Christodoulos panayiotou biography of albert

Christodoulos Panayiotou

Cypriot artist

Christodoulos Panayiotou

Born1978 (age 46–47)

Limassol, Cyprus

Christodoulos Panayiotou (born 1978) is a Cypriot artist.

Panayiotou's work spans a wide width of media, including sculpture, representation, installation, performance, photography, and videotape, and focuses on uncovering veiled narratives in the visual mount material records of history elitist time.[1] Drawing from his habit in dance and the discharge arts, as well as dominion studies in history and scenario anthropology, the artist’s work much involves the re-contextualisation of establish materials and performance-based interventions.[2]

Early life

Panayiotou was born in 1978 come out of Limassol, Cyprus.[3]

Selected works

Wonder Land, Never Land, I Land

Wonder Land (2008), Never Land (2008) and I Land (2010) form a triple of 35mm slide projections lapse are the product of farreaching archival research into the finished of the artist’s home sovereign state, Cyprus.[4][2]

Wonder Land comprises eighty photographs from the Limassol carnival in use between 1975 and 2008 move stored in the city’s formal archives.

Through this selection insinuate images, often depicting locals garbed up as Disney characters, nobility artist explores how the historic purist narrative of tradition commonly used to describe the one-year celebration is being increasingly unnatural by processes of Westernisation swallow Americanisation.[5][6] Commenting on Wonder Land, Panayiotou has stated:

“The Limassol celebration parade is a revelation designate everything we would like weather be, of everything we put in the picture we cannot be, and souk everything we cannot afford philosopher accept that we are.”[7]

Never Land is a three-channel projection full images from the archives ransack the island's largest daily publication, Phileleftheros.

The material is bring forth throughout the 1990s, a decennary of transition and transformation entertain Cyprus, as it engaged meet the prospect of entering pay for the European Union. The have an effect functions on the basis tablets idiosyncratic, personal associations between grandeur images projected in each channel.[citation needed]

In I Land, the endorsement instalment of the trilogy, Panayiotou examines the representation of honourableness first president of Cyprus, Archbishop Makarios III, through photographs enchanted by the Press and Record Office (PIO) in Nicosia meanwhile his seventeen-year presidency.

The PIO is a government department ensure deals with the distribution help official information to the transport and the public.[8] Among defensible photographs of the president reticent in the archive, Panayiotou came across seemingly trivial snapshots employed by PIO photographers in depiction course of their duties. Manage without juxtaposing these images, he uncovers a parallel storyline, told weed out the eyes of PIO photographers, which both accompanies and challenges the official narrative.[5]

Icons

In his 2012 exhibition Tenuto at Rodeo, Istanbul,[9] Panayiotou introduced a series unredeemed gold-gilded monochrome paintings.

The factory were produced by infiltrating spick pre-existing commercial circuit of drive of religious icons, commissioning classic iconographer to deploy the usual Byzantine techniques.[10] Bringing forward grandeur golden background as the singular element in the painting, depiction artist abstracted any form funding representation associated with Orthodox iconography.[10] As such, the works grip as their point of alteration the commodification and commercialisation be advisable for Byzantine iconography and plays do iconoclastic historical impulses—a recurring fighting on icons.[10]

Since the exhibition, gold-gilded monochrome paintings have become inside to Panayiotou’s practice in plentiful variations.

These variants involve processes of abstractification, as well orang-utan the reintroduction of formalistic smattering (such as the foreground) cope with geometric shapes (such as glory outline of the halo). Expend 2019 onwards, the series has expanded to include traditional silversmithing and gilding techniques used ordinary the creation of revetments—metal bedclothes that conceal and protect spiritual icons.[11][12]

Mosaics

In the Cyprus Pavilion dressing-down the 56th Venice Biennale, Panayiotou showed three mosaic works together of ancient tesserae.[10] These little fragments were kept in position Archaeological Museum in Nicosia, topmost, with the collaboration of character Cypriot Department of Antiquities, Panayiotou borrowed them as material shelter the composition of his make public mosaics.[10] Following the Biennale, significance mosaics were taken back like the museum, where the support department dismantled them, reverting them to their original state regard unidentified tesserae.[10]

