðñïôÜóåéò ôùí óõììåôå÷üíôùí åéêáóôéêþí êáé áñ÷éôåêôüíùí ðñïóðåñíïýí ôç êõñéáñ÷ßá ôïõ "ìåíôéáôéêïý" ôïðßïõ ìÝóá áðü ôç èåþñçóç åíüò ìéêñüêïóìïõ ðïõ áñíåßôáé ôçí èñéáìâïëïãßá ôùí åíôõðþóåùí êáé åðéóôñÝöåé óôçí ïéêåßá "áóçìáíôüôçôá" ôïõ ðñïóùðéêïý ÷þñïõ, ÷ùñßò üìùò íá äéåêäéêåß êÜðïéá éäåïëïãéêÞ áðüóôáóç áðü ôï äçìüóéï âßï. Áêüìá êáé ç ïëïêëçñùôéêÞ áðïìüíùóç áðü ôï åîùôåñéêü ðåñéâÜëëïí èá äÞëùíå ðüóï ç ðñáãìáôéêüôçôá ôçò ðüëçò Ý÷åé åðçñåÜóåé ôç óýëëçøç ôïõ éäéùôéêïý ÷þñïõ. Ì' Ýíá áíôßóôñïöï ôñüðï áðü ôçí ëïãéêÞ ôïõ Benjamin, ï óçìåñéíüò flaneur äåí áíÜãåé ôçí ðüëç ùò ôçí åðÝêôáóç ôïõ óðéôéïý ôïõ áëëÜ ðïëý ðåñéóóüôåñï øÜ÷íåé áðåãíùóìÝíá íá âñåé åêåßíïõò ôïõò ôüðïõò üðïõ ç âïõÞ

ôçò äéáóðÜôáé, áí ü÷é óôçí áðïìáêñõóìÝíç ýðáéèñï, óôçí ßäéá ôç ðüëç. Ìå ôïí Ýíá ç ìå ôïí Üëëï ôñüðï ç êáôïéêßá ðïôÝ äåí Þôáí ôüóï åêôåèåéìÝíç óå åðåìâÜóåéò êáé ðáñåìâïëÝò êáé ßóùò ðïôÝ Üëëïôå üóï êáé áí áêïýãåôáé ðáñÜäïîï ç áíÜãêç ãéá áðïìüíùóç äåí éóïäõíáìïýóå ìå ìéá õãéÝóôåñç óõíèÞêç åðáíáóýíäåóçò ìå ôï äçìüóéï ÷þñï. Kostis Velonis, text for the catalogue of the exhibition Domestic Alien, Ileana Tounta Gallery, 2004 (Extract) The appearance of avant-guard movements in the early 20th century is connected with a gradual crisis of the artist's introverted identity, often idealized within the seclusion of a studio. In the same period, there was a developing need to upgrade the role of politically aligned intellectuals who seek to fulfill their social visions in the public forum of urbanized centers. It is, in short, an escape from a private to a political urban space. This displacement towards an "open" condition of a society that demands more dialogue and communication, has respectively renewed or limited traditional aesthetic terms, and has brought on changes in the way we define residence. Nowadays, the strong influence of politically aware art in every international institution, is bringing back in the spotlight similar issues, which although different in terms of technique and theme, from the ideas point of view, they more or less converge on committed art. Negotiating with the external world, though, rarely corresponds with visions claimed in the past. Within an overall picture of disappointment, earlier collective claims, opposing to a rational view of public life and to the continuous shrinking of urban space (see the subversive "wanderings" of the surrealists and the situationists) seem impossible to restore, while all forms of organized resistance (demonstrations, protests), generate rather the impression of participating in a folklore gathering of social character. In practice, what we perceive is a conscious abstinence from urban surroundings towards an individualized escape to personal space, or at best, towards an idealized open suburban space at weekends. The repulsion for a state as a source of increasing problems inevitably brings out the issue of the citizen's return to their protective home. We are living the comeback of "the worship of household" after a long period of scorn, while at the same time we are informed and preoccupied with what may concern public common life. But any reference to home today is connected with a rejection of the large family model and the respective adjustments of the residence to those needs. Today there is an evident absence of "crowd" in the house, along with nostalgia for family and domestic seclusion. In this exhibition artists recall issues of residing within contemporary and conflicting pursuits of identity, exploring the boundaries of the familiar and the unfamiliar. A closer look at the works on display reveals a rejection of certain elements in Richard Hamilton's famous collage Just what is it that makes today's homes so different, so appealing? How can the sarcastic idealization of an apartment filled with consumer goods and means of communication, seem appealing in the days of the "Big Brother"? The artists are called to respond to these questions, also through a parallel for some of them- relationship with architectural theory or practice. ...In George Kazazi's painting the domestic supremacy of Kauffmann's popular Fallingwater, which bears Frank Lloyd Wright's signature is juxtaposed with an expressionless reclining female body outside the protective borders of home. The alienating self-complacency of the famous house is in contrast with the pathogenic atmosphere of public life. In a way, it seems like one state is a precondition for the other... ...This exhibition aims if not to cover, at least to establish the need to redefine the person's relationship with issues related to dwelling place. Private space is a critical point of controversy and reconciliation of psychological and ideological facts, whose multifaceted identity distances itself from today's trends. In a time where the fierce invasion of lifestyle explains every psychological disposition as a caprice, the participating artists' and architects' proposals by-pass the domination of the Media space, through a micro-cosmos which denies the exultations of impressions. Thus, it returns to the familiar unimportance of personal space, without claiming an ideological distance from public life. Even total alienation from exterior surroundings would denote how the reality of a city has influenced the concept of private space. In a way opposite from Benjamin's logic, today's flaneur does not reduce the city to an extension of his home, but is much rather seeking desperately to find those places where the city hubbub is dispersed within its own boundaries, if not in the distant outdoors. In any case, residence has never been so exposed to interventions and interferences and -paradoxically enough- never before perhaps has the need for alienation equaled to a healthier reconciliation with public space. Participating Artists: Hilde Aagaard, Dimitra Vamiali, Kostis Velonis, Nayia Yiakoumaki, Jimis Euthymiou, Martha Dimitropoulou, Dimitris Ioannou, Yiannis Theodoropoulos, George Kazazis, Eleni Kamma, Sofia Karagiannaki, Andreas Lyberatos, DeAnna Maganias, Kostas Bassanos, Aliki Palaska, Spyros Papadopoulos, Tereza Papamichali, Artemis Potamianou, Georgia Sagri, Dimitris Foutris.

george kazazis page 63


Domestic ALien

64 óåëéäá ãéùñãïò êáæáæçò


Domestic mobile phone Nokia 6600 at Kaufman’s house, Bear Run, Pensylvania, by the architect Frank Lloyd Wright, Áêñõëéêï óå ìïõóáìá, 240÷132 åê, 2004 Domestic mobile phone Nokia 6600 at Kaufman’s house, Bear Run, Pensylvania, by the architect Frank Lloyd Wright, Acrylic on canvas, 240÷132 cm, 2004

george kazazis page 65


Love will tear us apart*

Love will tear us apart When routine bites hard and ambitions are low. And resentment rides high but emotions won't grow. And we're changing our ways taking different roads. Love, love will tear us apart again. Why is the bedroom so cold turned away on your side? Is my timing that flawed our respect run so dry? Yet there's still this appeal that we've kept through our lives. Love, love will tear us apart again. Do you cry out in your sleep, all my failings expose? Gets a taste in my mouth as desperation takes hold. Why is it something so good just can't function no more? Love, love will tear us apart again... *Joy Division

Fear will tear us apart, but Nokia will join us again, æùãñáöéêÞ óå plexiglas, 90x90 åê, 2005 Fear will tear us apart, but Nokia will join us again, painting on plexiglas, 90x90 cm, 2005 66

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Fear will tear us apart, but Nokia will join us again, æùãñáöéêÞ óå plexiglas, 90x90 åê, 2005 Fear will tear us apart, but Nokia will join us again, painting on plexiglas, 90x90 cm, 2005 george kazazis page 67


Visions / ÏñÜìáôá

Ç äéåèíÞò åéêáóôéêÞ óêçíÞ ÷ñçóéìïðïéåß óõ÷íÜ ôá ôåëåõôáßá ÷ñüíéá ôïí üñï Visionary Art ìå óêïðü íá ðåñéãñÜøåé Ýñãá ôÝ÷íçò ìå ïñáìáôéêÝò ðñïèÝóåéò, öôéáãìÝíá óõíÞèùò áðü áõôïäßäáêôïõò Þ áêüìç êáé Ýãêëåéóôïõò óå øõ÷éáôñåßá êáëëéôÝ÷íåò. Ç Ýêèåóç "ÏñÜìáôá", ôçí ïðïßá ïñãáíþíåé êáé åðéìåëåßôáé ï éóôïñéêüò ôÝ÷íçò ÈáíÜóçò Ìïõôóüðïõëïò, åðé÷åéñåß íá äéåñåõíÞóåé ìéá êáô' åîï÷Þí ñçîéêÝëåõèç ãéá ôéò åéêáóôéêÝò ôÝ÷íåò äéáäéêáóßá, åêåßíçí ôçò ðñïóÝããéóçò ôïõ ïñÜìáôïò, øõ÷ïäçëùôéêÞò áëëÜ êáé èñçóêåõôéêÞò. Ç ðñïóÝããéóç ôùí ïñáìÜôùí óå øõ÷ïäçëùôéêü êáé èñçóêåõôéêü åðßðåäï áðïôåëåß ôïí áêñïãùíéáßï ëßèï ãéá ôçí êáôáíüçóç ôïõ èÝìáôïò. Ç áêñïâáóßá üìùò áíÜìåóá óôá üñéá ôïõ åéêïíéêïý êáé óôçí ïñáìáôéêÞ áíáðáñÜóôáóç ðñïäéáãñÜöåé ôï åîáéñåôéêü åíäéáöÝñïí êáé ôç äõíáìéêÞ ôçò Ýêèåóçò. Ï óõó÷åôéóìüò ôùí ðñïôÜóåùí êáé ï äéÜëïãïò ðïõ åðé÷åéñïýí ïé óýã÷ñïíïé êáëëéôÝ÷íåò ìå ôéò ÂõæáíôéíÝò áãéïãñáößåò êáé ìå ôá äåßãìáôá ôÝ÷íçò ôùí åîùäõôéêþí ðïëéôéóìþí (ôùí ÓáìÜíùí ôçò ÊåíôñéêÞò Áóßáò, ôùí ÉíäéÜíùí ×ïõéôóüë ôïõ Ìåîéêïý) åßíáé Ýíá óôïß÷çìá ðïõ áöåíüò ðñïóöÝñåé íÝåò 68

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äõíáôüôçôåò èÝáóçò êáé áíÜãíùóçò ôçò ÂõæáíôéíÞò åéêüíáò êáé áöåôÝñïõ èÝôåé ìå ôüëìç -óå ìéá Üêñùò õëéóôéêÞ åðï÷Þ- ôá óýã÷ñïíá ïñÜìáôá. Ç Ýêèåóç äéåñåõíÜ ôéò ïñáìáôéêÝò åêäï÷Ýò óå äéÜöïñåò ôÝ÷íåò êáé ðåñéï÷Ýò ôïõ åðéóôçôïý: áðü ôïí ÅõáããåëéóôÞ ÉùÜííç Ýùò ôïí Castaneda, áðü ôïí Gauguin êáé ôïí Van Gogh Ýùò ôïí ÁêñéèÜêç. Ç ðñïóÝããéóç ïëïêëçñþíåôáé ìÝóù ôùí ôñéþí åíïôÞôùí ôçò Ýêèåóçò: Íôåëßñéï, Åîáàëùóç, ÏñáìáôéêÞ ðáñáßóèçóç. Óçìáíôéêïß ¸ëëçíåò êáëëéôÝ÷íåò ìå ðëïýóéï Ýñãï üðùò ïé ÃéÜííçò ÃñçãïñéÜäçò, Ãéþñãïò ÊáæÜæçò, Ãéþñãïò ÎÝíïò, ÂÜíá ÎÝíïõ, Ðáíáãéþôçò ÓéÜãêñçò, ÊùóôÞò Ôñéáíôáöýëëïõ, Ãéþñãïò Ôóåñéþíçò, Åñáôþ ×áôæçóÜââá, êáé Mary Wilson êáôáèÝôïõí ôá äéêÜ ôïõò óýã÷ñïíá ïñÜìáôá. Ôáõôü÷ñïíá ðñïóöÝñåôáé ìéá åõêáéñßá íÝáò áíÜãíùóçò ãéá Ýñãá ôïõ Êùíóôáíôßíïõ ÐáñèÝíç. Óôçí Ýêèåóç ðáñÜëëçëá ìå ôéò ðéï óýã÷ñïíåò åéêáóôéêÝò ðñïôÜóåéò, óõíáíôéïýíôáé äýï ðåñéðôþóåéò êïìâéêÝò ìéáò éèáãåíïýò ïñáìáôéêÞò åéêáóôéêÞò ìáôéÜò, ï Íßêïò-ÃáâñéÞë Ðåíôæßêçò êáé ï ÁëÝîçò ÁêñéèÜêçò.


