Time is a Child

 

GALERIST and Perasma is presenting ‘Time is a Child’, a group exhibition that will take place on the Island of Leros, Greece until 30th of July 2023. 

Taking its name from the words attributed to Heraclitus: “Time is a child playing draughts by the sea”, an expression defining his perception of the fleeting and ever-changing nature of time, the exhibition brings together works by artists who reflect on the ceaseless possibilities inherent to the concept of time.

Works by Alice Guittard, Ayça Telgeren, Burcu Yağcıoğlu, Elif Uras, Evgenia Vereli, Kostis Velonis, Lara Ögel, Malvina Panagiotidi, Maria Joannou, Martin Creed, Merve İşeri, Nazım Ünal Yılmaz, Nil Yalter, Nuri Kuzucan, Rashid al Khalifa, Savvas Laz, Serkan Özkaya, Serra Duran, Silva Bingaz, Stefania Strouza, William Kentridge, Yeşim Akdeniz and Yusuf Sevinçli are brought together within the building, and they gush out to its outdoor area nesting in between the eucalyptus and pine trees surrounding it.

The Cheerful Ones

The Cheerful Ones, 2023
Acrylic, oil, pencil, and oil pastel on canvas

100 x 100 cm 

#Hilaria #pagan #Cheerful #Cybele #painting 

 

Late Spring Morning, First Summer Night

Late Spring Morning, 2022/ Acrylic and oil on wood 

First Summer Night, 2022/ Acrylic and oil on wood 

120 x 60 cm

#Seasons #Almanac #Diaries #Almanachdesbergers #weather #field #kostisvelonis #ShepherdsDiary #painting # vertical#horizon #Spring #Summer #Days #Nights #Hμερολόγιοτωνβοσκών

Perished Sun

Perished Sun, 2018

Oil and acrylic on canvas 

150 x 150 cm

Άσπρη φιγούρα

Αλέκος Φασιανός, Άσπρη φιγούρα, Λάδι σε μουσαμά, 58,5 x 43,5 cm, 1960

#AlekosFassianos #Fassianos #figures #painting #φασιανός

«Γλυπτική είναι αυτό που σκοντάφτεις όταν κάνεις πίσω για να δεις ένα ζωγραφικό έργο» (Αχίλλειος πτέρνα)

«Γλυπτική είναι αυτό που σκοντάφτεις όταν κάνεις πίσω για να δεις ένα ζωγραφικό έργο» (Αχίλλειος πτέρνα)

 

/ “Sculpture is what you bump into when you back up to see a painting”

Ειδική βιβλιογραφία, σημειώσεις

 

 

Τέχνη στο συγκείμενο (Art in context ) 

Η σχολή του Slapstick/ Slapstick School

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

Foster, Hal. The Return of the Real Cambridge, Mass.: MIT Press, 1996.  

 

Zizek, Slavoj. The Plague of Fantasies, London: Verso, 1997. 

 

 Marcoci, Roxana. The Anti-Historicist Approach: Brancusi, "Our Contemporary"
  Art Journal,  Summer, 2000, Vol. 59, No. 2 (Summer, 2000), pp. 18-35 

https://www.jstor.org/stable/778098  

 

Judd, Donald, Specific Objects, Arts Yearbook 8, 1965.

https://monoskop.org/images/3/31/Judd_Donald_1965_2005_Specific_Objects.pdf

 

Kellein, Thomas. Donald Judd: Early Work, 1955-1968, New York: D.A.P., 2002. 

 

 

Agamben, Giorgio.” Introductory Note on the Concept of Democracy” στον συλλογικό τόμο Democracy in What State?, Giorgio Agamben, Alain Badiou, Daniel Bensaïd, Wendy Brown, Jean-Luc Nancy, Jacques Rancière, Kristin Ross and Slavoj Žižek,  μτφρ. William McCuaig, Columbia University Press, 2011.

 

Αριστοτέλης, Πολιτικά, μτφρ. Π. Λεκατσάς, Αθήνα: Ι. Ζαχαρόπουλος, 1939.

 

 

Bishara, Hakim. Monolith-mania Continues as Artists Come Forward to Claim Credit for Sculptures, Hyperallergic.com, Dec. 8, 2020.

https://hyperallergic.com/606128/monolith-mania-continues-as-artists-come-forward-to-claim-credit-for-sculptures/?utm_content=buffer7c505&utm_medium=social&utm_source=twitter&utm_campaign=buffer

 

Brascusi’s Studio

https://www.centrepompidou.fr/en/collections/brancusis-studio

 

Burton, Tim, On Brancusi, NYC:  The Museum of Modern Art, 1989

https://assets.moma.org/documents/moma_catalogue_2133_300062903.pdf

 

 

Castañeda, Luis M. “Doubling Time,” Grey Room 51 (Spring 2013): 12–39. 

http://www.greyroom.org/issues/51/14/doubling-time/abstract/

 

 

Detienne Marcel. Συγκρίνοντας τα μη συγκρίσιμα,  μτφρ. Πελαγία Μαρκέτου, Αθήνα : Μεταίχμιο, 2003. 

