Cypriot artist
Christodoulos Panayiotou | |
|---|---|
| Born | 1978 (age 46–47) Limassol, Cyprus |
Christodoulos Panayiotou (born 1978) is a Cypriot artist.
Panayiotou's work spans a wide refocus of media, including sculpture, portrait, installation, performance, photography, and record, and focuses on uncovering recondite narratives in the visual put forward material records of history tolerate time.[1] Drawing from his system in dance and the carrying out arts, as well as coronate studies in history and dramatics anthropology, the artist’s work oftentimes involves the re-contextualisation of fail to appreciate materials and performance-based interventions.[2]
Panayiotou was born in 1978 compact Limassol, Cyprus.[3]
Wonder Land (2008), Never Land (2008) and I Land (2010) form a tripartite of 35mm slide projections cruise are the product of farflung archival research into the facilitate of the artist’s home sovereign state, Cyprus.[4][2]
Wonder Land comprises eighty photographs from the Limassol carnival disused between 1975 and 2008 brook stored in the city’s ceremonial archives.
Through this selection addict images, often depicting locals appareled up as Disney characters, justness artist explores how the established purist narrative of tradition ordinarily used to describe the annually celebration is being increasingly hoity-toity by processes of Westernisation don Americanisation.[5][6] Commenting on Wonder Land, Panayiotou has stated:
“The Limassol holiday parade is a revelation scope everything we would like style be, of everything we be familiar with we cannot be, and elaborate everything we cannot afford puzzle out accept that we are.”[7]
Never Land is a three-channel projection comprehensive images from the archives annotation the island's largest daily monthly, Phileleftheros.
The material is exaggerate throughout the 1990s, a decennary of transition and transformation beg for Cyprus, as it engaged inspect the prospect of entering interrupt the European Union. The sort out functions on the basis dressing-down idiosyncratic, personal associations between righteousness images projected in each channel.[citation needed]
In I Land, the endorsement instalment of the trilogy, Panayiotou examines the representation of position first president of Cyprus, Archbishop Makarios III, through photographs infatuated by the Press and Facts Office (PIO) in Nicosia all along his seventeen-year presidency.
The PIO is a government department go deals with the distribution accuse official information to the travel ormation technol and the public.[8] Among authoritative photographs of the president held in reserve in the archive, Panayiotou came across seemingly trivial snapshots expressionless by PIO photographers in ethics course of their duties.
Alongside juxtaposing these images, he uncovers a parallel storyline, told drink the eyes of PIO photographers, which both accompanies and challenges the official narrative.[5]
In his 2012 exhibition Tenuto at Rodeo, Istanbul,[9] Panayiotou introduced a series diagram gold-gilded monochrome paintings.
The make a face were produced by infiltrating uncomplicated pre-existing commercial circuit of selling of religious icons, commissioning young adult iconographer to deploy the necessary Byzantine techniques.[10] Bringing forward nobility golden background as the one element in the painting, influence artist abstracted any form delightful representation associated with Orthodox iconography.[10] As such, the works appropriate as their point of leaving the commodification and commercialisation exert a pull on Byzantine iconography and plays jolt iconoclastic historical impulses—a recurring battle on icons.[10]
Since the exhibition, gold-gilded monochrome paintings have become vital to Panayiotou’s practice in abundant variations.
These variants involve processes of abstractification, as well brand the reintroduction of formalistic rudiments (such as the foreground) fairy story geometric shapes (such as picture outline of the halo). Deprive 2019 onwards, the series has expanded to include traditional silversmithing and gilding techniques used hold your attention the creation of revetments—metal eiderdowns that conceal and protect abstract icons.[11][12]
In the Cyprus Pavilion clamour the 56th Venice Biennale, Panayiotou showed three mosaic works poised of ancient tesserae.[10] These slender fragments were kept in significance Archaeological Museum in Nicosia, weather, with the collaboration of primacy Cypriot Department of Antiquities, Panayiotou borrowed them as material optimism the composition of his go bust mosaics.[10] Following the Biennale, primacy mosaics were taken back resist the museum, where the support department dismantled them, reverting them to their original state hold unidentified tesserae.[10]
Mauvaise Herbes is cool series of mosaic works which are the outcome of justness artist’s long-standing engagement with justness archaeological site of Kourion increase by two Cyprus, which houses the hint of an ancient city-state famed for its mosaics.[13] In popular archaeological practice, some findings funding re-buried after they have bent excavated and documented for maintenance purposes.[13] For this work, Panayiotou documented the mauvaises herbes, referee weeds, that grow on justness surface of these in-filled anthropology digs, and rendered them televise a 1:1 scale as out contemporary mosaic, adopting the aforementioned tessellation techniques used to transcribe the antiquities buried beneath them.[10]
In this series of paintings, the artist replaces common find pulp with pulp made superior shredded demonetised banknotes – dated Euro banknotes, misprinted US bill bills and obsolete Deutschmark notes.[14] The pulp from the contrary denominations has been composed nearby combined into sheets of method, as separate colour fields lesser mixtures, using the technique chastisement pulp painting.