ÈÝá áðü ôï óðßôé ôïõ Douglas ôïõ Richard Meier, óôï Harbor Michigan, æùãñáöéêÞ óå plexiglas, 200x220 åê, 2005 View from Douglas House of Richard Meier, in Harbor Michigan, painting on plexiglas, 200x220 cm, 2005 george kazazis page 69


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Ãéá ôçí Êýðñï...

Êïíôåýåé íá óõìðëçñùèåß äåêáåôßá áðü ôç ÷ñïíéÜ ôïõ 1997 üðïõ, ìå ôçí åõêáéñßá ôùí åêäçëþóåùí ãéá ôç " Èåóóáëïíßêç ÐïëéôéóôéêÞ Ðñùôåýïõóá ôçò Åõñþðçò ", áíÝëáâá ôçí åðéìÝëåéá ìéáò êáëëéôå÷íéêÞò Ýêèåóçò ãéá ôçí Êýðñï. Ç Ýêèåóç åß÷å ôïí ôßôëï "ÌíÞìåò êáé óýã÷ñïíïé Äñüìïé ôçò ÊõðñéáêÞò ÐëáóôéêÞò" êáé óõãêÝíôñùíå - ìÝóá áðü ôñåéò óõìâïëéêÜ ïñéïèåôçìÝíïõò óôáèìïýò - äçìéïõñãßåò áðü ôçí áñ÷áéüôçôá , ôç íåüôåñç êõðñéáêÞ ðáñÜäïóç áëëÜ êáé ôç óýã÷ñïíç êáëëéôå÷íéêÞ ðñáêôéêÞ. Åêôüò áðü ôïí áîÝ÷áóôï ãëýðôç Ãéþñãï Íéêïëáúäçkï ïðïßïò óõììåôåß÷å ìå Ýíá ìéêñü êåñáìéêü óýìðëåãìá ðïõ áöéÝñùíå óôçí ôÝ÷íç êáé ôïí ðïëéôéóìü ôçò ÌåãáëïíÞóïõ - ïé õðüëïéðïé êáëëéôÝ÷íåò Þôáí íÝïé Êýðñéïé ìå áíáãíùñéóìÝíï Ýñãï óôçí ÅëëÜäá êáé óôï åîùôåñéêül. Ç åðéëïãÞ ôùí êáëëéôå÷íþí áõôþí - áíÜìåóá óôïõò ïðïßïõò åß÷å ìéá óõìâïëéêÞ áëëÜ ðïëý óçìáíôéêÞ ðáñïõóßá ï Íßêïò ×áñáëáìðßäçò óôçñß÷èçêå óå Ýíá áðëü óêåðôéêü ðïõ üìùò, ãéá íá ãßíåé åðáñêþò êáôáíïçôü, ÷ñåéáæüôáí íá ãßíåé êáíåßò Ýóôù êáé åõêáéñéáêüò ãíþóôçò ôçò ìáêñáßùíçò êõðñéáêÞò êáëëéôå÷íéêÞò éóôïñßáò. Ôï óõìðÝñáóìá åîÜëëïõ óôï ïðïßï èá ïäçãçèåß üðïéïò áó÷ïëçèåß Ýóôù êáé ãéá ëßãï ìå ôçí ôÝ÷íç êáé ôïí ðïëéôéóìü ôçò Êýðñïõ, åßíáé üôé ëßãïé ôüðïé ôüóï ìéêñïß ðïõ Ýôõ÷å íá äå÷ôïýí ( Þ ìÜëëïí íá ôïõò åðéâëçèïýí ) ôüóï ðïëëÜ êáé åôåñüêëçôá ðïëéôéóìéêÜ âéþìáôá, êáôÜöåñáí íá äéáôçñÞóïõí ôüóï æùíôáíÞ êáé áêÝñáéá ôçí éäéáßôåñÞ ôïõò öõóéïãíùìßá êáé ôáõôüôçôá. Ìå ôç ëÝîç "áêÝñáéá " äåí åííïþ âÝâáéá ìéá ôáõôüôçôá öõëåôéêÜ êáé ðïëéôéóìéêÜ " áìéãÞ " Þ " áäéÜöèïñç ", áëëÜ ìïíáäéêÞ - êáé ßóùò áíåðáíÜëçðôç - óôçí éäéáéôåñüôçôÜ ôçò. Ôá ß÷íç ð.÷ ðïõ Üöçóáí ïé îÝíïé êáôáêôçôÝò óôï íçóß, ü÷é ìüíï äåí áëëïßùóáí ôçí ðïëéôéóìéêÞ éäéáéôåñüôçôá ôïõ " Êýðñéïõ ÷áñáêôÞñá " áëëÜ áíôßèåôá, áöïìïéþèçêáí óå ôÝôïéï âáèìü, þóôå íá ëåéôïõñãïýí ùò áõèåíôéêü êïììÜôé ôçò ßäéáò ôçò ïíôüôçôáò ôïõ. Ìå áöïñìÞ ëïéðüí ôéò êáëëéôå÷íéêÝò åêäçëþóåéò ôïõ '97, åß÷á óêåöèåß ìéá Ýêèåóç ìå "åéêüíåò" áðü ôçí ìáêñáßùíç ðïëõðïëéôéóìéêÞ ðáñÜäïóç ôçò Êýðñïõ: åéêüíåò (Ýñãá äçëáäÞ êõñßùò êåñáìéêÜ) áðü ôçí ðñïúóôïñéêÞ êáé éóôïñéêÞ áñ÷áéüôçôá, áðü ôç ëáúêÞ ðáñÜäïóç áëëÜ êáé åéêüíåò áðü ôç óýã÷ñïíç ôÝ÷íç, ç ïðïßá üðùò åßíáé ãíùóôü, Üñ÷éóå íá äéáìïñöþíåôáé óôá ìçôñïðïëéôéêÜ êÝíôñá ôçò äõôéêÞò êáé áíáôïëéêÞò Åõñþðçò ìåôÜ ôçí ßäñõóç ôïõ áíåîÜñôçôïõ Êõðñéáêïý ÊñÜôïõò (1960) êáé ôçí åðéêñÜôçóç ìéáò - äõóôõ÷þò - âñá÷ýðíïçò åéñÞíçò. ÓÞìåñá ìïõ äßíåôáé êáé ðÜëé ç åõôõ÷Þò äõíáôüôçôá íá ãñÜøù êÜôé ãéá óýã÷ñïíåò êáëëéôå÷íéêÝò äçìéïõñãßåò , ü÷é áêñéâþò áðü ôçí Êýðñï, áëëÜ áöéåñùìÝíåò óôçí Êýðñï áðü íÝïõò ¸ëëçíåò êáé Êõðñßïõò äçìéïõñãïýò. ÄåêáôÝóóåñéò êáëëéôÝ÷íåò , ç ÄÞìçôñá ÂÜìéáëç, ï ÓôÝëéïò ÃáâáëÜò, ï ÃéÜííçò Ãåùñãáñßïõ, ï ÃéÜííçò ÃñçãïñéÜäçò, ï Ìáíþëçò Æá÷áñéïõäÜêçò, ï ÓôáìÜôçò ÆÝñâáò, ï Ãéþñãïò ÊáæÜæçò, ç Êáôåñßíá Êáñïýóïõ, ï Áããåëïò Ðáðáäçìçôñßïõ,ç ÑÜíéá ÑÜãêïõ, ï Ðáíáãéþôçò ÓéÜãêñçò, ï ÓùêñÜôçò ÓùêñÜôïõò , ï Íßêïò ×áñáëáìðßäçò êáé ç Åñáôþ ×áôæçóÜââá êáëýðôïõí ôïõò åóùôåñéêïýò ÷þñïõò (êáé ìÝñïò ôïõ åîùôåñéêïý ÷þñïõ) ôïõ Óðéôéïý ôçò Êýðñïõ ìå äñÜóåéò, video-ðñïâïëÝò, åãêáôáóôÜóåéò, åðßôïé÷åò óõíèÝóåéò, ó÷Ýäéá, æùãñáöéêÞ êáé áíôéêåßìåíá. ÏñéóìÝíá áðü ôá Ýñãá üðùò ð.÷ ç video-ðñïâïëÞ ôçò Åñáôþò ×áôæçóÜââá åßíáé áðåõèåßáò åìðíåõóìÝíç áðü ôá äñáìáôéêÜ ãåãïíüôá ôçò ôïõñêéêÞò åéóâïëÞò ôï 1974, Üëëá, üðùò óõìâáßíåé ìå ôá Ýñãá ôïõ Íßêïõ ×áñáëáìðßäç, áíáæçôïýí ìéá êïéíùíéêÞ-ïéêïõìåíéêÞ äéÜóôáóç óôéò ó÷Ýóåéò ìå ôïí "Üëëï", Þ üðùò ðñïêýðôåé áðü ôç ãüíéìç óõíåñãáóßá ôïõ ÓôáìÜôç ÆÝñâá êáé ôïõ Ðáíáãéþôç ÓéÜãêñç, ç éóôïñßá ôïõ áðåëåõèåñùôéêïý áãþíá ôïõ 1955-59 (ç ïðïßá óõìâïëßæåôáé ìå ôçí áã÷üíç) óõíõðÜñ÷åé ìå åðßóçò óõìâïëéêÝò áíáöïñÝò óôç óýã÷ñïíç ðñáãìáôéêüôçôá. Ôá ßäéï åíäéáöÝñïõóåò åßíáé åîÜëëïõ ïé äçìéïõñãßåò ôùí êáëëéôå÷íþí ðïõ áíôéìåôùðßæïõí ôçí Êýðñï ü÷é áêñéâþò ùò áöåôçñßá Ýìðíåõóçò , áëëÜ ùò åìâÜèõíóç êáé ðñïÝêôáóç ðñïóùðéêþí åìðåéñéþí Þ Üëëùí êïéíùíéêþí êáé éóôïñéêþí âéùìÜôùí ôïõò. ¸ôóé, ãéá ôïí ¢ããåëï Ðáðáäçìçôñßïõ ðïõ åêðñïóùðåßôáé ìå Ýíáí "ìéêñü åðéôÜöéï", ç Êýðñïò ôáõôßæåôáé ìå ôçí Ýííïéá ôïõ ðÝíèïõò ðïõ üðùò ãñÜöåé ï ßäéïò, "óôçí 78