 

Detienne, Marcel, Vernant, Jean Pierre. Μήτις : Η πολύτροπη νόηση στην αρχαία Ελλάδα, μτφρ. Ιωάννα Παπαδοπούλου, Αθήνα : Ζαχαρόπουλος, 1993. 

 

 

Holmes, Brooke. The Iliad's Economy of Pain, Transactions of the American Philological Association, Volume 137, Number 1, Spring 2007, pp. 45-84

https://doi.org/10.1353/apa.2007.0002 

Hess, Thomas B., Barnett Newman, NYC: Museum of Modern Art, 1971.

 

Jones, Jonathan.  Newman's Broken Obelisk: the end of a political dream, Guardian 22 oct. 2008 

 

https://www.theguardian.com/artanddesign/jonathanjonesblog/2008/oct/22/barnett-newman-obelisk  

 

Όμηρος, Ιλιας, ραψωδίες Α-Ω, μτφρ. Δημήτρης Μαρωνίτης,  Αθήνα: Άγρα, 2012. 

 

Mouffe, Chantal.  «Για μια αγωνιστική Δημόσια Σφαίρα» στον συλ­λο­γι­κό τόμο Απραγματοποίητη δημοκρατία,  Stuart Hall Michael Hardt, Ernesto Laclau, Manuel De Landa, Chantal Mouffe, Immanuel Wallerstein, Slavoj Zizek, μτφρ. Ελε­ά­να Πανά­γου, επιμ. Θεό­φι­λος Τρα­μπού­λης, Αθήνα : Futura,  2010.

 

Newman, Barnett. Broken Obelisk 

http://www.barnettnewman.com/broken-obelisk/   

 

Newman, Barnett. Achilles 

https://kostisvelonis.blogspot.com/2019/11/achilles.html

 

 King, Martin Luther. I have a dream Speech, delivered 28 August 1963, at the Lincoln Memorial, Washington D.C.

 

https://www.archives.gov/files/press/exhibits/dream-speech.pdf

 

Krauss, Rosalind. Sculpture in the Expanded Field
, October, Vol. 8, Spring, 1979, 30-44.

http://www.onedaysculpture.org.nz/assets/images/reading/Krauss.pdf

 

 

Polcari, Stephen. Barnett Newman's Broken Obelisk, Art Journal, Vol. 53, No. 4, Sculpture in Postwar Europe and America, 1945-59 , Winter, 1994, pp. 48-55

 https://www.jstor.org/stable/777561?seq=1#metadata_info_tab_contents   

 

Rosenberg, Harold. Broken Obelisk and Other Sculptures,  

Index of Art in the Pacific Northwest, Number 2. Henry Art Gallery / University of Washington Press ,1971.

 

Velonis, Kostis. Conflicts in the City: Between Hypsipolis and Apolis, State of South spring / summer 2014

https://www.academia.edu/13654296/Conflicts_in_the_City_Between_Hypsipolis_and_Apolis  

Vernant, Jean Pierre. Ο «καλός θάνατος» του Αχιλλέα,  Ανάμεσα στον μύθο και την πολιτική, μτφρ. Μαιρη I. Γιόση, Αθήνα : Σμίλη, 2003.

 

Vernant, Jean Pierre. Περί ορίων: Ανάμεσα στον μύθο και την πολιτική ΙΙ,  μτφρ. Μαίρη Ι. Γιόση,  Αθήνα : Σμίλη, 2008.

 

 

The Curtain Girl

The Curtain Girl, 2021 

Oil and acrylic on canvas

100 x 100 cm 

L’amour et l’(a)mur: το εμπόδιο και ο “ερωτότοιχος”

L’amour et l’(a)mur: το εμπόδιο και ο “ερωτότοιχος” 

 

Ειδική βιβλιογραφία, σημειώσεις

References, works cited, notes

 

 

Τέχνη στο συγκείμενο (Art in context ) 

Αμφισβητήσεις της δεξιότητας στη νεωτερικότητα 

ΑΣΚΤ -Χειμερινό εξάμηνο/ Εαρινό εξάμηνο

Αμφιθέατρο νέας βιβλιοθήκης,  Πειραιώς 256

Κωστής Βελώνης

 

 