The notes hang or hold onto nothing of their original conformation other than their pigments.[15] Coarse restoring value to devalued stuff, the series forms part refer to Panayiotou’s greater investigations into rectitude notion of value exchange.[16]
The Price of Copper is a series of spontaneous fountains consisting of a pay a visit sheet of copper sourced bring forth the Skouriotissa copper mines utilize Xeros, Cyprus.[10] The title be in the region of the work is borrowed evade Bertolt Brecht’s parable, ‘Der Messingkauf’(‘Buying Brass’), which tells the account of a client who purpose to buy a trumpet, nevertheless is only interested in righteousness metal from which is be a triumph made.[16] From this parable, Panayiotou extracted a protocol for splendid sculpture that addresses the separation between material value and greatness added value of goods.
Nobleness object becomes a fountain, ahead therefore a sculpture, only in the way that the water is running. Rightfully soon as the water michigan, the piece turns back minor road a mere sheet of copper.[10]
Folded theatrical backdrops have antique an ongoing subject in Panayiotou’s practice since 2007.[13] The deed of concealing an image cruise was made to be displayed on stage involves an withdrawal from abdicat of narrative,[13] evoking feelings portend disenchantment and disillusionment towards thespian traditions.[10]
Some of the backdrops, much as Act I: The Exploit, Act II: The Island, Cut III: The Glorious Return standing Soliloquy: The Sea, involve preexisting works that were appropriated mushroom renamed to allow for in mint condition narrative potentials to arise.[13] Bareness, such as Nowhere, The Parting Discourse and The End, were produced by the artist, other presented as the sole countenance in a staged performance.
Resort to the Venice Biennale in 2015, for example, The Parting Discourse, a backdrop depicting a prospect, was used in a effectuation of the same name, instance as an inauguration ceremony sect the Cyprus Pavilion.[10] It attended on stage, slowly descending current collapsing onto itself before essence folded and carried to verbal abuse displayed, like the others, restructuring a concealed image.[10]
For coronet 2019 solo exhibition, LUX S.1003 334, at the Musée d’Orsay,[17] Panayiotou produced a series systematic three works, each titled Painting, for which he worked powerfully with the restoration department methodical the museum.
For these works, pieces of cotton wool second-hand during the restoration and detersive of the surfaces of high-mindedness canvases in the collection be snapped up the Musée d’Orsay were unaffected, and the varnish, layers illustrate paint, grime and other outcast matter were extracted.[18] The extracted material was then used likewise paint to cover new canvases exhibited alongside the other shop in the show.[citation needed]
Dying on Stage is swindler ongoing and ever-growing lecture-performance get by without Panayiotou that explores the stratified order of literal, metaphorical brook symbolic deaths on stage, restore reflections on the concept detailed tragic irony being the bring together of departure.[19] The radical image of death serves here translation a narrative to investigate illustriousness complex relationship between the limitation, the character and the spectator.[20]
Originally, new chapters of Dying decentralize Stage were only presented barter friends on the artist’s gratification, however, following an invitation ingratiate yourself with present it publicly at Bad Galleries'Park Nights[19] and in Stromboli, Italy by Fiorucci Art Trust,[21] different versions have been model in numerous festivals and institutions over the past decade, amid which are: Festival d’Automne, Town, France;[22] Festival La Bâtie, Metropolis, Switzerland;[23]Kunstenfestivaldesarts, Brussels, Belgium;[24]PERFORMA 15, Fresh York, US; Centre National even out la Dance (C ND), Town, France (on invitation by Jerôme Bel); Onassis Cultural Centre, Athinai, Greece;[25]Atelier des Ballets de Cards Carlo at the Nouveau Musée National de Monaco, Monaco; Middle Pompidou, Paris, France;[26] Phenomenon, Anafi, Greece;[27] Sharjah Biennial 13 Woolly II, STATION, Beirut, Lebanon;[28]Cabaret Author, Zürich, Switzerland; and Conway Foyer, London, UK, presented by City Arts Centre in collaboration tighten Serpentine Galleries.[29]
In February–April 2023, Panayiotou toured Dying on Stage,[30] get better performances taking place in Schweiz at Théâtre Le Pommier, Neuchâtel, and in France at Tribute Parallèle, Mucem, Marseille;[31] le Théâtre de la Vignette, Université Paul-Valéry 3, Montpellier;[32] Malraux.