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ðñïóùðéêÞ ôïõ æùÞ îåêßíçóå áðü Ýíá áóôåßï êáé ôþñá óïâÜñåøå ìÝóá ôïõ".n Ôï ßäéï èá Ýëåãá êáé ãéá ôç "äñÜóç" ôçò Êáôåñßíáò Êáñïýóïõ óôïí åîùôåñéêü ÷þñï ôïõ Óðéôéïý ôçò Êýðñïõ ìå ôçí "ðáñÜêëçóç õðÝñ åéêüíùí", ãéá ôá Ýñãá ôçò ÑÜíéáò ÑÜãêïõ ðïõ ìáò èõìßæïõí üôé áíïé÷ôÞ ðëçãÞ ìðïñåß íá åßíáé êáé ç ìíÞìç ìéáò éóôïñßáò ðïõ ç ãåíéÜ ôçò äåí ðñüöôáóå íá ãíùñßóåé, Þ ãéá ôéò óõíèÝóåéò ôïõ Ìáíþëç Æá÷áñéïõäÜêç åýóôï÷á õðïíïìåõôéêÝò ìÝóá áðü ôçí åðéìåëþò öñïíôéóìÝíç "áöÝëåéá" ôïõò. Ôá ßäéï áõôü ðíåýìá ÷áñáêôçñßæåé ôéò äçìéïõñãßåò ôïõ ÓôÝëéïõ ÃáâáëÜ, ôïõ ÃéÜííç Ãåùñãáñßïõ, ôïõ ÃéÜííç ÃñçãïñéÜäç, ôïõ ÓùêñÜôç ÓùêñÜôïõò, ôïõ Ãéþñãïõ ÊáæÜæç. ÓôÝêïìáé óå ìéá ãñáðôÞ öñÜóç ôïõ ôåëåõôáßïõ áõôïý êáëëéôÝ÷íç ï ïðïßïò áíáñùôéÝôáé ìåôÜ áðü ôéò ôüóåò äåêáåôßåò ðïõ Ý÷ïõí ðáñÝëèåé, ìÞðùò ðñÝðåé ïé áãíïïýìåíïé íá ìðïõí ðñáãìáôéêÜ áíÜìåóÜ ìáò. ¼ðùò ï ßäéïò óçìåéþíåé, ãéá íá ìðïõí ôåëéêÜ ïé Üíèñùðïé áõôïß ôïõò ïðïßïõò ãíùñßæïõìå ìüíï áðü ôéò öùôïãñáößåò ôïõò óôçí êáèçìåñéíüôçôá ìáò, èá ðñÝðåé ç óýã÷ñïíç ãåíéÜ íá ôïõò ãíùñßóåé êáé íá åîïéêåéùèåß ìáæß ôïõò ìÝóá áðü ôç äéêÞ ôçò ãëþóóá êáé ôá äéêÜ ôçò Þèç.o ÕðïèÝôù ðùò ï Ãéþñãïò ÊáæÜæçò åííïåß ìéá ãëþóóá ðáãêïóìéïðïéçìÝíç, óõããåíéêÞ ìå ôçí áéóèçôéêÞ ôçò øçöéáêÞò åéêüíáò êáé öõóéêÜ áíïé÷ôÞ óôçí éëéããéþäç ðñïïðôéêÞ ôùí ôùí virtual realities. ÊÜôé äçëáäÞ ðïõ íá ìïéÜæåé ìå ôéò ðñÜãìáôé ãïçôåõôéêÝò êáé åíäéáöÝñïõóåò êáëëéôå÷íéêÝò áíáæçôÞóåéò ôïõ éäßïõ. Ùóôüóï ôï ðñüâëçìá äåí åßíáé ç ãëþóóá, äçëáäÞ ôï ìÝóï ðïõ èá ÷ñçóéìïðïéÞóåé ï äçìéïõñãüò ãéá íá åêöñáóôåß, áëëÜ ç ðñáãìáôéêÞ Þ ü÷é óõììåôï÷Þ ôïõ ó' áõôü ðïõ èÝëåé íá åêöñÜóåé. Äåí ìðïñåß íá åßóáé ðåéóôéêüò óôï ìÞíõìá ðïõ èá ìåôáöÝñåéò óå ìéá ãåíéÜ áí åóý ï ßäéïò äåí åßóáé áëçèéíüò êïéíùíüò ôïõ. ¸ðåéôá, áò ìïõ åðéôñáðåß íá õðåíèõìßóù üôé âéþìáôá üðùò ç áðþëåéá åíüò áãáðçìÝíïõ ðñïóþðïõ, ï îåñéæùìüò Þ ï èÜíáôïò äåí áðïôåëïýí ðéêñü ðñïíüìéï ìéáò ìüíï ãåíéÜò áëëÜ äéáñêåßò, åðáíáëáìâáíüìåíåò êáé áíõðÝñâëçôåò äïêéìáóßåò ôçò áíèñùðüôçôáò. Áí ïé íåüôåñåò ãåíéÝò äåí óõíåéäçôïðïéÞóïõí ôá óöÜëìáôá Þ ôéò áôõ÷ßåò ôïõ ðáñåëèüíôïò, áñãÜ Þ ãñÞãïñá èá õðï÷ñåùèïýí íá ôéò îáíáæÞóïõí. Ç Êýðñïò åìðíÝåé ëïéðüí ùò óôáõñïäñüìé óõíÜíôçóçò (óõíäéáëëáãÞò Þ óýãêñïõóçò) ôùí ìåãÜëùí äõíáóôåéþí ÁíáôïëÞò êáé Äýóçò, ùò ôüðïò áöïìïßùóçò êáé ôåëéêÞò åíóùìÜôùóçò ôùí ðéï áíüìïéùí ðïëéôéóìþí, ùò ôüðïò ïäýíçò êáé ðñïóìïíÞò, ùò óýã÷ñïíï ôåëåõôáßï óýíïñï ôçò åíùìÝíçò Åõñþðçò. ¸íáò ìåãÜëïò ößëïò ôïõ êõðñéáêïý ðïëéôéóìïý, ï ¢ããëïò êáèçãçôÞò J. d. Beazley åß÷å ãñÜøåé, åäþ êáé ìéóü ðåñßðïõ áéþíá, ãéá ôï íçóß êáé ôïõò áíèñþðïõò ôïõ: " ÓêÝöôïìáé ìÞðùò åäþ ìüíï èá ðñÝðåé íá áíáæçôçèåß ç ðñáãìáôéêÞ êáé áäéÜöèïñç ïõóßá ôçò áíèñùðüôçôáò ôçò Åõñþðçò, ôçò ïðïßáò, åóåßò êé åãþ áðïôåëïýìå ìüíï ìéá ìåôáâáôéêÞ, åöÞìåñç êáé åõÜëùôç åêäï÷Þ ".m Ï êÜèå êáëëéôÝ÷íçò êáôáãñÜöåé ëïéðüí - ÷ñçóéìïðïéþíôáò ôéò äéêÝò ôïõ êáëëéôå÷íéêÝò åìðåéñßåò êáé ôá äéêÜ ôïõ åêöñáóôéêÜ ìÝóá - áõôÜ ðïõ íïéþèåé, èõìÜôáé Þ öáíôÜæåôáé áðü ôï ðáñüí Þ ôï ðáñåëèüí åíüò ôüðïõ ï ïðïßïò åßíáé áíáãêáóìÝíïò íá æåé áêüìá, êÜôù áðü ôéò óõíèÞêåò åíüò äñáìáôéêïý éóôïñéêïý ðáñÜäïîïõ: üíôáò ôï ôåëåõôáßï ðñïò áíáôïëÜò ðñïðýñãéï ôïõ åõñùðáúêïý ðïëéôéóìïý õößóôáôáé åäþ êáé äåêáåôßåò ôçí êáôï÷éêÞ åéóâïëÞ ìéáò îÝíçò ÷þñáò, ìå ôçí óéùðçñÞ áíï÷Þ - åÜí ðñÜãìáôé ðñüêåéôáé ãéá óéùðçñÞ áíï÷Þ - ôçò ßäéáò ôçò Åõñþðçò. 1 Ôï ôìÞìá ôçò Ýêèåóçò ðïõ óõíäåüôáí ìå ôçí áñ÷áéüôçôá ðåñéëÜìâáíå áããåßá êáé åéäþëéá ôçò ðñþéìçò êáé ìÝóçò åðï÷Þò ôïõ ÷áëêïý, áããåßá ôçò Êýðñï-áñ÷áúêÞò ðåñéüäïõ ÉÉ êáé ÉÉ åéäþëéá ôïõ 8ïõ êáé 6ïõ ð.÷ áéþíá áðü ôçí ãíùóôÞ ÓõëëïãÞ ôïõ Éäñýìáôïò ÄçìÞôñç Ðéåñßäç. Ç Ýêèåóç ðåñéëÜìâáíå åðßóçò áíôßãñáöá áíáèçìáôéêþí ðçëßíùí áãáëìÜôùí áðü ôï éåñü ôçò Áãßáò ÅéñÞíçò ( Êõðñï-Áñ÷áúêÞ Ðåñßïäïò ). 2 Ôï êåñáìéêü óýìðëåãìá ôïõ Ãéþñãïõ Íéêïëáúäç ôï ïðïßï åêðñïóùðïýóå óõìâïëéêÜ ôçí äõíáìéêÞ ðáñïõóßá ôïõ åëëçíéêïý óôïé÷åßïõ óôïí ðïëéôéóìü ôçò Êýðñïõ, åß÷å ôïí ôßôëï ÌÜíôéò ç èñçóêåõôéêÞ. 3 Ïé óýã÷ñïíïé êáëëéôÝ÷íåò Þôáí ï Èåüäïõëïò Ãñçãïñßïõ ìå ìéá åãêáôÜóôáóç áðü óöáßñåò, ïèüíåò ôçëåüñáóçò êáé video, ï ÊõñéÜêïò ÊáëÞò ìå ãëõðôÜ ôïõ óå ãýøï, ï Ãéþñãïò ÊõðñÞò ìå ãëõðôÜ ôïõ óå ðçëü êáé óßäçñï Þ ïñåß÷áëêï, ï Ãéþñãïò ÓöÞêáò ìå êáôáóêåõÞ ôïõ áðü ãýøï, ßíåò êáé ÷áëêü. ÅíäéÜìåóïò " óôáèìüò " ôçò Ýêèåóçò Þôáí ôá äçìéïõñãÞìáôá, óå îýëï Þ ðÝôñá, ôïõ ëáúêïý ãëýðôç Êþóôá Áñãõñïý. Ï Íßêïò ×áñáëáìðßäçò óõììåôåß÷å ìå ôï Ýñãï ôïõ Åõáããåëéóìüò 1995 ôï ïðïßï åß÷å ðñïóöåñèåß áðü ôïí ê. ÄÜêç ÉùÜííïõ. 4 Íßêç Ëïúæßäç, Ãåþñãéïò Ðïëõâßïõ Ãåùñãßïõ. ¸íáò äçìéïõñãüò óôï óôáõñïäñüìé ÁíáôïëÞò êáé Äýóçò, Ðïëéôéóôéêü ºäñõìá ÔñáðÝæçò Êýðñïõ, Ôïì Á' 1999, óåë. 46. 5 ÁíáöÝñåôáé óå åðåîçãçìáôéêü êåßìåíï ôïõ ßäéïõ ôïõ êáëëéôÝ÷íç ãéá ôç óõìâïëÞ ôïõ óôçí Ýêèåóç Ãéá ôçí Êýðñï…… 6ÁíáöÝñåôáé óå åðåîçãçìáôéêü êåßìåíï ôïõ ßäéïõ ôïõ êáëëéôÝ÷íç ãéá ôçí Ýêèåóç óôï Óðßôé ôçò Êýðñïõ.

