Katerina Athanasiou - the Counterfeiter: Εγγύτητα - Ιντιμισμός

Katerina Athanasiou - the Counterfeiter: Εγγύτητα - Ιντιμισμός: "Εγγύτητα . Ιντιμισμός. Η έννοια του ιντιμισμού ( in timisme ) χρησιμοποιήθηκε για να περιγράψει τα εσωτερικά χώρων που ζωγράφιζαν οι..."

Thursday, June 16, 2011

Fortunately, some people see to it that the garden of thought remains fertile. While the eclipse was the guest of honor… and while the television sets were screaming out about who had to appear first in the windows to prove he had first predicted this disaster or the other… and while some “indignated” were picking up the rest of the square’s marble slabs, those they had smashed to use as ammunition… a group of friends in New Herakleion were whispering a different guide to closeness. I was so glad when I went to the Grigoriadis Gallery. Many people were there, families with small children talking about the paintings and the other artworks. In all the dispersion of these days, in all this tumult, with so many empty words, as if none stopped to take a breath, to think – all constantly pronounce, simply because they have the instrument of voice…

Visiting yesterday’s exhibition was for me the most substantial thing I did these days… an impulse to think more synthetically, just as thought has to be, to travel through history as it was seen by the arts and felt by the artists in various social contexts…

This dialog among the artworks is accomplished thanks to the inspiration and creative impulse of the curator, Panajiotis Papadopoulos. Some works were famous, others, at least for me, completely unknown… the works’ unexpected conversation through their juxtaposition demolishes all boundaries and suddenly one realizes the community of problems and personal routes… Privacy is a form of protection against a threatening public area, notes Papadopoulos. This collision shimmers through the work of some artists… When you visit the exhibition, you should definitely use the guiding brochure prepared by the curator, which makes this dialog, as well as the curator’s look on it, transparent, and opens up a perspective for our own interpretation of the exhibition. ”At the centre of the exhibition Katerina Athanasiou presents a performance where two women, the artist and her daughter, read books and polish their nails. Pervolarakis’ painting is reconstituted, it becomes a living painting, like the French tableau vivant, so vivid that yesterday there was a lady holding a red rose in her hand, persistently asking to enter the tableau and be photographed. She even asked the photographer for special instructions, so that she wouldn’t spoil the composition…” I was particularly moved by this exhibition yesterday, because there are some people who persistently take care of the garden of thought, so that it remains fertile, and this sweetly swept off the day’s tumult and I dreamt richly, just as dreaming should be”.

Lucia: Things I do for work and pleasure

Lucia Rikaki