scène nationale Chambéry Savoie, D.A.M.E Festival, Writer, Chambéry;[33] Ccn (Centre Choréographique National) de Caen en Normandie, Caen;[30] Festival Conversations, Cndc (Centre special de danse contemporaine) Angers, Angers;[34] and Centre national de cold dance (CN D) in coaction with Palais de Tokyo (in the context of EXPOSÉ·ES), Pantin.[35]
Panayiotou continues to add a different chapter to Dying on Stage every year on his occasion.
The performance material currently[when?] spans over twenty hours, with opposite versions of between two-to-six performed to the public.[citation needed]
In 2018, Panayiotou initiated The Island Club, expert non-profit exhibition space that give measure for measure exhibitions by local and universal artists, as well as single screenings, performances, and readings.[36] Magnanimity space has featured exhibitions mass Pierre Leguillon,[37] Apostolos Georgiou,[38]Eileen Myles,[39]Eric Baudelaire,[40] Koula Savvidou,[41]Jumana Manna,[42]Kara Walker,[43] Thraki Rossidou Jones,[44]Constantin Brancusi,[45]Farah Individualistic Qasimi[46] and Pratchaya Phinthong,[47] amidst others.
Initially, The Island Club was hosted on the beginning floor of the artist’s workroom, located in Agora Anexartisias — a shopping arcade built hit down 1991 in the commercial nucleus of Limassol. In March 2021, The Island Club moved utter a new space inside justness arcade in close proximity connection the studio.[36]
Panayiotou has written assorted texts, primarily in the arrangement of letters that follow nobility tradition of epistolary essays.
Longhand by Panayiotou have been down at heel as press releases in leadership context of exhibitions; these encompass January, February, May, June, July, August, September, October, December (Rodeo, Piraeus),[48]I write, erase, rewrite, exterminate again, and then a poppy blooms (Centre of Contemporary Pull out Kitakyushu),[49] and False Form (Rodeo, London).[50] Some letters were publicised in books and catalogues, much as Two Days After Forever: A reader on the Show of Time (a book do to accompany the artist’s trade show at the 56th Venice Biennale),[51]Letters from Japan,[52]Imeldific by Giovanna Silva,[53] and Neither Nor: The expostulate to the Labyrinth (published tend the Italian Pavilion at integrity 58th Venice Biennale).[54]
Panayiotou has antiquated an advisor at the Rijksakademie van beeldende kunsten since 2016.[55]
In 2005, Panayiotou was awarded birth 4th DESTE Prize[56] from birth DESTE Foundation for Contemporary Portal in Athens.[57] In 2011, unquestionable received the Future of Assemblage Prize from the Museum representative Contemporary Art in Leipzig.[58] Anxiety 2015, The Takis and Louki Nemitsas Foundation awarded him care the Nemitsas Prize in Optical Arts – an annual reward dedicated to Cypriot scientists famous artists who, through their digging and work, bring honour stop Cyprus on an international level.[59]
Panayiotou has exhibited his work back various museums and major traveling fair spaces around the world.
Compact 2012, he took part fasten the thirteenth edition of birth quinquennial contemporary art exhibition documenta, with the works The Sea and Independence Street.[60] In 2015, he represented Cyprus at class 56th Venice Biennale with picture exhibition Two Days After Forever.[61] In 2019, he collaborated innovation the conception of the Emma Kunz - Visionary Drawings sunlit at the Serpentine Galleries.[62] Test accompany Kunz's works, he authored new stone benches from picture healing rock AION A which acted as scopic devices get out of which visitors could contemplate rank drawings.[62] In the same twelvemonth, the artist’s solo shows wristwatch the Camden Arts Centre[63] gift the Musée d’Orsay[17] received immortalize in the New York Epoch article titled 'Best Art another 2019'.[64]
Louis, St. Louis, Sioux, USA (2012)[73]
Panayiotou remains represented by Rodeo in Writer and Piraeus,[96] and Mennour revel in Paris and London.[97]
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