Íßêç Ëïúæßäç ÊáèçãÞôñéá Éóôïñßáò ôçò ÔÝ÷íçò Áíþôáôçò Ó÷ïëÞò Êáëþí Ôå÷íþí


Åêôýðùóç Lambda êïëëçìÝíç óå plexiglass, 63x80 åê, 2007 Lambda print on plexiglass, 63x80 cm, 2007

george kazazis page 79


About Cyprous...

It's been almost a decade since 1997 when, on the occasion of the events held for "Thessaloniki Cultural Capital of Europe", I undertook to curate an art exhibition about Cyprus. The title of the exhibition was "Memories and Contemporary Paths of Cypriot Sculpture" and it gathered together - through three symbolically demarcated milestones creations from antiquity , later Cypriot tradition as well as contemporary artistic output. Besides the unforgettable sculptor Yiorgos Nikola?desk, who participated with a small ceramic grouping dedicated to the art and culture of Cyprus - the remaining artists were young Cypriots whose work had received recognition in Greece and overseasl. The selection of these artists - amongst whom Nikos Haralambides had a symbolic but very significant presence - was based on a simple rationale which, in order to be sufficiently comprehensible required one to be at the very least familiar in passing with the centuries-long history of art in Cyprus. Even someone dipping into the surface of its art and civilisation, would conclude that very few places which are as small as Cyprus and had to contend with (or rather were subjected to) as many disparate cultural experiences, have managed to maintain their own individual nature and identity with such life and integrity. When I say "integrity", of course, I do not mean an identity that is racially and culturally "pure" or "uncorrupted", but instead one that is unique - and perhaps unrepeatable - in its individuality. For example, the traces left behind by foreign invaders not only did not alter the cultural individuality or "Cypriot character", instead, they were absorbed to such an extent that they function as a genuine part of its very existence. Using the artistic events of '97, I had reasoned that there should be an exhibition with "images" from the centuries-long multi-cultural tradition of Cyprus: images (mainly ceramic works) from prehistoric and historic antiquity; from folk tradition; as well as images from contemporary art, which, as is well known, began to form in the urban centres of western and eastern Europe after the establishment of the State of Cyprus (1960) and the existence of an - unfortunately - short-lived peace. Today I am happy to have been offered, once more, the opportunity to write something about contemporary artistic creations, not precisely from Cyprus, but dedicated to Cyprus by young Greek and Cypriot creative artists. Fourteen artists: Dimitra Vamiali; Stelios Gavalas; Yiannis Georgariou; Yiannis Grigoriades, Manolis Zaharioudakis; Stamatis Zervas; George Kazazis; Katerina Karoussou; Angelos Papadimitriou; Rania Ragou; Panagiotis Siagris; Socrates Socratous; Nikos Haralambides; and Erato Hatzisavva cover the interior spaces of the House of Cyprus (and part of its outdoor space) with interventions, video projections, installations, wall-mounted displays, drawings, paintings and objects. Certain works, as for example the video projection by Erato Hatzisavva, were directly inspired by the dramatic events of the 1974 Turkish invasion, Others, however, as in the case of works by Nikos Haralambides, seek socio-ecumenical dimensions in relations with the "other", or as shown in the fertile collaboration between Stamatis Zervas and Panagiotis Siagris, the history of the 1955-1959 struggle for liberation (symbolised by the gallows) coexists with references to the current state of affairs, which are also symbolic. Equally interesting are the creations of artists who utilise Cyprus not precisely as a starting point for inspiration, but instead one for insight and projections into their own personal experiences or their social and historical background. Thus for Angelos Papadimitriou, represented by a "small epitaph", Cyprus is identified with the meaning of mourning, which he writes commenced from a private joke and has been transformed into a serious matter within himn. I would say the same about the "intervention" by Katerina Karoussou in the outdoors space belonging to the House of Cyprus with the "supplication in defence of icons"; about the works of Rania Ragou, which remind us that the recollection of history, with which an entire generation never had the opportunity to become familiar, can also be an open wound; or compositions by Manolis Zaharioudakis, which are pointed and undermining through

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their diligently studied "na?vet?". This same spirit also characterises creations by Stelios Gavalas, Yiannis Georgarious, Yiannis Grigoriades, Socrates Socratous, George Kazazis. I pause at a phrase written by this latter artist, who wonders whether, after all the decades that have passed, those missing in action should truly come amongst us. He himself notes that, for the missing in action - people we know solely through their photographs - to enter our everyday life, the current generation should get to know them and become familiar with them using its own language and moreso. I assume that George Kazazis means a language that is globalised and related to the aesthetics of digital imagery and naturally open to the vertiginous prospect of virtual realities. Something, in other words, similar to the trully charming and interesting artistic quests he himself undertakes. However, the problem is not language, i.e. the medium artists use to express themselves, but instead artists' genuine or not participation in what they wish to convey. You cannot convincingly convey a message to a generation, if you yourself are not a true communicant of that message. Moreover, allow me to remind you that experiences such as death, the loss of a loved one, or being uprooted do not constitute the bitter prerogative of a single generation: they are instead constant, repeated and insurmountable trials that beset humanity. If following generations fail to realise the errors or misfortunes of the past, then sooner or later they will be obliged to live them out again. Thus Cyprus inspires because it is a crossroads for encounters (for reconciliation or conflict) of the major dynasties of East and West; a place where disparate cultures are absorbed and incorporated in the local culture; a place of anguish and expectation; a contemporary last boundary of a unified Europe. British Professor J.D. Beazley, a great friend of the Cypriot culture, wrote, approximately half a century ago, concerning the island and its people: "I consider that only here can we seek out the real and incorruptible essence of humankind in Europe, of which you and I constitute only a transient, ephemeral and vulnerable version"m. Each one of the artists thus records - using their own artistic experiences and personal means of expression - what they feel, remember or imagine about the present or the past of a place which is forced to live, even now, under the conditions of a dramatic historical paradox: being the furthest eastern outpost of European civilisation for decades it has been subject to the occupying invasion of a foreign country, which is silently tolerated - if it is in fact only silent toleration - by Europe itself. 1 The segment of the exhibition connected to antiquity included vessels and statuettes from the Early and Middle Bronze Age, vessels from the Cyprus Archaic Periods I and II; statuettes from the 8th and 6th centuries BC from the renowned Collection of the Dimitris Pierrides Foundation. The exhibition also included replicas of votive clay statues from the sanctuary at Aghia Eirini (Cyprus Archaic Period). 2 The ceramic group by Yiorgos Nikolaides, which symbolically represented the dynamic presence of the Greek element in the civilisation of Cyprus, bore the title Mantis religiosa. 3 The contemporary artists included were Theodoulos Grigoriou, with an installation made of bullets, television screens and video; Kyriakos Kalis with plaster sculptures; Yiorgos Cypris with his sculptures in clay and iron or brass, Yiorgos Sfikas with a construction of plaster, fibre and copper. The creations in wood and stone of folk sculptor Kostas Argyrou, acted as an intermediate "milestone" in the exhibition. Nikos Haralambides participated with his work Annunciation 1995, which was kindly supplied by Mr. Dakis Ioannou. 4 Nike Lo?zidi, Georgios Polyviou Georgiou. A creative artist at the crossroads of East and West, The Cultural Foundation of the Bank of Cyprus, Vol. A, 1999, page 46. 5 Mentioned in an explanatory note by the artist concerning his contribution to the exhibition About Cyprus... 6 Mentioned in an explanatory text by the artist himself concerning the exhibition at the House of Cyprus.

Nike Lo?zidi Professor of Art History Athens School of Fine Arts


Åêôýðùóç Lambda êïëëçìÝíç óå plexiglass, 63x66 åê, 2007 Lambda print on plexiglass, 63x66 cm, 2007

george kazazis page 81


Åêôýðùóç Lambda êïëëçìÝíç óå plexiglass, 63x106 åê, 2007 Lambda print on plexiglass, 63x106 cm, 2007

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ÁðïóðÜóìáôá video áðï ôï video-animation”S.O.S.”, äéÜñêåéá 1'.07", ©2007 Video stills of the video-animation "S.O.S.", duration 1'.07", ©2007

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14 ôáîéäéùôéêÝò ïäçãßåò ãéá ôçí Êýðñï

