Dionisis Christofilogiannis 6-18 Oct. 2015 | Fokionos Negri 16 performance Yannis Adoniou, Harriet Summer curated by Konstantinos Argianas

part of the project

The Labyrinth of Kypseli | SCALE # 2:100

The Labyrinth of Kypseli, an ephemeral art project in one of the most densely populated areas of Athens, around the experimental art space bhive, with the support of NEON Organization for Culture and Development.
Production | KUNST-STOFF | Yannis Adoniou
Curators | Yannis Adoniou, Gerasimos Avlamis, Stavros Apostolatos
With the support of NEON Organization for Culture and Development.

Images: © Dimitris Triantafillou

Dionisis Christofilogiannis invites you to Fokionos Negri 16, to a distinctive location in Kypseli. HOME(less) installation is an artistic proposal where sculpture, painting and performance are in direct dialogue. The Greek artist gives a second life to pieces of old wooden furniture collected from the streets of Athens and covers them with white embroidered crochet and white plaster, redefining their structure, function and aesthetics. These constructions dominate the architectural element and geometrical forms where simplicity, purity and abstraction come together with beautification and lyricism.

The aesthetic effect of both whitewashed architecture of Charles Eduard Jeanneret, known as Le Corbusier, and the architecture of the Cyclades, which has inspired not only the Swiss architect but also Greek artists like Chryssa (Cycladic Books) is evident in Christofilogiannis’ work.

Along with Christofilogiannis’ sculptures and paintings there is also his new video entitled “White Torso”, a performance by the choreographer Yannis Adoniou. Wearing a full body costume made of white crochet, Adoniou performs physical exercises. Harriet Summer, a black British performer, conflicts with the hegemony of white in the exhibition space, addressing at the same time, social and political issues.

This exhibition comments on the contemporary social, economic and political disorder where the right to housing, a fundamental human right, is placed under constant questioning. The ambiguous title of the exhibition HOME(less) reflects the very ambiguity of the installation. Can the sculptures of the Greek artist be seen as furniture or as ruins of modern Athenian society in crisis? Is it a new housing proposal or perhaps its deconstruction?

Konstantinos Argianas

White Torso, HD video 02:15:00, Dionisis Christofilogiannis, (performer Yannis Adoniou), 2015

Camera, editing: Yiannis Myronidis

In White Torso a dancer, dressed in white crochet, engaged in gymnastic exercises, making mechanical and stylized movements. Christofilogiannis inspiration came not from the center of the dancer’s experience, but from the costume itself, which eliminates the torso and which the dancer measure out rather than feel out or explore.

The white crochet sub-ordinates the body of the dancer and acts as sculptural shell in proportions and aesthetics. The use of special lighting creates a mysterious, almost metaphysical atmosphere disappears the body and turning him into a mechanical doll. In White Torso Christofilogiannis limits and mechanized the kinesiology of the dancer, turning him into a human puppet doll, a process that refers both conceptually and aesthetically, to the experimental works of modern artists of the early 20th century, like Oscar Schlemmer's Triadic Ballet.
Moreover, the gymnastic with almost obsessive way the dancer creates an architectural body, conversing with the lines of sculptural constructions in space. (text Konstantinos Argianas)