I DREAMT ABOUT YOU LAST NIGHT
03.10.2019 – 09.11.2019
On Thursday, October 03rd 2019, Ileana Tounta Contemporary Art Center presents the solo show of Alexadros Papathanasiou, titled I dreamt about you last night.
The show will run until November 09th 2019.
Typologies of Spectrum
By Apostolis Artinos
(Translation from Greek by Aias Christofis)
The subject of dreaming is a figura, an impotent figura, which assumes all the naivety of its manifestations. An availability of being, which’s has been dictated into glimmerings of its yore, which are concurrently an awakening of its future. A present state of hypnosis, that recalls its past time into the utopian thesis of a reverse acting out. Against wonted daily life, dreaming fetches a twisted pathos, a pathos that isn’t avowed lingually, yet has been exposed merely by its conceptions, within these morphic ebullitions. Thus, the passivity of a dreaming subject is an ec-static vitality, a riveting visualization that unseals the plain of visibility, the in-sightfulness of language, towards an inexperience of form that unleashes the unreal and its morphological distinctions. Hence, the mundane experience, the situated disquiet initiates into the condition of dreaming, a newfound perspective, that’s being perceived as a hermeneutic allegory. A creative revival that rescues the envisaging of prototypical shapes, annotating unremittingly their veracity and reconnoitering their vestiges. Dreaming therefore, reifies, not the unremembered, but its interconnection, its sentimental and experiential emersion. Within the fervency of this area, an area that doesn’t lie idle, the empiric forms, the forms of Historicity, are being consumed passionately, into their own perversity.
In the exhibition, “I Dreamt About You Last Night”, by Alexandros Papathanasiou, some of contemporary art’s most emblematic milestones, ascribe their twisted trace. Images seduce their occupying subject and deviate into a morphic sequence, that attributes their modern embossment into the artist’s work. A two-fold gesture of expressive hermeneutics, which, at one hand, detects the marks of their account and on the other, displays them at their poetic spectrum, that stands for the sole distinctive cause of their representation. The works’ entrancement and performativity within the artistic workshop, transfuse a transcendental position, that fulfills constantly its present time. We are not confronted with aesthetic signals that swing aimlessly, still with the possibility of an artistic gesture to revalue continually its historical time and to rescue therefore its truth. This veridical imaginative tongue, that even if she’s been hauled contemplating of things past, she lingers always herein, a relevant tongue, her availability into the signs of times. Symbolism, as a shooting star, retrieves its trajectory, its ideological and emotive eagerness, its own internality. The symbol institutes a condition into its gloomy within, that reels in the eccentricity of its uncanny familiarities. An openness that receives the immaturity of its subjectifications, after all its escapist position. In the field of openness, the object of Art resiles its unitary substance and re-awakens into its misreading and its aesthetic flourish.
Thus, we’re into the cavity of language, into her iridescence, into her fragmentary glint. Into the cavity of a darkened interior, wherein relentless light breaks through in continuum. A cavity of this kind, introduces the exhibition of Alexandros Papathanasiou. It’s the dark interior of a temple, wherein rays of incoming light, busting through the gaps of its structure, mark a heterotopic condition: the image of a reflected swan into the waters of a small pond -as in the reputed scene of Tarkovsky’s Nostalghia, whilst the distant camera gently chronicles the casing of a life, anew within a shrine. This photograph of Alexandros Papathanasiou (an old work of his), with articulate remarks to Surrealism and to early cinema, displays a dreamy framework of art comprehension and art theory. A romantic perception, in essence, where the work of art, with all its spirituality and its emotion, reoccurs, whilst reviling language and her concepts. Thus, in the work, “History Killed Art”, reused pieces of felt, (from some of the artist’s previous works), annotate Joseph Beuys and Robert Morris, yet they also evince, through the circularity of their synthesis and the endlessness of these revivals, the perspective, not of a linear progress, yet of a constant and persistent contortion. Herein vouches, the romanticism of Papathanasiou, within the negative horizon that revokes, into the institutionalization of his herald shapes, into the factuality of their names. Of old names that spring back, over and over, and transmute into his cosmos: the ineffable of his queries. The vortex of this circular direction homogenates the non-uniformity of its elements, their diversity and insists solely in its reality. Therein, wherein the world renews its forms, and wherein is being depleted, wherein the world is being expended into this gyre, it empanels its trail into the scene of a compulsive totality, into the scene, which brews into the scene of its allure. This dominion, a pillar and a fundament of names, bears a Word, compulsory fractional, due to the adrift and nostalgic pole. Therefore, the work brings absence and express itself through it. It becomes an anti-monument of itself. Exactly as the work “Resting Points”, a speckled skeleton of a chair, that reminds of Jackson Pollock and Matthew Burney, whilst it doesn’t do anything more, in the purity of forms and its remarks, than to endure its position: the melancholy of its thoughts, the field of their enhance and the establishment and the brinkmanship that reshapes, or doesn’t reshape its History.
In these works, Alexandros Papathanasiou, inscribes his citations as a dolorous experience. An experience, that emblazons and is being emblazoned into his originating absence, or into his vital phantasy. That, which adduces the long-forgotten object, towards the surface, along with her own non-appearance. Thus, the artist succumbs as an object of bipolar language: of a language that rescues and purges in unison, of a language that hushes and accuses, of a language that senses deprivation and is being deprived by itself. Whatsoever, psychoanalysis refers to as “diaschisis”, an im-possible passage, after all, a levitation, a psychic inquiry that chisels the anaglyph of things, whilst is being chiseled. Papathanasiou animates his phantoms, he grants them space in his atelier: they arouse his fantasy, they dictate his opus, they assume his place. They’re those who traverse his metonymies and his ablauts. He thence, glides into a stooge of an entrancement, something even more harrowing, of an unattainable resort. Herein, lies anew his indomitable romanticism.
The internalization of History, with this playful style of Papathanasiou, submits the symbolic form of its work into the inspiration of its creative fantasy. It reaffirms their truth, rescues their transcendental size, still at the same time, subjects them in their interpretative reading. We’re into the field of a secularizing procedure, wherein holy objects of art’s recent past, actualize their effectiveness into present time, whilst losing their sacredness. This liminal, romantic stance among sanctity and secularity, a bilateral penumbra, a bilateral frontier, the ambivalence of historical subject. Within this borderline, some milestones reacquire their typological differentiation and stride the limit. Thus, in the work “Nu descendant un escalier”, from the same-titled painting of Marcel Duchamp, where a heavy and simultaneously light silhouette descends a staircase, donates its place in a weighty paper, in the eye of the beholder, yet actually weightless, that hangs from one of its parts. A wrapping paper merely, that carries its own truth, its own delicacy, still also an offering of its reflections. A bare instant gesture, that recollects the immediacy of artistic work, the immediate of inspiration, yet also the idiosyncratic approaches about the meaning of all things, which this is…