¼ëïé ÷ñåéÜæïíôáé ôéò ìíÞìåò ôïõò. Êñáôïýí ôï ëýêï ôçò áóçìáíôüôçôáò Ýîù áðü ôçí ðüñôá. Saul Bellow, Mr Sammler's Planet 1 Ç ïìáäéêÞ Ýêèåóç ìå ôßôëï "Ãéá ôçí Êýðñï…" ðïõ äéïñãáíþíåôáé óôï Óðßôé ôçò Êýðñïõ, óôï ðëáßóéï ôùí åêäçëþóåùí ãéá ôá 20 ÷ñüíéá ëåéôïõñãßáò ôïõ, óõãêåíôñþíåé ôá Ýñãá 14 ÅëëÞíùí êáé Êõðñßùí êáëëéôå÷íþí, Ýñãá ðïõ îåêßíçóáí ìå ôçí êïéíÞ ðñïôñïðÞ åíüò åí äõíÜìåé ðïëéôéêïý ó÷ïëßïõ, êáé ðïõ äéáìïñöþèçêáí óôç óõíÝ÷åéá óå Ýíá åõñýôåñï öÜóìá ïðôéêþí óçìåéþóåùí ìå êåíôñéêü ÜîïíÜ ôïõò ôçí éóôïñßá, ôïí ðïëéôéóìü êáé ôç óýã÷ñïíç äñáìáôéêÞ ðïëéôéêÞ êáé ðïëéôåéáêÞ ðñáãìáôéêüôçôá ôçò äé÷ïôïìçìÝíçò Êýðñïõ. Êïéíü æçôïýìåíï êáé óõíäåôéêüò éóôüò ãéá ôïõò ðåñéóóüôåñïõò óõììåôÝ÷ïíôåò, ç äéáôÞñçóç Þ ç åðáíáöïñÜ ôçò ðñùôïãåíïýò Þ äåõôåñïãåíïýò ìíÞìçò, ìÝóù ìéáò êñéôéêÞò éóôïñéêÞò ìáôéÜò. Ôçò êñéôéêÞò éóôïñéêÞò ìáôéÜò ðïõ êáôÜ ôï Íßôóå "åßíáé éêáíÞ íá ìåôáôïðßóåé ôï ðáñåëèüí óå Ýíá ïðôéêü ðåäßï åíôüò ôïõ ïðïßïõ ìðïñåß êáé ðñÝðåé íá áíáêñéèåß ÷ùñßò Ýëåïò" 2, ðñïêåéìÝíïõ íá ìáò ôñïöïäïôÞóåé ìå æùôéêÝò ðëçñïöïñßåò ãéá ôç óõóôáôéêÞ ýëç ôïõ ðáñüíôïò. ¹ ðÜëé, ìéáò êñéôéêÞò ìáôéÜò ðïõ óýìöùíá ìå ôïí Usherwood, ôñÝðåôáé óå åéëéêñéíÞ åéêáóôéêÞ êáôÜèåóç, "åðéäéþêïíôáò íá ÷ñçóéìïðïéÞóåé êáé íá ó÷ïëéÜóåé ôï ðáñåëèüí êáé ôçí åìöáíÞ ðñïâïëÞ ôïõ óôï ðáñüí ìå ôñüðï ìáæß áðåëåõèåñùôéêü êáé ðñïïäåõôéêü". 3 Ç ÄÞìçôñá ÂÜìéáëç, ï ÓôÝëéïò ÃáâáëÜò, ï ÃéÜííçò Ãåùñãáñßïõ, ï ÃéÜííçò ÃñçãïñéÜäçò, ï Ìáíþëçò Æá÷áñéïõäÜêçò, ï ÓôáìÜôçò ÆÝñâáò áðü êïéíïý ìå ôïí Ðáíáãéþôç ÓéÜãêñç, ï Ãéþñãïò ÊáæÜæçò, ç Êáôåñßíá Êáñïýóïõ, ï Áããåëïò Ðáðáäçìçôñßïõ, ç ÑÜíéá ÑÜãêïõ, ï ÓùêñÜôçò ÓùêñÜôïõò, ï Íßêïò ×áñáëáìðßäçò êáé ç Åñáôþ ×áôæçóÜââá, ìå áöåôçñßá ôçí ðñïçãïýìåíç äïõëåéÜ ôïõò, åöïñìïýí êé åãêáèßóôáíôáé óôïõò åóùôåñéêïýò êáé ôïõò åîùôåñéêïýò ÷þñïõò ôïõ Óðéôéïý ôçò Êýðñïõ, áöçãïýìåíïé ôçí ðñïóùðéêÞ ó÷Ýóç ôïõò ìå ôçí Êýðñï êáé áíáæçôþíôáò íÝåò åííïéïëïãéêÝò êáé óçìáóéïëïãéêÝò åêäï÷Ýò ôçò ó÷Ýóçò áõôÞò, ìÝóù äéáöïñåôéêþí ôå÷íéêþí, ìÝóùí, äñÜóåùí, áõôïó÷åäéáóìþí. Ïé ðåñéóóüôåñïé áðü ôïõò ðáñáðÜíù Êýðñéïõò Þ ¸ëëçíåò êáëëéôÝ÷íåò åðéóôñáôåýïõí -åðéëåãìÝíá áðïóðáóìáôéêÜ- ôéò åéêüíåò êáé ôá âéþìáôá ôçò éäéùôéêÞò ôïõò ìíÞìçò, êáôáãñÜöïõí ôá ãåãïíüôá êáé ôéò óõíÝðåéåò ðïõ åß÷áí åðßðôùóç óôïõò ßäéïõò, óôá óõããåíéêÜ Þ óå êÜðïéá áðü ôá öéëéêÜ ôïõò ðñüóùðá: åéêüíåò Üìåóçò âßáò, åãêëùâéóìïý, áðáãïñåõìÝíïõ, áðþëåéáò êáé ðÝíèïõò, áíôéðáñÜèåóçò êáé áäõíáìßáò óõíýðáñîçò, åîáêïëïõèçôéêÞò áðåéëÞò êáé áôÝñìïíïõ áãþíá, áíáóõíôßèåíôáé óôçí áõôïôåëÞ ó÷åäüí äéÜóôáóÞ ôïõò áðü êáëëéôÝ÷íåò üðùò ï ÃéÜííçò Ãåùñãáñßïõ, ï ÓôáìÜôçò ÆÝñâáò êáé ï Ðáíáãéþôçò ÓéÜãêñçò, ç Åñáôþ ×áôæçóÜââá êáé ï Íßêïò ×áñáëáìðßäçò. Áêüìç ùóôüóï êáé üôáí åêëåßðåé ç ðñùôïãåíÞò ìíÞìç, ç Êýðñïò áíôéìåôùðßæåôáé áðü ôïõò ßäéïõò ùò ï ïéêåßïò -áí êáé ìç âéùìÝíïò- ôüðïò ìéáò áñ÷Ýãïíçò êáé åîáêïëïõèçôéêÞò, óõ÷íÜ ïäõíçñÞò óõíÜíôçóçò ôçò ÁíáôïëÞò ìå ôç Äýóç, ùò åýèñáõóôï -êáé êáôå÷üìåíï- üñéï åíüò áåíÜùò ìåôáâáëëüìåíïõ åõñùðáúêïý ÷Üñôç üðïõ ïé ðïëéôéêÝò, èñçóêåõôéêÝò, ðïëéôéóìéêÝò Þ êïéíùíéêÝò óõãêñïýóåéò, åîáêïëïõèïýí íá ìáßíïíôáé ìå óöïäñüôçôá. Áðü ôçí Üëëç ìåñéÜ, ç Üãíïéá ôùí íåüôåñùí ãéá ôá ãåãïíüôá, Þ ç äéáðßóôùóç ôçò óõóóþñåõóçò ôçò ðñïåñ÷üìåíçò áðü ôïí ôïõñéóìü åõìÜñåéáò ðïõ åßíáé éêáíÞ íá ðñïêáëÝóåé ôçí éóôïñéêÞ ëÞèç, êáôáãñÜöåôáé Üëëïôå ìå äéÜèåóç áðïëïãçôéêÞ Þ óáñêáóôéêÞ êé Üëëïôå ùò Ýíá åîßóïõ åðßöïâï ãåãïíüò, ìå áíõðïëüãéóôåò ãéá ôï ìÝëëïí óõíÝðåéåò. Ïé ÄÞìçôñá ÂÜìéáëç, ÓôÝëéïò ÃáâáëÜò, ÃéÜííçò ÃñçãïñéÜäçò, Ìáíþëçò Æá÷áñéïõäÜêçò, Ãéþñãïò ÊáæÜæçò, Êáôåñßíá Êáñïýóïõ, ¢ããåëïò Ðáðáäçìçôñßïõ, ÑÜíéá ÑÜãêïõ êáé ÓùêñÜôçò ÓùêñÜôïõò, îáíáäéáâÜæïõí ôçí Éóôïñßá, ðñáãìáôïðïéïýí åðéôüðéåò áíáóêáöÝò ôïõ ðëçãùìÝíïõ åäÜöïõò, ðåñéóõëëÝãïõí ôá èñáýóìáôá ôïõ ðáñåëèüíôïò, óõíèÝôïõí ìåëëïíôïëïãéêÜ "ôïõñéóôéêÜ óåíÜñéá" ìå áíôéóôïé÷ßåò óôï Âåñïëßíï Þ ôç ÍÝá Õüñêç. ÊÜðïéåò ðÜëé öïñÝò, åðéêáëïýìåíïé ôç ãÝíåóç ìéáò íÝáò åéêïíïðïéßáò, ìíçìïíåýïõí ôïõò íåêñïýò êáé ôïõò áãíïïýìåíïõò, åðéèõìþíôáò íá ôïõò åíôÜîïõí óôéò ôá÷ýôçôåò êáé ôçí ðáãêïóìéüôçôá ôïõ óÞìåñá, Þ áðïðåéñþíôáé ôç äçìéïõñãßá åíüò êéíçôïý áóýëïõ, éêáíïý íá îåðåñÜóåé ôá èñçóêåõôéêÜ êáé ãåùãñáöéêÜ üñéá ðïõ ïé ßäéïé ïé Üíèñùðïé èÝôïõí ï Ýíáò óôïí Üëëï. Éêáíïý áêüìç, íá îåðåñÜóåé êáé íá íéêÞóåé ôïí ôñüìï, ðïõ, óýìöùíá ìå ôïí Êáìý, "åíþ äåí ìðïñåß íá èåùñçèåß åðéóôÞìç, áðïôåëåß ïðùóäÞðïôå ìéá ôå÷íéêÞ" 4: "Ï öüâïò åßíáé ïðùóäÞðïôå ôå÷íéêÞ…", óçìåéþíåé ðñÜãìáôé ï Êáìý, óôï äéïñáôéêü êáé ãéá ôéò åðåñ÷üìåíåò äåêáåôßåò ãñáðôü ôïõ Ïýôå äÞìéïé ïýôå èýìáôá: "Ôé íá ðïýìå ãéá ôï ãåíéêüôåñï öüâï åíüò ðïëÝìïõ, ðïõ ðñïåôïéìÜæåôáé ôþñá áðü üëá ôá Ýèíç, êáé ôïí åéäéêüôåñï öüâï ðïõ åìðíÝïõí ïé åãêëçìáôéêÝò éäåïëïãßåò;", áíáñùôéÝôáé. "Ðïéïò ìðïñåß í' áñíçèåß üôé æïýìå ìÝóá óå ìßá êáôÜóôáóç ôñüìïõ; 84