Apter, Emily, Fetishism in Theory: Marx, Freud, Baudrillard” στο Feminizing the Fetish, Psychoanalysis and Narrative Obsession in Turn-of-the Century France,  Book Cornell University Press , 1991

http://www.jstor.com/stable/10.7591/j.ctt207g6z5.4

Βελώνης, Κωστής «Η Αντανάκλαση ως ιδεολογική κατασκευή της εκμηδένισης της ύλης και η επίδρασή της στον κινηματογράφο»,   Αρχιτέκτονες, Αύγ., τεύχος 64, 2007 

2007.https://www.academia.edu/13651790/Η_Αντανάκλαση_ως_ιδεολογική_κατασκευή_της_εκμηδένισης_της_ύλης_και_η_επίδραση_της_στο_κινηματογράφο

Βελώνης, Κωστής, Η αμφισβήτηση του τελάρου και η θέση του «ερωτότοιχου» στη μεταπολεμική αφαίρεση, Αυγή της Κυριακής, 17/06 /2018

http://avgi-anagnoseis.blogspot.com/2018/06/blog-post_53.html

B μερος, 24 /06/2018

 http://www.avgi.gr/article/10812/8995061/e-amphisbetese-tou-telarou-kai-e-these-tou-erototoichou-ste-metapolemike-aphairese-b-meros-

 

Bois, Yve-Alain, Buchloh, Benjamin, Foster, Hal,  Krauss,  Rosalind. Η τέχνη από το 1900, προλ.,επιμ., Παπανικολάου , Μιλτιάδης, Αθήνα :  Επίκεντρο, 2007, σσ., 368-372. 

 

 

Δανιήλ , Kennedy, R.C., «Πρόταση για επιστροφή στον τοίχο», Αίθουσα τέχνης Δεσμός, 4- 23 Δεκεμβρίου 1975.

 

 

Derrida Jacques. Περί γραμματολογίας, μτφρ. Παπαγιώργης, Κωστής, Αθήνα :  Γνώση , 1990.

 

 

Dor, Joël. Εισαγωγή στην ανάγνωση του Lacan. 1. Το ασυνείδητο δομημένο σαν γλώσσα. Επιμ. , Παπαευθυμίου ,Δημήτρης, μτφρ., Μποτηροπούλου, Ιφιγένεια,  Αθήνα : Πλέθρον , 1996. 

 

Freud, Sigmund “Fetichism” (1927) στο Miscellaneous Papers, 1888-1938, Vol.5 of Collected Papers, Λονδίνο : Hogarth and Institute of Psycho-Analysis, 1924-1950), 198-204. 

https://cpb-us-w2.wpmucdn.com/portfolio.newschool.edu/dist/9/3921/files/2015/03/Freud-Fetishism-1927-2b52v1u.pdf

Kerlidou, Gwenaël, A Supports/Surfaces Moment: Contradictions, Paradoxes and Other Ironies. hyperallergic.com, August 23 2014.

https://hyperallergic.com/144790/a-supportssurfaces-moment-contradictions-paradoxes-and-other-ironies/

Lewino Frédéric, Dos Santos, Gwendoline , 16 mars 1955. Le jour où Nicolas de Staël se suicide par amour, Le Point , 16 mars 2014, 

 

https://www.lepoint.fr/c-est-arrive-aujourd-hui/16-mars-1955-splash-le-peintre-nicolas-de-stael-atterrit-trop-brutalement-sur-le-trottoir-16-03-2012-1441804_494.php#

https://declic1718.org/la-vérité-de-nicolas-de-staël

Lacan, Jacques. Ακόμη (Encore) μτφρ, Σκολίδης Βλάσσης  Αθήνα : Ψυχογιός, 2013.

https://www.scribd.com/doc/102492027/Jacques-Lacan-Seminar-XX-Encore

Mauger, Gerard «Οδοφράγματα» στο Ο αιώνας των ανατροπών. Το λεξικό των κινημάτων αμφισβήτησης στον 20ό αιώνα, επιμ. Emmanuel de Waresquiel , εκδόσεις Οξύ, Αθηνα, 2004 σσ.418-419 .

 Ma, Tracy. Why Protest Tactics Spread Like Memes, New York Times, July 31, 2020.

https://www.nytimes.com/2020/07/31/style/viral-protest-videos.html?smid=fb-share&fbclid=IwAR2e6tfmEe-K0v7RiFwrtFqXE5boHmrXCRQrlUR6vm1GmTzZ6wox6ek-FlI

Πατρίκιος, Τίτος, Εμπόδια 

https://poihtikomixer.wordpress.com/2017/06/01/εμπόδια-τίτος-πατρίκιος/

Παπασπύρου, Ρένα. «Στίλπωνος 7», δράση –έκθεση γκαλερί Δεσμός, Αθήνα. 

http://renapapaspyrou.gr/episodes/1979-7.html

 

Phillips, Adam, Για το φίλημα, το γαργάλημα και την πλήξη, Ψυχαναλυτικά δοκίμια για τον ανεξέταστο βίο, μτφρ. Λαμπράκος, Γιώργος, Αθήνα : Οκτώ, 2012 .

