Friday, 26 August 2016

Talking Windows


Untitled (Talking Windows Series), 2016
Acrylic, pastel, watercolor and color pencil on canvas
100 x 100 cm

Sovereignty



Sovereignty (The World is Gone, I Must Carry you Series ) 2016
Concrete, plaster, wood, acrylic, spray
26 x 39 x 28 cm 

Tuesday, 19 July 2016

Touch with the Grassroots



Touch with the Grassroots, 2016
Ceramics, marble, Wood, acrylic
38 x 10 x 38 cm

Untitled



Untitled (Primary Assemblies Series), 2016
Wood, ceramics, acrylic, wire
38 x 15 x 38 cm

Friday, 20 May 2016

Every Surface is a Blackboard





Every Surface is a Blackboard, 2016 
Wood, acrylic, plaster, plywood, MDF, chalks
122 x 35 x 6 cm

Tuesday, 22 March 2016

Final Acts


Final Acts (Athena Shattered), 2016
Theater of Side, Pamphylia
Video, 1.20 min.  

Circulo Quebrado de Obreros



Circulo Quebrado de Obreros (Primary Assemblies Series), 2016
Clay, acrylic, wire, leather
50 x 40 x 20 cm


Part Company, an exhibition by Greek artist Kostis Velonis in Casa Maauad, features a series of sculptures, paintings and a video created during the artists’ three-month residency in Mexico City. Velonis' work evokes contradictory ideas through the use of simple materials.

The artist approaches the history of 20th century sculpture through carefully designed responses in wood, plaster, brick and concrete. Part Company combines antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The exhibition adapts models of public sculptures by Goeritz and is informed by research on Rhodakanatys’ political concepts. It explores a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies.

"To Part Company" means to end an association or relationship at the same point in time, and suggests a persistent tendency to reconcile a separation. Here, it functions as a need for conceptual reform against disassociation and fragmented knowledge.

In Part Company, Velonis re-evaluates Goeritz's principle of “Emotional Architecture” formulated in 1954, which became the aesthetic basis of his work. The german aesthete defends the importance of the physical perception of space and the necessity for a sensual and tactile experience with the object. For Goeritz, the archetypal hero is the 'architect'. He believed the role of the artist is to reform and artificialize the natural, emphasizing three-dimensional, symbolical or inhabitable utopias.

Velonis revisits Emotional Architecture through today's de mythologizing of modern ideals by replacing Goeritz's metaphysics with earthly and vulnerable constructions that draws inspiration from a variety of discarded materials usually debris from the streets such as odd bits of wood in the city suburbs or scattered edifices in abandoned industrial and suburban areas. Similarly, Rhodakanaty's ideas on working class emancipation, a worn-out term of 19th century ideals, seems to be in need for an updated interpretation in the current postwar market.



In Part Company, Rhodakanaty's anonymous peasant acts as an invented persona that replaces the eponymous citizen identified through cultural supremacy whilst Goeritz's geometrical applications are reversed to serve social experimentation rather than elitism. The Greek Mexican anarchist may be urging us to re-think some of the modernist formalistic trends also encountered in today's contemporary art production. Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message.

How Many Dahlias till We Die?


                          
How Many Dahlias till We Die?, 2016
Laminated print on wooden frame
30 x 30 cm,  

Moon within Sun is a Communal Land


Moon within Sun is a Communal Land, 2016
(Based on Mathias Goeritz's “Sun and Moon Sculpture”, 1962)
Clay, corn flour, plaster
Diam: 70 x 42 cm

Installation view-Part Company

                   

What Color is the Sun?



What Color is the Sun? 2016
Wood, acrylic, oil
120 x 63 x 18 cm 


Escuela del Rayo y del Socialismo

Escuela del Rayo y del Socialismo, 2016
Found Photograph of the Parthenon Temple on the Acropolis of Athens, “Griechenland”, Greek National Tourism Organization 1971
Photo print on wooden frame
25 x 25 cm

Congreso







Congreso, 2016
Wood, plywood, acrylic, oil
123 x 82 x 25 cm

Installation view-Part Company


Seating under the Green Triangle of Light Falling on the Garden


                               


Seating under the Green Triangle of Light Falling on the Garden, 2016
Wood, plywood, acrylic
275 x 92 x 35 cm

Print Drawers (Plotino Rhodakanaty's Font)



                           