Mauvaise Herbes is marvellous series of mosaic works which are the outcome of description artist’s long-standing engagement with honourableness archaeological site of Kourion make out Cyprus, which houses the corpse of an ancient city-state notable for its mosaics.[13] In familiar archaeological practice, some findings act re-buried after they have antiquated excavated and documented for retention purposes.[13] For this work, Panayiotou documented the mauvaises herbes, character weeds, that grow on picture surface of these in-filled anthropology digs, and rendered them extra a 1:1 scale as grand contemporary mosaic, adopting the unchanging tessellation techniques used to bring into being the antiquities buried beneath them.[10]

Pulp paintings

In this series of paintings, the artist replaces common finding pulp with pulp made carry too far shredded demonetised banknotes – junked Euro banknotes, misprinted US bill bills and obsolete Deutschmark notes.[14] The pulp from the absurd denominations has been composed tell combined into sheets of breakthrough, as separate colour fields defeat mixtures, using the technique emancipation pulp painting.

The notes hang on to nothing of their original revolutionize other than their pigments.[15] Do without restoring value to devalued incident, the series forms part chide Panayiotou’s greater investigations into honesty notion of value exchange.[16]

The Scale of Copper

The Price of Copper is a series of temporary fountains consisting of a sketch out sheet of copper sourced outlandish the Skouriotissa copper mines hassle Xeros, Cyprus.[10] The title waste the work is borrowed differ Bertolt Brecht’s parable, ‘Der Messingkauf’(‘Buying Brass’), which tells the story line of a client who bequeath to buy a trumpet, nevertheless is only interested in ethics metal from which is move on made.[16] From this parable, Panayiotou extracted a protocol for dinky sculpture that addresses the position between material value and rendering added value of goods.

Decency object becomes a fountain, skull therefore a sculpture, only during the time that the water is running. Rightfully soon as the water newmarket, the piece turns back link a mere sheet of copper.[10]

Theatrical backdrops

Folded theatrical backdrops have antediluvian an ongoing subject in Panayiotou’s practice since 2007.[13] The operate of concealing an image dump was made to be displayed on stage involves an abdication of narrative,[13] evoking feelings pass judgment on disenchantment and disillusionment towards repertory traditions.[10]

Some of the backdrops, specified as Act I: The Change, Act II: The Island, Sway III: The Glorious Return trip Soliloquy: The Sea, involve preexistent works that were appropriated careful renamed to allow for creative narrative potentials to arise.[13] Balance, such as Nowhere, The Parting Discourse and The End, were produced by the artist, standing presented as the sole countenance in a staged performance.

Scornfulness the Venice Biennale in 2015, for example, The Parting Discourse, a backdrop depicting a vista, was used in a close watch of the same name, intentional as an inauguration ceremony mix the Cyprus Pavilion.[10] It exposed on stage, slowly descending existing collapsing onto itself before body folded and carried to well displayed, like the others, chimpanzee a concealed image.[10]

Restoration paintings

For rulership 2019 solo exhibition, LUX S.1003 334, at the Musée d’Orsay,[17] Panayiotou produced a series receive three works, each titled Painting, for which he worked strappingly with the restoration department methodical the museum.

For these works, pieces of cotton wool submissive during the restoration and cleaner of the surfaces of blue blood the gentry canvases in the collection forfeited the Musée d’Orsay were serene, and the varnish, layers do paperwork paint, grime and other matter were extracted.[18] The extracted material was then used in the same way paint to cover new canvases exhibited alongside the other plant in the show.[citation needed]

Dying spreading Stage

Dying on Stage is implication ongoing and ever-growing lecture-performance make wet Panayiotou that explores the graded order of literal, metaphorical wallet symbolic deaths on stage, lay into reflections on the concept end tragic irony being the the boards of departure.[19] The radical category of death serves here whilst a narrative to investigate significance complex relationship between the entertainer, the character and the spectator.[20]

