Artists: Nikos Arvanitis, Christos Athanassiadis, beetroot, Demi Kaia, Michalis Kallimopoulos, Iliodora Margellos, Alexandros Psychoulis, Yiorgis Yerolymbos
Curator: Angeliki Antonopoulou
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Images and texts courtesy of the artists and the gallery
A great deal of questions, without any answer
What happens to us? That could be the first question.
And so springs forth a stream of questions:
Why are you not tender enough with me?
Where are we going? Have I grown old? Do I love you? Are we destructed? Did I make haste? Are you in pain?
The questions keep on bursting through voids of any answering intervention. The answers, especially those coming easy and with no room for doubt, are already enveloped in a pall of distrust. Any answer – due to the turn of events – comes to be questioned.
To keep asking questions is the only solution that absolves; as if miraculously, the questioning stream seems to construct a revelatory narrative, which has a potential to evolve while upholding implicit interpretations.
The narrative is given the title: A great deal of questions without any answer.
Every piece in its own distinct way of writing, the contributions by Christos Athanasiadis, Nikos Arvanitis, Giorgis Gerolympou, Demi Kaia, Michalis Kallimopoulos, Iliodora Margellos, Alexandros Psychoulis, and the Beetroot group create a singular field of commotion.
The two large paintings made by Athanasiadis with charcoal and oil take on a nightmarish urban landscape of debris after a military destruction, in contrast with a cruel and dark frame of nature.
In the sound installation by Arvanitis, the political discourse becomes buzz and ravings. A stock of political speeches delivered in Parliament by all the political parties and all the members of Parliament from 1974 up to 2010, and displayed here as random parts of a continuum, sharply criticizes politics and the present condition.
The picture by Gerolymatos of Karamanlis’s and Alexander the Great’s statues is a reference to and a commentary on the assumed historical continuity of both symbols of Greece, and the space of decline surrounding them.
Developed into a mural diary, the brutal and sexist drawings by Demi Kaia create a surface that hints at graffiti. Alongside the cruelty of the representations, there is a registering of political texts that unify writing and the pictorial.
With his installation, a family table, Kallimopoulos characterizes the contemporary political reality: a table that schematically and aesthetically refers to the 50’s; a Sunday supper with the offspring of political families that stamped themselves on post-war Greece. The “politicians” are portrayed as puppets with fitting clothes that burlesque each one’s present role, and take part to a horror story.
Margellos creates roughly routed and threatening worlds with thorny shapes rendered palely in detail.
Psychoulis recomposes fragments of his most recent work, juxtaposing his own organic and physically overwhelming manual labor, and the rigorous architectural lines of the much suffered building where the exhibition takes place.
The Beetroot group dispenses both its graphic signature and a timely political comment.
By way of compositing, the exhibition A great deal of questions without any answer builds a defense against something that we wrongly consider to be self-explanatory: the right of art in a time of crisis, in a time of inflationary answers, to ask guiltless and soberly unanswered questions.
Angeliki Ch. Antonopoulou
Translation Nikos Eliades