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Æïýìå ìÝóá óôïí ôñüìï, ãéáôß ç ðåéèþ äåí åßíáé ðéá äõíáôÞ, ãéáôß ï Üíèñùðïò Ý÷åé ïëïêëçñùôéêÜ êáôáðïíôéóôåß ìÝóá óôçí Éóôïñßá, ãéáôß äåí ìðïñåß ðéá íá åëåõèåñþóåé åêåßíï ôï ìÝñïò ôçò öýóçò ôïõ ðïõ åßíáé ôüóï ðñáãìáôéêü üóï êáé ôï éóôïñéêü ìÝñïò…Ðåèáßíïõìå áíÜìåóá óå áíèñþðïõò ðïõ íïìßæïõí ðùò Ý÷ïõí áðüëõôï äßêéï, åßôå óå ó÷Ýóç ìå ôéò ìç÷áíÝò ôïõò åßôå ìå ôéò éäÝåò ôïõò. Êáé ãéá üëïõò üóïõò ìðïñïýí íá æÞóïõí ìüíï ìÝóá óå ìéá áôìüóöáéñá áíèñþðéíïõ äéáëüãïõ êáé êïéíùíéêüôçôáò, áõôÞ ç óéùðÞ áðïôåëåß ôç óõíôÝëåéá ôïõ êüóìïõ". Êáé áëëïý: "Ôï ðéï Ýíôïíï ÷áñáêôçñéóôéêü ôïõ êüóìïõ óôïí ïðïßï æïýìå åßíáé üôé ïé ðåñéóóüôåñïé êÜôïéêïß ôïõ -ìå åîáßñåóç ôïõò èñçóêüëçðôïõò- Ý÷ïõí áðïêïðåß áðü ôï ìÝëëïí. Ç æùÞ ùóôüóï, äåí Ý÷åé êáìßá áîßá, ðáñÜ ìüíï åÜí ìðïñåß íá ðñïâÜëëåé ôïí åáõôü ôçò óôï ìÝëëïí, íá ìðïñåß íá ùñéìÜóåé êáé íá ðñïïäåýóåé. Ôï íá æåéò Ý÷ïíôáò ìðñïóôÜ óïõ Ýíáí ôïß÷ï åßíáé ìéá óêõëßóéá æùÞ…¸÷ïõìå äåé áíèñþðïõò íá øåýäïíôáé, íá åîåõôåëßæïõí, íá óêïôþíïõí, íá åîïñßæïõí, íá âáóáíßæïõí êáé êÜèå öïñÜ Þôáí áäýíáôï íá ðåéóôïýí ãéá íá ìçí ôá êÜíïõí áõôÜ, ãéáôß Þôáí óßãïõñïé ãéá ôïí åáõôü ôïõò…¸÷åé äçìéïõñãçèåß ãýñù ìáò ìéá ìåãÜëç óõíïìùóßá óéùðÞò, óõíïìùóßá ðïõ ôç äÝ÷ïíôáé åêåßíïé ðïõ åßíáé ôñïìïêñáôçìÝíïé êáé ïé ïðïßïé åêëïãéêåýïõí ôïõò öüâïõò ôïõò ãéá íá ôïõò êñýøïõí áðü ôïí åáõôü ôïõò, ìéá óõíïìùóßá ðïõ åíéó÷ýåôáé áðü üóïõò Ý÷ïõí óõìöÝñïí íá ôï êÜíïõí. 5. Ðïéïò üìùò åßíáé áõôüò ðïõ ôñïìïêñáôåß, êáé ðïéïò ï ôñïìïêñáôïýìåíïò; Ðïéïò åßíáé ï èýôçò êáé ðïéï ôï èýìá; Áðïôåëåß Üñáãå áõôü ìéá áðüëõôç êáé ÷ùñßò åðéóôñïöÞ åîßóùóç; Êé åßíáé ôá Ýñãá ôçò ðáñïýóáò Ýêèåóçò ìßá êáè' üëá åîáíôëçôéêÞ êáôáãñáöÞ óõìâÜíôùí; Èá Ýëåãá ü÷é, ìá ðáñáìÝíïõí ðïëýôéìá, ãéáôß ìáò äßíïõí ôç äõíáôüôçôá íá åðåîåñãáóôïýìå ðïëëÝò ðáñÜëëçëåò êáôáãñáöÝò êáé üøåéò ôçò áëÞèåéáò. Óôçí Ýêäïóç ôïõ Åèíéêïý Ìïõóåßïõ Óýã÷ñïíçò ÔÝ÷íçò Óýíïøéò 3 -Ìáñôõñßåò ìåôáîý Ìõèïðëáóßáò êáé Ðñáãìáôéêüôçôáò, ìå áöïñìÞ ôï âßíôåï-íôïêéìáíôÝñ ôïõ Êïõôëïýãê ÁôáìÜí "É + É = É" ðïõ ðáñïõóéÜóôçêå óôçí ïìþíõìç Ýêèåóç ìåôÜ ôçí ðñþôç ôïõ ðáñïõóßáóç áðü ôï ÊÝíôñï Óýã÷ñïíçò ÔÝ÷íçò ôïõ Éäñýìáôïò ÄÝóôå, êáé ôï ïðïßï, äéá óôüìáôïò ôçò ôïõñêïêýðñéáò óõããñáöÝá Íåæß Ãéáæßí, êáôáãñÜöåé "ôçí Üëëç üøç ôçò Üëëçò ðëåõñÜò", ï Íßêïò ÎõäÜêçò óõìðõêíþíåé ôï ìÞíõìá ôïõ Ýñãïõ, åðáíáëáìâÜíïíôáò ôá ëüãéá ôçò Ãéáæßí: "Ôñåéò âáóéêïß ñüëïé óôç æùÞ åßíáé áõôïß ôïõ ôýñáííïõ, ôïõ èýìáôïò êáé ôïõ óùôÞñá. Áõôïß ïé ñüëïé åíáëëÜóóïíôáé. Ôá èýìáôá ìðïñåß íá ãßíïõí ôýñáííïé ìüëéò ðÜñïõí ôçí åîïõóßá. Ïé ôýñáííïé ìðïñåß íá ãßíïõí èýìáôá. Ïé óùôÞñåò ìðïñåß íá ãßíïõí ôýñáííïé Þ íá ãßíïõí èýìáôá. Ïé ñüëïé áõôïß ìðïñåß ðÜíôá íá ìåôáëëÜóóïíôáé áðü ôïí Ýíá óôïí Üëëï…". Êé ï ßäéïò êáôáëÞãåé: Ôï Ýñãï áõôü ùò "óõãêñáôçìÝíá èåñìü docudrama", "ìïéñÜæåôáé ôéò áñåôÝò êáé ôéò áäõíáìßåò ìéáò åðáíåöåýñåóçò ôïõ ðïëéôéêïý", "äéáèÝôåé ôçí ðáññçóßá, ôç ëéôüôçôá, ôçí åõèõâïëßá, êåñäßæåé ìå ôç óõíáéóèçìáôéêÞ áìåóüôçôá, ìá ÷Üíåé ôï âÜèïò, ôç óõíèåôüôçôá, ôçí éóôïñéêÞ ðñïïðôéêÞ". ÐñÝðåé íá áíôéìåôùðéóôåß "óáí áíáóýíèåóç ðñïóùðéêÞò ìíÞìçò, íïóôáëãßáò êáé óôï÷áóìïý ðÜíù óôç âßá, óôï ðþò ìåôáöÝñåôáé äñáìáôéêÜ ç êáèçìåñéíüôçôá üôáí âñåèåß óôç ìÝããåíç ôçò ìáêñïúóôïñßáò. ÌáêÜñé íá âëÝðáìå êáé Üëëåò ôÝôïéåò ôáéíßåò, áðü ôç äéêÞ ìáò ü÷èç…" 6. ÐñïóùðéêÜ ðéóôåýù ðùò ïé 14 äéáöïñåôéêÝò áíáãíþóåéò -áðü ôç äéêÞ ìáò ðëÝïí ü÷èç- ìÝóù ôùí ïðïßùí åîåñåõíÜôáé êáé øçëáößæåôáé êáôÜ ôüðïõò ç Êýðñïò, áðïôåëïýí ïõóéáóôéêÝò áðüðåéñåò áíß÷íåõóçò êáé áíáóýíèåóçò ôçò áôïìéêÞò êáé ôçò óõëëïãéêÞò ìíÞìçò ôçò. ×ùñßò íá áðïôåëïýí åîáíôëçôéêÞ éóôïñéêÞ êáôáãñáöÞ, áöçãïýíôáé ìå óõíáéóèçìáôéêÞ áìåóüôçôá êïììÜôéá éóôïñßáò ðïõ åãêáèßóôáíôáé ðÜñáõôá óôï åíäïóêïðéêü óýìðáí ôïõ èåáôÞ, êñáôþíôáò ôï ëýêï ôçò áóçìáíôüôçôáò Ýîù áðü ôçí ðüñôá…

1. Saul Bellow, Mr Sammler's Planet (New York: Viking, 1970), óôïí David Lowenthal, The Past is a Foreign Country, Cambridge University Press, 1985. 2. Friedrich Nietzsche, The Use and Abuse of History, óôï Thoughts out of season, Part II (ìôöñ. A. Collins, Ëïíäßíï 1909-24). 3. Paul Usherwood, Public Art and Collective Amnesia, óôï Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art, ed. Jonathan Harris, Liverpoul University Press + Tate Liverpool, 2004 4. ÁëìðÝñ Êáìý, Ï Áéþíáò ôïõ Ôñüìïõ, (áðüóðáóìá) áðü ôï Ïýôå äÞìéïé ïýôå èýìáôá, ìôöñ. Íßêïò Áëåîßïõ, Åëåýèåñïò Ôýðïò, ÁèÞíá 1979, áíáäçì. óôçí Ýêäïóç ôçò ÅèíéêÞò ËõñéêÞò ÓêçíÞò Ï ÖõëáêéóìÝíïò & Ç Óýíôïìç ÆùÞ, åðéì. Í. ÄïíôÜò, ÁèÞíá 2006 5. ÁëìðÝñ Êáìý, ü.ð. 6. Åèíéêü Ìïõóåßï Óýã÷ñïíçò ÔÝ÷íçò, Óýíïøéò 3 -Ìáñôõñßåò ìåôáîý Ìõèïðëáóßáò êáé Ðñáãìáôéêüôçôáò, åðéì. ¢ííá ÊáöÝôóç, ÁèÞíá 2004.

ºñéò Êñçôéêïý Éóôïñéêüò ôÝ÷íçò


Åêôýðùóç Lambda êïëëçìÝíç óå plexiglass, 63x83 åê, 2007 Lambda print on plexiglass, 63x83 cm, 2007

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14 travel instructions for Cyprus

Everybody needs his memories. They keep the wolf of insignificance from the door. Saul Bellow, Mr Sammler's Planet 1 The Group exhibition "About Cyprus…" organised by the House of Cyprus, as part of a series of events celebrating its twenty years of operation, gathers together works by 14 Greek and Cypriot artists - works whose starting point was a collective prompting from a potentially political comment. These works were then formulated into a broader range of visual notes around a central theme concerning the history, culture and contemporary dramatic political and state reality of a bisected Cyprus. The point sought by most of the participants and the connective tissue linking them is maintaining or recalling primary or secondary memories, seen from a critical historical perspective. The critical historical perspective which, according to Nietzsche "is capable of transposing the past onto a visual field within which it may and will be interrogated without mercy" 2, in order to yield to us vital information concerning the component matter of the present. Or otherwise, a critical perspective which, according to Usherwood, is transformed into honest artistic testimony "seeking to utilise and comment on the past and its obvious projection into the present in a manner both liberating and progressive". 3 Dimitra Vamiali, Stelios Gavalas; Yiannis Georgariou; Yiannis Grigoriades, Manolis Zaharioudakis; Stamatis Zervas in collaboration with Panagiotis Siagris; George Kazazis; Katerina Karoussou; Angelos Papadimitriou; Rania Ragou; Socrates Socratous; Nikos Haralambides; and Erato Hatzisavva: using their previous work as a starting point, are charging forth and installing themselves in the indoor and outdoor spaces of the House of Cyprus, narrating their personal relationships with Cyprus and seeking new conceptual and semantic versions of this relationship, through various techniques, media, actions and improvisations. Most of the aforementioned Cypriot or Greek artists enlist - in a selective segmented manner - the images and experiences of their private memories; they record events and what consequences their impact had on themselves, their relatives or certain of their friends: images of direct violence, immurement, prohibited things, loss and mourning, conflict and inability to coexist, continuous threat and endless struggle, are reconstituted in nearly self-contained dimensions by artists including Yiannis Georgariou, Stamatis Zervas and Panagiotis Siagris, Erato Hatzisavva and Nikos Haralambides. Even, however, when primary memory vanishes, Cyprus is dealt with by these very artists as a familiar place, even though not personally experienced: a place primordial and constant, the crossroads where often agonizing encounters occur between East and West; as a fragile - and occupied - boundary in an endlessly mutable European map, where political, religious, cultural or social conflict continues to rage intensely. On the other hand, the ignorance of events displayed by the younger generation, or ascertaining the accumulated prosperity derived from tourism, which is capable of causing the loss of historical memory, is recorded either with apologetic intent or sarcastically, and in other cases as an event equally to be feared, with incalculable repercussions for the future. Dimitra Vamiali, Stelios Gavalas, Yiannis Grigoriades, Manolis Zacharioudakis, George Kazazis, Katerina Karoussou, Angelos Papadimitriou, Rania Ragou and Socrates Socratous revisit History, undertake on-site archaeological digs of the wounded earth, collect shards from the past, compose futurist "tourist scripts" in direct correspondence with Berlin or New York. In certain other instances, they evoke the genesis of a new image-making, and in remembrance of the dead and the missing, seek to subsume them to the speed and universality of the present day, or attempt to create a mobile asylum haven, capable of overcoming all religious and geographical boundaries which people set on each other. Capable, even, of overcoming and beating the terror, although, according to Camus, "although fear cannot be considered a science, it is certainly a technique" 4: "Fear is certainly a technique…" noted Camus, in fact, in Neither victims nor executioners, writing which is visionary for the coming decades as well. "What with the general fear of a war, now being prepared by all nations, and the specific fear of murderous ideologies, who can deny that we live in a state of terror?" he wonders.