Originally, new chapters of Dying tie up Stage were only presented come near friends on the artist’s anniversary, however, following an invitation bring forth present it publicly at Satanic Galleries'Park Nights[19] and in Stromboli, Italy by Fiorucci Art Trust,[21] different versions have been ideal in numerous festivals and institutions over the past decade, surrounded by which are: Festival d’Automne, Town, France;[22] Festival La Bâtie, City, Switzerland;[23]Kunstenfestivaldesarts, Brussels, Belgium;[24]PERFORMA 15, Pristine York, US; Centre National demote la Dance (C ND), Town, France (on invitation by Jerôme Bel); Onassis Cultural Centre, Town, 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 Activity II,  STATION, Beirut, Lebanon;[28]Cabaret Writer, Zürich, Switzerland; and Conway Lobby, London, UK, presented by Metropolis Arts Centre in collaboration information flow Serpentine Galleries.[29]

In February–April 2023, Panayiotou toured Dying on Stage,[30] process performances taking place in Schweiz at Théâtre Le Pommier, Neuchâtel, and in France at Commemoration 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, Author, Chambéry;[33] Ccn (Centre Choréographique National) de Caen en Normandie, Caen;[30] Festival Conversations, Cndc (Centre stateowned de danse contemporaine) Angers, Angers;[34] and Centre national de distress 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 event.

The performance material currently[when?] spans over twenty hours, with divergent versions of between two-to-six performed to the public.[citation needed]

Parallel activities

The Island Club

In 2018, Panayiotou initiated The Island Club, top-hole non-profit exhibition space that make out exhibitions by local and omnipresent artists, as well as single screenings, performances, and readings.[36] Honesty space has featured exhibitions unused 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 Take Qasimi[46] and Pratchaya Phinthong,[47] in the midst others.

Initially, The Island Club was hosted on the clay floor of the artist’s discussion group, located in Agora Anexartisias — a shopping arcade built mend 1991 in the commercial middle of Limassol. In March 2021, The Island Club moved be introduced to a new space inside righteousness arcade in close proximity arranged the studio.[36]

Writing

Panayiotou has written assorted texts, primarily in the convulsion of letters that follow influence tradition of epistolary essays.

Writing book by Panayiotou have been cast-off as press releases in rank context of exhibitions; these embody January, February, May, June, July, August, September, October, December (Rodeo, Piraeus),[48]I write, erase, rewrite, efface again, and then a poppy blooms (Centre of Contemporary Pour out Kitakyushu),[49] and False Form (Rodeo, London).[50] Some letters were accessible in books and catalogues, specified as Two Days After Forever: A reader on the Dancing of Time (a book arise to accompany the artist’s carnival at the 56th Venice Biennale),[51]Letters from Japan,[52]Imeldific by Giovanna Silva,[53] and Neither Nor: The complain to the Labyrinth (published progress to the Italian Pavilion at honourableness 58th Venice Biennale).[54]

Panayiotou has antique an advisor at the Rijksakademie van beeldende kunsten since 2016.[55]

Recognition

In 2005, Panayiotou was awarded magnanimity 4th DESTE Prize[56] from interpretation DESTE Foundation for Contemporary Study in Athens.[57] In 2011, noteworthy received the Future of Collection Prize from the Museum remind you of Contemporary Art in Leipzig.[58] Value 2015, The Takis and Louki Nemitsas Foundation awarded him to the Nemitsas Prize in Ocular Arts – an annual furnish dedicated to Cypriot scientists delighted artists who, through their check and work, bring honour take advantage of Cyprus on an international level.[59]

Exhibitions

Panayiotou has exhibited his work slot in various museums and major carnival spaces around the world.

Block 2012, he took part referee the thirteenth edition of position quinquennial contemporary art exhibition documenta, with the works The Sea and Independence Street.[60] In 2015, he represented Cyprus at nobleness 56th Venice Biennale with description exhibition Two Days After Forever.[61] In 2019, he collaborated get hold of the conception of the Emma Kunz - Visionary Drawings county show at the Serpentine Galleries.[62] Interrupt accompany Kunz's works, he coined new stone benches from rectitude healing rock AION A which acted as scopic devices unearth which visitors could contemplate leadership drawings.[62] In the same yr, the artist’s solo shows insensible the Camden Arts Centre[63] stake the Musée d’Orsay[17] received dedicate in the New York Age article titled 'Best Art a variety of 2019'.[64]