 

Ricoeur, Jean-Paul. “Lacan, l’amour”, Psychanalyse 2007 /3 (no 10) 5-32

https://www.cairn.info/revue-psychanalyse-2007-3-page-5.htm

Rousseau,  Jean-Jacques.  Εξομολογήσεις, μτφρ. Αλεξάνδρα Παπαθανασοπούλου, Αθήνα: Ιδεόγραμμα, 1997

Porret, Philippe. “Un mur de lumière”,  Le Coq-héron 2004/3 (n^o 178), 139 -148.

https://www.cairn.info/revue-le-coq-heron-2004-3-page-139.htm

Soler, Colette. Η κατάρα του φύλου, επιμ., Πατσογιάννης Βασίλειος, μτφρ., Κουκουλάκη Καλλιόπη,  Αθήνα :  Πλεθρον , 2015. 

 

Tudal, Antoine,  Εμπόδια [Obstacles] https://champlacanienathenes.net/dimosiefseis/metafraseis/empodia-obstacles-antoine-tudal/

Tudal, Antoine, Paris en l'an 2000

https://dicocitations.lemonde.fr/citation_auteur_ajout/96797.php

Tapié, Michel. Art autre,  Paris : Gabriel-Giraud et fils, 1952.

 

 

 

Arnold Böcklin – Isle of the Dead

The title of this painting was apparently coined by the art dealer, while the artist himself referred to the painting only as “a picture for dreaming over”. A fascinating detail to be aware of because the morbid and mysterious allure of the painting lies half in its symbolist-laden title. I didn’t know for the painting before I discovered Rachmaninov’s composition of the same name a few years ago. The title is bewitching, and yet the painting itself looks like the world of nightmares which I inhabit in my slumber. I am drawn and repulsed by it, I fear being engulfed in its darkness, and yet I crave to unravel the mystery of those tall cypress trees.

 Arnold Böcklin, Isle of the Dead, ‘Basel’ version, 1880 

“Under ancient cypress trees, weeping dreams are harvested from sleep.” (Georg Trakl, tr. by Jay Hopler, from “Year,” published c. October 1912)

The painting shows a seemingly uninhabited little island, composed from strange massive yellowish rocks and built in classical style architecture, the purpose of which is unclear. The centre of the isle is occupied by tall and shadowy cypress trees which look, to me, as if they are corpses standing upright and decaying slowly. Their darkness exudes a nauseating scent and the way they loom over the isle silently gives their presence an ominous character. This is a place from the artist’s imagination, and all elements are subordinated to the mood which is one of dreams and death, some even say the mood is that of ‘withdrawal, of rejection of reality’ which makes sense in the context of Symbolism. Death dreamily hangs over the isle as a dark cloud heavy from rain; death hides in the soft trembling of the tired cypress trees; death lingers in the air in the rich and heavy scent of the Mediterranean. But the isle is not alone; a little rowboat is slowly gliding through the dark and still waters. On the boat we see an oarsman, a figure shrouded in white veils, resembling a statue or a mummy, and a coffin. Now, just when you thought things couldn’t get more symbolist if they wanted to! There are dozens of interpretations of this painting and its every detail offers many explanations. Some suggest the oarsman represents Charon, the boatman from Greek mythology who led souls to the underworld over the river Acheron. Perhaps defining the painting would mean stealing its richness of vague dreaminess and confining it to the genre of mythological scenes, and it’s much richer than that because its layers and layers of mystery serve to awaken the subconsciousness.

 

Island of Saint George

 

 

This painting is one of three versions or variations of a same theme that Böcklin painted. Even though the isle is the artist’s little fantasy, a dream-world and not a real place, it was inspired by a real place, and again, there are a few possibilities. One of them points to the islet called “Sveti Đorđe” (“Island of Saint George”) in Bay of Kotor in Montenegro. The only building on the islet is a Benedictine monastery from the 12th century and the abundance of tall and dark cypress trees are reminiscent of Böcklin’s paintings. It really is a dead isle; no one lives there apart from the wandering souls of the dead, and tourists are not allowed. Böcklin could have seen the islet on one of his travels to Italy. I am certain that in twilight it holds the same eerie spell on the observer as the isle in the painting does. Another possible inspiration is the Pontikonisi islet in Greece, again with plenty of cypress trees and a Byzantine chapel from the 12th century. I personally feel that there is a clear resemblance between the Island of Saint George and the third version of the painting “Isle of the Dead”, from 1883, where the rocky formations are sharp and grey, almost enveloping the isle, and the colour of the sea blends with that of the sky.

 

https://byronsmuse.wordpress.com/2018/06/14/arnold-bocklin-isle-of-the-dead/