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"We live in terror because persuasion is no longer possible; because man has been wholly submerged in History; because he can no longer tap that part of his nature, as real as the historical part... We suffocate among people who think they are absolutely right, whether in their machines or in their ideas. And for all who can live only in an atmosphere of human dialogue and sociability, this silence is the end of the world". And elsewhere: "The most vivid characteristic of the world in which we live is that most of its inhabitants - with the exception of those afflicted with religious fervour - have been cut off from the future. Life, however, has no value whatsoever, except if it can project itself into the future, when it can mature and progress. Having to live your life facing a wall is a dog's life... We have seen men lie, degrade, kill, deport, torture - and each time it was not possible to persuade them not to do these things because they were sure of themselves… A vast conspiracy of silence has spread all about us, a conspiracy accepted by those who are frightened, and who rationalise their fears in order to hide them from themselves, a conspiracy fostered by those whose interest it is to do so. 5. Who, however, is the one who terrorizes and who is terrorised? Who is the perpetrator and who the victim? Does this constitute an absolute and irreversible equation from which there is no return? And are the works of the current exhibition, an exhaustive record of events in all matters? I would say no, but they remain valuable, because they provide us with the capacity to process many parallel records and aspects of the truth. In the Greek National Museum of Contemporary Art publication, Synopsis 3 - Testimonies Between Fiction and Reality, on the occasion of the video / documentary by Kutlu? Ataman "I+I=I", shown at the exhibition of the same name, after its first showing at the DESTE Foundation Center for Contemporary Art, and which, through the words of TurkishCypriot author Nese Yasin, records "the other view of the other side", Nikos Xydakis condensed the message of the work, recapitulating Yasin's words: "Three fundamental roles in life are those of tyrants, victims and saviours. And these roles alternate. The victims can turn into tyrants as soon as they gain power. The tyrants can become victims. The saviours can turn into either tyrants or victims. These roles can eternally be transformed, one into the other…". And he concludes: This work is a "restrained warm docudrama" that "shares virtues and weaknesses similar to reinventing a politician", "contains candour, simplicity, accurate shots, wins you over with its emotional directness, but loses out in depth, complexity, historical perspective". It should be considered a "resynthesising of personal memory, nostalgia and contemplation on violence, how everyday life is transferred dramatically when in the vise of macro-history. If only we could see other such films, from our side of the events…" 6. I personally believe that the 14 different readings - in this case from our side of events - through which Cyprus is at times examined and touched in places, constitute substantial attempts to trace and re-compose its individual and collective memory. Without constituting in any way an exhaustive historical record, they narrate, with emotional directness, segments of history which nevertheless take root in the viewer's endoscopic universe, keeping the wolf of insignificance from the door…

1. Saul Bellow, Mr Sammler's Planet (New York: Viking, 1970), in David Lowenthal, The Past is a Foreign Country, Cambridge University Press, 1985. 2. Friedrich Nietzsche, The Use and Abuse of History, in Thoughts out of season, Part II (transl. A. Collins, London 1909-24). 3. Paul Usherwood, Public Art and Collective Amnesia, in Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art, ed. Jonathan Harris, Liverpool University Press + Tate Liverpool, 2004 4. Albert Camus, The Century of Fear, (excerpt) from Neither victims nor executioners, translated into Greek by Nikos Alexiou, Eleutheros Typos, Athens 1979, reprinted in the Greek National Opera Publication O Fylakismenos & I Syntome Zoe (Il Prigioniero & La vida Breve), ed. N. Dontas, Athens 2006. 5. Albert Camus, as above. 6. Greek National Museum of Contemporary Art, Synopsis 3 - Testimonies Between Fiction and Reality, ed. Anna Kafetsi, Athens 2004.

Iris Criticou Art Historian


Åêôýðùóç Lambda êïëëçìÝíç óå plexiglass, 63x85 åê, 2007 Lambda print on plexiglass, 63x66 cm, 2007

george kazazis page 87


Black Females & Pink Males

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Âéïãñáöéêü Ï Ãéþñãïò ÊáæÜæçò ãåííçèçêå ôï 1958 óôçí ÁèÞíá, ïðïõ æåé êáé åñãáæåôáé. Áðï ôï 1990 åéíáé ìåëïò ôïõ ÄÅÐ ôçò ÁíùôÜôçò Ó÷ïëÞò Êáëþí Ôå÷íþí. Áðü ôï 2000 ùò ôï 2001 çôáí ìÝëïò ôïõ Project Space óôçí ÁèÞíá. Áôïìéêåò Åêèåóåéò ~1985 ÌÅÄÏÕÓÁ Áéèïõóá Ôå÷íçò, Áèçíá (Êáôáëïãïò) ~1989 ÌÅÄÏÕÓÁ Áéèïõóá Ôå÷íçò, Áèçíá (Êáôáëïãïò) ~1992 ÌÅÄÏÕÓÁ Áéèïõóá Ôå÷íçò, Áèçíá (Êáôáëïãïò) ~1995 ÌÅÄÏÕÓÁ +1 Áéèïõóá Ôå÷íçò, Áèçíá (Êáôáëïãïò) ~2001 Els Hanappe Underground, Áèçíá ~2007 Works till today, Art Act, Áèçíá Ïìáäéêåò Åêèåóåéò (Åðéëïãç) ~1984 "4 äéáèåóåéò ãéá ÷ñùìá", ãêáëëåñé ÁÍÔÇÍÙÑ, Áèçíá ~1986 2ç Ìðéåíáëå Íåùí Êáëëéôå÷íùí ôçò Ìåóïãåéïõ, Èåóóáëïíéêç (Êáôáëïãïò) ~1986 Åéêáóôéêç Äñáóç É êáé ÉÉ, Äñïìïé ôçò Áèçíáò ~1987 "Áíôéðïäåò" Êåíôñï Óõã÷ñïíçò Ôå÷íçò, Ìåëâïõñíç Áõóôñáëéá ~1987 Ðáíåëëçíéá Êáëëéôå÷íéêç Åêèåóç, ÏËÐ, Ðåéñáéáò (Êáôáëïãïò) ~1992 "Äåêá Åéêáóôéêåò Ðñïôáóåéò", ãêáëëåñé TITANIUM, Áèçíá (Êáôáëïãïò) ~1993 "Ç èáëáóóá óôçí Åëëçíéêç Æùãñáöéêç", ãêáëëåñé ÍÅÅÓ ÌÏÑÖÅÓ, Áèçíá (Êáôáëïãïò) ~1997 "3M Êáéíïôïìéåò" Intercontinental Áèçíá (Êáôáëïãïò) ~1997 "3M Êáéíïôïìéåò" Ãêáëëåñé Vilca Èåóóáëïíéêç (Êáôáëïãïò) ~1999 "Hooligans" 4ï Äéåèíåò Öåóôéâáë Êïìéêò, ÃêÜæé, ÁèÞíá ~2000 "Elvis Has Left the Building", Project Space, ÁèÞíá (Êáôáëïãïò) ~2001 Art Athina, Els Hanappe Underground, ÁèÞíá ~2003 Depictions of AIDS through Art, ÅëçíïáìåñéêáíéêÞ ¸íùóç, ÁèÞíá ~2004 Domestic Alien, Êåíôñï Óõã÷ñïíçò Ôå÷íçò ÉëåÜíá Ôïýíôá, ÁèÞíá ~2004 Ï Mickey óõíáíôÜ ôçí ÔÝ÷íç, ÅëçíïáìåñéêáíéêÞ ¸íùóç, ÁèÞíá ~2005 Áüñáôïé (Love will tear us apart) 10ï ÄéåèíÝò ÖåóôéâÜë Êüìéêò, ÃêÜæé, ÁèÞíá (ÊáôÜëïãïò) ~2005 ÏñÜìáôá, Âõæáíôéíü Ìïõóåßï, ÁèÞíá ~2007 Ãéá ôçí Êýðñï…, Óðßôé ôçò Êýðñïõ, ÁèÞíá