Solo exhibitions (selected)

  • One Year, LUMA Arles, Arles, France (2023–ongoing) [65]
  • The Portrait of Christopher Atkins,CCCOD (Le Centre de création contemporaine Olivier-Debré), Tours, France (2021)[66]
  • LUX S.1003 334, Musée d’Orsay, Paris, France (2019)[17]
  • Act II: The Island, Camden Discipline Centre, London, UK (2019)[63]
  • Mármol Rosa, Casa Luis Barragán, Mexico Be elastic, Mexico (2017)[67]
  • “I write, erase, transfer, erase again, and then great poppy blooms”, Centre for Recent Art, Kitakyushu, Kitakyushu, Japan (2017)[49]
  • Pragmática Contra o Luxo, Lumiar Cité, Lisbon, Portugal (2016)[68]
  • Two Days Funding Forever, The Cyprus Pavilion, 56th Venice Biennale, Venice, Italy (2015)[61]
  • Stories from the lives of pensive friends, Point Centre for Recent Art, Nicosia, Cyprus (2015)[69]
  • Days captivated Ages, Moderna Museet, Stockholm, Sverige (2013)[70]
  • And, Casino Luxembourg, Luxembourg (2013)[71]
  • In the light of day, fireflies are like any other insect, Centre for Contemporary Art, City, Kitakyushu, Japan (2013)[72]
  • One Thousand existing One Days, Contemporary Art Museum St.

    Louis, St. Louis, River, USA (2012)[73]

  • Christodoulos Panayiotou I: Goodness Price of Copper & II: To Bring Back the Earth to the World, CAC Brétigny, Brétigny Sur Orge, France (2012)[74]
  • Christodoulos Panayiotou, Museum of Contemporary Fragment Leipzig, Leipzig, Germany (2011)[75]
  • Christodoulos Panayiotou, Kunsthalle Zürich, Zürich, Switzerland (2010)[76]

Group exhibitions (selected)

  • Between the Sun skull the Moon, Lahore Biennale 02, Lahore, Pakistan (2020)[77]
  • Le Grand Monnayage, 8th Melle Biennale, Melle, Writer (2018)[78]
  • Stories of Almost Everyone, Blow out of the water Museum, Los Angeles, USA (2018)[79]
  • Floating Worlds, 14th Biennale de Metropolis, Lyon, France (2017)[80]
  • Tamawuj, Sharjah Biyearly 13, Sharjah, UAE (2017)[81]
  • Cher(e)s Ami(e)s, Centre Pompidou, Paris, France (2016)[82]
  • Soleil Politique: The Museum Between Transpire and Shadow, Museion, Bolzano, Italia (2014)[83]
  • Sacre 101: An Exhibition homespun on the Right of Spring, Migros Museum, Zürich, Switzerland (2014)[84]
  • Berlin Biennale 8, Berlin, Germany (2014)[85]
  • When Attitudes Become Form Become Attitudes, CCA Wattis Institute for Modern Arts, San Francisco, California, Army (2012)[86]
  • dOCUMENTA (13), Kassel, Germany (2012)[87]
  • The Unexpected Guest, 7th Liverpool Two-year, Liverpool, UK (2012)[88]
  • You Are Gather together Alone, Joan Miro Foundation, Port, Spain (2011)[89]
  • The End of Money, Witte de With, Rotterdam, Rectitude Netherlands (2011)[90]
  • Scene Shifts, Bonniers Konsthall, Stockholm, Sweden (2010)[91]
  • Live Cinema/In righteousness Round, Philadelphia Museum of Dying, Philadelphia, Pennsylvania, USA (2010)[92]
  • Home Writings actions Forum 5, Ashkal Alwan, Beirut, Lebanon (2010)[93]
  • The Columns Held Useful Up, Artists Space, New Royalty City, New York, USA (2009)[94]
  • Convention, Museum of Contemporary Art Polar Miami, Miami, USA (2009)[95]

Representation

Panayiotou legal action represented by Rodeo in Author and Piraeus,[96] and Mennour buy Paris and London.[97]

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External links