Print Drawers
(Plotino Rhodakanaty's Font), 2016
Wood, mdf, acrylic, varnish
315 x 315 x 100 cm  

Installation view -Part Company


Part Company


Part Company, 2016
Manipulated photograph of Ancient Theatre of Epidaurus, “Griechenland”, Greek National Tourism Organization, 1971
Photo print on wooden frame
29,5 x 21cm

Social Lunch


Social Lunch, 2015-16
Plywood, wood, acrylic
66 x 26 x 22 cm

Monday, 21 March 2016

Falling Triangles


Falling Triangles, 2016
(Based on Goeritz's “Torres Piramidales”,1965-70)
Concrete, wood
30 x 9 x 23 cm 

Struggling


Struggling, 2016
Wood, acrylic, chalks
45 x 25 x 43 cm 

Open Chapel



Open Chapel, 2016
(Based on Goeritz's “Capilla Abierta” Model), 1957
Wood, corn flour

Mathias We Have a Problem


Mathias We Have a Problem, 2016
(Based on Goeritz's Messages series,1950s–60s)
Wood, Oil, acrylic, golden foil, glass, masking tape
70 x 39 x 7 cm 

Climbing the Walls / Monument for a Forgotten Education







Climbing the Wall, 2016
(Based on Goeritz's Wall at Camino Real Hotel, 1968)
Clay bricks, lemon
130 x 50 x 32 cm

Monument for a Forgotten Education, 2016
(Based on Goeritz's and Barragan's “Torres de Satélite”,1958)
Plywood, blackboard paint, chalk
150 x 90 x 116 cm

Saturday, 20 February 2016

Behind the Wall There is Calmness


Behind the Wall There is Calmness, 2016
(Based on Georitz's “Biombo dorado”, 1970)
Wood, plywood, acrylic, golden foil
105 x 68 x 14 cm 

Assembly Line Lost



Assembly Line Lost, 2016
Wood, plywood, acrylic
140 x 130 x 6 cm

Saturday, 19 December 2015

Assembly Line

Assembly Line, 2015
MDF, wood, acrylic
145 x 207 x 6 cm

All that we hold dear

All that we hold dear, 2015
Wood, plywood, acrylic, zinc, tissue,ceramic
147 x 39 x 12 cm
Photo credit: Paris Tavitian

Monday, 7 December 2015

Spider's Habitat (Whistle While you Work Series

Spider's Habitat (Whistle While you Work Series), 2014-15
Wood, concrete, soil, dried grass, seeds, insect nests
110 x 111 x 10 cm
Photo credit: Paris Tavitian

Untitled (Whistle While you Work Series) 2015
Collage on paper , 100 x 70 cm

Mount the Air-installation view


Help Desk

Help Desk, 2015
Wood, plywood, oil, varnish
200 x 61 x 78 cm
Photo credit: Paris Tavitian

Flight to Nowhere



Flight to Nowhere, 2015
Stone block, wood, acrylic 
44 x 19 x 38 cm

Photo credit : Paris Tavitian



Untitled (Bird House Play Series)

Untitled (Bird House Play Series), 2015,
Wood, organic matter, acrylic, paint
143 x 113 x 10 cm

Photo credit : Paris Tavitian

A Long way Gone



A Long Way Gone, 2015
Acrylic and color pencil on paper
100 x 70 cm

Tuesday, 1 December 2015

I Follow you

I Follow you, 2015
Marble, wood, seeds, soil, acrylic
85 x 87 x 21 cm
Photo credit: Eleni Mylonas

Monday, 30 November 2015

Never had a Hearth


Never had a Hearth, 2015
Wood, acrylic, soil
200 x 61 x 78 cm



Sunday, 15 November 2015

Untitled

Untitled, 2015 
Inkjet print on fine art paper 

50 x 60 cm

Wednesday, 4 November 2015

Working Table in the Service of Homeless Cats



Working Table in the Service of Homeless Cats, 2015
Wood, plywood, acrylic, pvc, metal, ceramics 
220 x 163 x 120 cm
Photo credit: Jörg Koopmann

Saturday, 31 October 2015

Found Something in the Hills (2nd Crows Debate)

Kostis Velonis & Leda Lykouriotis
Found Something in the Hills (2nd Crows Debate ), 2005
Plywood, wood, oil, organic matter, soil


Photo credit: Stavros Martinos

Monday, 26 October 2015

Couple semblable


Couple semblable, 2015
Ceramics, acrylic
43 x 32 x 24 cm