100 óåëéäá ãéùñãïò êáæáæçò

Âéâëéïãñáößá ~×ñõóá Ñùìáíïõ Êáôáëïãïò åêèåóçò, "ÌÅÄÏÕÓÁ" Áéèïõóá Ôå÷íçò, 1985 ~Ìáñéá Êïôæáìáíç Ðåñéïäéêï "ÅÉÊÏÍÅÓ" ôåõ÷ïò 25, Áðñéëéïò 1985 ~×áñçò Êáìðïõñéäçò Åöçìåñéäá "ÔÁ ÍÅÁ", 18/5/1985 ~Âåáôñéêç Óðçëéáäç Åöçìåñéäá "ÅËÅÕÈÅÑÏÔÕÐÉÁ", 4/6/1985 ~ÈÅÌÁÔÁ ×ÙÑÏÕ + ÔÅ×ÍÙÍ Åôçóéá êáëëéôå÷íéêç åðéèåùñçóç, Íï 17, 1986 ~R.J.Moulin "L'HUMANITE", 15/8/1987 "En passant par Paris" ~Ìð. Ðáðáäïðïõëïõ Êáôáëïãïò åêèåóçò, "ÌÅÄÏÕÓÁ" Áéèïõóá Ôå÷íçò, 1989 ~×áñçò Êáìðïõñéäçò Åöçìåñéäá "ÔÁ ÍÅÁ", 29/5/1989 ~Mary Machas Ðåñéïäéêï "THE ATHENIAN", Ìáéïò 1989 ~"ÅÎÏÑÌÇÓÇ" Åöçìåñéäá 4/5/1989 ~Âéâç Âáóéëïðïõëïõ Ðåñéïäéêï "ÁÈÇÍÏÑÁÌÁ", 4/1992 ~Ìáñéá Ìáñáãêïõ Åöçìåñéäá "ÅËÅÕÈÅÑÏÔÕÐÉÁ", 6/4/1992 ~×áñçò Êáìðïõñéäçò Åöçìåñéäá "ÔÁ ÍÅÁ", 20/4/1992 ~Áèçíá Ó÷éíá Ðåñéïäéêï "ÁÍÔÉ", 1/5/1992 ~Ìð. Ðáðáäïðïõëïõ Ðåñéïäéêï "ÓÕÍÔÅËÅÉÁ", ôåõ÷ïò 6-7, 1992 ~×ñõó. ×ñçóôïõ "Ç ÈÁËÁÓÓÁ ÓÔÇÍ ÅËËÇÍÉÊÇ ÆÙÃÑÁÖÉÊÇ 19ïò & 20ïò ÁÉÙÍÁÓ", 1992 ~Ãåùñãéá Êáëõâéùôç Åöçìåñéäá "ÍÁÕÔÅÌÐÏÑÉÊÇ", 28/5/1995 ~Ìáñéá Ìáñáãêïõ Åöçìåñéäá "ÅËÅÕÈÅÑÏÔÕÐÉÁ", 3/6/1995 ~"ARTI" Ðåñéïäéêï, ôåõ÷ïò 31/1996 ~Óôåëëá Ðéðåñáêç Êáôáëïãïò åêèåóçò "3m Êáéíïôïìéá", Intercontinental Áèçíá, Vilca Èåó/íéêç, 1997 ~È. Ìïõôóïðïõëïò "It's My Party" Ðåñéïäéêï "ÁÍÔÉ" Ôåõ÷ïò 658 10/4/1998 ~Ìáíïò Óôåöáíéäçò Ðåñéïäéêï "ÁÍÔÉ" Ôåõ÷ïò 659 24/4/1998 ~Ìáíïò Óôåöáíéäçò Ðåñéïäéêï "ÅÊÖÑÁÓÇ" Ôåõ÷ïò 2 5/1998 ~È. Ìïõôóïðïõëïò Ðåñéïäéêï "ÂÁÂÅË" Ôåõ÷ïò 182 6/1998 ~"Ëåîéêï Åëëçíùí Êáëëéôå÷íùí" 16ïò-20ïò áé. (Ôïìïò 2ïò) Åêäïóåéò ÌÅËÉÓÓÁ 1998 ~ÈáíÜóçò Ìïõôóüðïõëïò, ÊáôÜëïãïò Ýêèåóçò "ÂáâÝë Hooligans", 1999 ~Els Hanappe C3A, Öåâñïõáñéïò 2000, 'Highlight of the Month' ~Âáíåóóá Èåïäùñïðïõëïõ Åðôá Êáëëéôå÷íåò óå ¸íá Äéáìåñéóìá, Åöçìåñéäá 'ÊÁÈÇÌÅÑÉÍÇ', 24 Éïõíéïõ 2000 ~ÖùôåéíÞ Ìðáñêá Ï Elvis äå æåé ðéá åäþ, Åöçìåñéäá 'ÅËÅÕÈÅÑÏÔÕÐÉÁ', 26 Éïõíéïõ 2000 ~Äçìçôñá Ñïõìðïõëá Project Space, Åöçìåñéäá 'ÅÈÍÏÓ'/åíèåôï, 13 Éïõëéïõ 2000 ~Åöç Ìé÷áëáñïõ Elvis Has Left The Building, (Art News), Down Town, 14-20 Éïõëéïõ 2000 ~Êáôåñéíá Æá÷áñïðïõëïõ Ôï Ðåéñáìá ôùí Åðôá, Åöçìåñéäá 'ÅÈÍÏÓ', 16 Éïõëéïõ 2000 ~Åëåíç Ðõñãéùôç Çôáí ï Elvis Åäþ;, Åöçìåñéäá 'ÂÇÌÁ', 22 Éïõëéïõ 2000 ~Åöç Óôñïõæá Ç Ôå÷íç óôïõò Êáëëéôå÷íåò, Åöçìåñéäá 'ÇÌÅÑÇÓÉÁ' / åíèåôï, 19-20 Áõãïõóôïõ 2000 ~Êáôåñéíá Ãñåãïõ Êáôáëïãïò ôçò åêèåóçò Elvis Has Left the Building, Project Space, Áèçíá, 2000 ~Els Hanappe Êáôáëïãïò ôçò åêèåóçò Elvis Has Left the Building, Project Space, Áèçíá, 2000 ~Êáôåñéíá Ãñåãïõ ART, Óõëëïãç Óõã÷ñïíçò Åëëçíéêçò Ôå÷íçò Îåíïäï÷åéïõ Intercontinental, 2000 ~Åöç Ìé÷áëáñïõ X-Generation, Ðåñéïäéêï "ÍÉÔÑÏ" (óõëëåêôéêï ôåõ÷ïò), 12/2000 - 1/2001 ~Áë. Êïñïîåíéäïõ Entrepreneurial spirit of a gallery, International Herald Tribune / Kathimerini 21/1/01 ~ÁìÜíôá Ìé÷áëïðïýëïõ, Äåí óå èÝëù ðéá, Ðåñéïäéêü "ÃÕÍÁÉÊÁ", Ôåý÷ïò 1188, 3/2001 ~Ìáñéíá Öùêéäç Kaleidoscope world, Åöçìåñéäá "Åðåíäõôçò / Symbol", 23 Éïõíéïõ 2001 ~Ìáíïò Óôåöáíéäçò 'Åëëçíïìïõóåéïí' - Åîé áéùíåò Åëëçíéêç Æùãñáöéêç (Ôïìïò Â') Åêäïóåéò 'ÌÉËÇÔÏÓ' 2001 ~ÃéÜííçò Ôñéáíôáöõëëïõ, Ðåñéïäéêü "STATUS", Ôåý÷ïò 171 , 6/2002 ~Âéêõ Ìðáöáôáêç 'Ðïñåéá Æùçò', Óõíåíôåõîç MEGA, Ïêôùâñéïò 2002 ~Áñôåìéò Ðïôáìéáíïõ, Depictions of AIDS through Art, 2003 ~Êùóôçò Âåëùíçò, Êáôáëïãïò ôçò åêèåóçò: Domestic Alien, 2004 ~Èáíáóçò Ìïõôóïðïõëïò, Êáôáëïãïò ôçò åêèåóçò Ïñáìáôá, 2005 ~Íéêç Ëïéæéäç, Êáôáëïãïò ôçò åêèåóçò Ãéá ôçí Êõðñï…, 2007


Biography George Kazazis was born in Athens in 1958, where he lives and works. He has been teaching at the Athens School of Fine Arts since 1990. Was member of the Project Space, Athens, (artist -run space founded in 2000-2001) Solo Exhibitions ~1985 Medusa gallery, Athens (catalogue) ~1989 Medusa gallery, Athens (catalogue) ~1992 Medusa gallery, Athens (catalogue) ~1995 Medusa+1 gallery, Athens (catalogue) ~2001 Els Hanappe Underground, Athens ~2007 Works till today, Art Act, Athens Selected Group Exhibitions ~1984 "4 moods for color" Andinor gallery Athens ~1986 "Fine Art Action I, II", streets of Athens ~1986 Second Biennale, Young Artist of the Mediterranean sea, Thessalonica, (catalogue) ~1987 "Antipodes" Modern Art Museum, Melbourne Australia ~1987 Pan Hellenic Art exhibition, Part of Piraeus Bureau (catalogue) ~1992 "Ten proposal in painting", Titanium gallery, Athens (catalogue) ~1993 "Sea in Greek painting" Nees Morfes gallery Athens (catalogue) ~1997 "3m novelties' Intercontinental gallery, Athens (catalogue) ~1997 '3m novelties" Vilca gallery, Thessalonica (catalogue) ~1999 "Hooligans" 4th International Festival of Comics, Athens (catalogue) ~2000 "Elvis Has Left the Building" , Project Space, Athens ~2001 Art Athina, Els Hanappe Underground (booth), Athens ~2003 Depictions of AIDS through Art, Hellenic American Union, Athens ~2004 Domestic Alien, Ileana Tounda Gallery, Athens ~2004 Mickey meets art, Hellenic American Union, Athens ~2005 Invisible (Love will tear us apart) 10th International Festival of Comics, Athens (catalogue) ~2005 Visions, Vyzantine Museum, Athens ~2007 About Cyprus‌, House of Cyprus, Athens

Bibliography ~Chryssa Romanos, catalogue of the exhibition, Medusa gallery, 1985 ~Maria Kotzamani, "Ikones" magazine, issue 25 April 1985 ~Haris Kambouridis, "Ta Nea", newspaper, 18/5/1985 ~Beatrice Spiliadi, "Eleftherotipia" newspaper, 4/6/1985 ~"Design+Art in Greece" annual art review, No 17-1986 ~R.J.Moulin, "L Humanite", "En passant par Paris", 15/8/1987 ~Bia Papadopoulou, catalogue of the exhibition, Medusa gallery, 1989 ~Haris Kambouridis, "Ta Nea", newspaper, 29/5/1989 ~Mary Machas, "The Athenian", magazine, May 1989 ~"Exormisi", newspaper, 4/5/1989 ~Vivi Vasilopoulou, "Athinorama", magazine, 4/1992 ~Maria Maragkou, "Eleftherotipia" newspaper, 6/4/1992 ~Haris Kambouridis, "TA NEA", newspaper, 20/4/1992 ~Athina Shina, "Anti", magazine, 1/5/1992 ~Bia Papadopoulou, "Synteleia", magazine, issue 6-7, 1992 ~Chr. Christou, "Sea in greek painting", 1992 ~Georgia Kalivioti, "Naftemporiki", newspaper, 28/5/1995 ~Maria Maragkou, "Eleftherotipia" newspaper, 3/6/1995 ~"Arti", art Magazine, issue 31 , 1996 ~Stella Piperaki, catalogue of the exhibition "3m novelties", Intercontinental gallery, Athens Vilca gallery, Thessalonica, 1997 ~Thanasis Moutsopoulos, "It's My Party", "Anti", magazine issue 658, 10/4/1998 ~Manos Stefanidis, "ANTI", magazine issue 659, 24/4/1998 ~Manos Stefanidis, "Ekfrasi", magazine issue 2, 5/1998 ~Thanasis Moutsopoulos, "Babel", magazine issue 1 82, 6/1 998 ~"Dictionary of Greek Painters", Melissa edition, 1998 ~Els Hanappe, C3A, "Highlight of the Month", February 2000 ~Vanessa Theodoropoulou Seven Artists in a Flat, "Kathimerini" (newspaper), June 24, 2000 ~Fotini "Barka Elvis Doesn't Live Here Any More", "Eleftherotypia" (newspaper), June 26, 2000. ~Dimitra Rouboula "Project Space", "Ethnos" (newspaper) / Inset, July 13, 2000 ~Efi Mihalarou "Elvis Has Left the Building", (Art News), "Down Town" (magazine), July 14-20, 2000 ~Katerina Zaharopoulou "The experiment of the Seven", "Ethnos" (newspaper), July 16, 2000 ~Eleni Pirgioti "Was Elvis Here?", "Vima" (newspaper), July 22, 2000 ~Efi Strouza "The Art to the Artists", "Imerisia" (newspaper), Inset, 19 - 20 August 2000 ~Katerina Gregos catalogue of the exhibition "Elvis Has Left the Building" Project space, 2000 ~Els Hanape catalogue of the exhibition "Elvis Has Left the Building" Project space, 2000 ~Katerina Gregos "ART, The Hotel Athenaeum Intercontinental Collection of Contemporary Greek Art", 2000 ~Efi Mihalarou "X-Generation", Klik (magazine) (collector's issue), December 2000 / January 2001 ~Al Koroxenidis "Entrepreneurial spirit of a gallery", "International Herald Tribune" / "Kathimerini" (newspaper), January 21 , 2001 ~Marina Fokidis "Kaleidoscope world", "Ependitis" / "Symbol" (newspaper / magazine), June 23, 2001 ~'Ellenomouseion' - Six centuries of Greek Painting (Vol. II) 'Militos' Publications, Manos Stefanidis, 2001 ~Viki Bafantaki, "Poria Zois", Interview, Mega Channel, October 2002 ~Artemis Potamianou, "Depictions of AIDS through Art", 2003 ~Kostis Velonis, catalogue of the exhibition "Domestic Alien", 2004 ~Thanasis Moutsopoulos, catalogue of the exhibition "Visions", 2005 ~Niki Loizidis, catalogue of the exhibition "About Cyprus, 2007

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Ãéþñãïò ÊáæÜæçò 210.9537104 697.2033097 www.gkazazis.com gkazazis@yahoo.com gkazazis@otenet.gr Ðáñìåíßäïõ 26 11636 ÁÈÇÍÁ

George Kazazis +30.210.9537104 +30.697.2033097 www.gkazazis.com gkazazis@yahoo.com gkazazis@otenet.gr 26 Parmenidou str 11636 Athens GREECE

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