MARIOS LEANDROS BASTEAS
ΜΑΡΙΟΣ ΛΕΑΝΔΡΟΣ ΜΠΑΣΤΕΑΣ Bachelor's Thesis
SCULPTURE STUDIO THESSALONIKI - NOVEMBER 2021 Supervision of diploma thesis Aris Katsilakis
ARISTOTLE UNIVERISTY OF THESSALONIKI School of Visual and Applied Arts
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Sculpture creates free space. Based on Heideggerian philosophy, it is not used for anything but contemplation, which is the means of approaching freedom (Heidegger, p.102)1. Every statement in its language remains eternal. In materials such as stone or marble, where matter is removed, error does not allow a return to the original position. Here there are no Ctrl+Z’s as there are in digital designer rooms. The error remains apparent - honest and open to face-to-face confrontation. But not always; in many cases it can be amplified. However, it remains. Sculpture creates world (cosmos) upon world ready to be inhabited. But we notice that in contemporary reality the art of sculpture is going through a crisis, as all art forms do from time to time. The aura of the work of art gradually disappears and the medium is deified2. There seems to be a gradual move away from the essential, like in a 3d print, one ends up looking at the printer with more interest than the artistic produced work. Over time, I become aware of, and observe, an indefinable bodily structure, similar to my own. Unformalised internal dialogues and agreements are stored as destinations without me identifying their exact location and the moment of their conception. A function as familiar as the huge pine tree in my backyard. But I will never see its true size, as long as it is not uprooted. This observation, is first examined as an erroneous mnemonic entry3. It is challenged and translated as a set of noble coincidences arising at the confluence of neurological pathways. But it is still disturbing me and gradually becomes a basis4 for thinking. A surgeon cuts and penetrates the body with his instruments. He dramatically reduces the distance and interacts with the material substance. I attempt, with my attention focused on the human vehicle, to locate, x-ray and then map elements that operate and play out, in the distant, borderline obscure scene of the human intellect. I seek, to render - to externalize stages and levels of brain synapses through my sculptural installation, which are involved in and determine artistic creation. I am gradually discovering the function of many different and asynchronous consciousnesses that possibly work together to present the unified perception5. I record evidence and at the same time interpret what I discover through visual language. Such a recording, lasts and will last for years.
1 Heidegger,M., 2006, Art and space, Indiktos , Athens, p.102. 2Walter Benjamin, states that ‘’The work of art as an original is distinguished by a metaphysical quality, the aura.’’ With technological reproduction we encounter on the one hand the original - the work itself - as non-existent in space and time, and on the other hand the democratization of art through a colorless total access. 3 Like the sense of pre-memory (dejavu) 4 Of course, the foundations that structure being, can (and will) prove to be fragile. But they remain necessary for movement. 5As in the visual-brain system the perception of colour precedes that of form and this, precedes the perception of movement. Dinopoulos, Th., 2008, Brain & Art, Parisianou, Athens, p.62-63
Conscious Imprint 2021
oil pastel on ondoule paper 2,10 x 1,50m
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(C-na-Ψ) 2019 - ...
marble, metal, wood, epoxy resin (liquid glass), plaster, ceramics, neon lights, wax, video projection, insects, mirror, sound design overall space 4,22x8,40 m
installation
All sizes are drawn and attributed to the natural scale
neon tube hand: ceramic Jesus flame light bulb
spine: ceramic glaze
stomach: Ceramic (stomachfulloflies) lungs: ceramic, epoxy resin heart: wax
Λάθος(Error) plaster & wax 65x125cm 2021
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s M.A. presentation November 2021 Thessaloniki
Knee
2021 video projection 29sec
Λάθος (Error) 2021 video projection 34min
Υπερανάλυση (Hyperanalysis) 2021 video projection 3h24min
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1 print s 1.41m
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‘’Θάρρσος’’ (tharrsos) is a Greek portmanteau word, created by combing the two nouns ‘’θάρρος’’ (tharros, courage) and ‘’θράσος’’ (thrasos, audacity). These are the behavioural features of Musca Domestica, commonly known as housefly. These pests enjoy eating and drinking, as if belonging to the bourgeoisie of each season .This has as a result, the creation of faecal matter almost continuously, which reflects the natural absorption of the modern, sleepless, endless world of production and consumption. Houseflies might be the most commonly met insect in our world, and is largely associated with humans, as it accompanies them around the globe, being the cause of numerous deaths (they have been used as a component in Yagi bombs during the WWII, being great carriers of harmful pathogenic micro-organisms etc). I took over the space in the kitchen of School of Fine and Applied Arts in Aristotle University, in order to place these cohabitants in their natural place of action. I used the remains of a daily routine, in my attempt to render them unapproachable and suffocating for the human being, while also using them as a reminder of the fluidity concerning the vicious cycle we call hunter and prey. We are what we shit.
Full of flies 2018
neon tube 54x35 cm
Θάρρσος 2018 Installation neon lights, clay, pla, magnets, ink prints,
rotten fruit, mousetrap, kitchen utensils Sound design ( by: Reaktiv)
Bio Marios Leandros Basteas was born in 1992 in Athens. He is an excellent graduate of the School of Visual & Applied Arts of Aristotele University of Thessaloniki, majoring in sculpture, as his subject of study (specialization). He mainly creates spatial installations, which include a variety of techniques such as sculpture, photography, digital arts, printmaking, etching and aquatint.
Personal Information Date of birth: 29 November 1992 Languages: Greek (native), English (B2), German (B1)
Education 2016 - 2021 Integrated Master of Visual and Applied Arts, Faculty of Fine Arts, AUTh 2011 - 2015 University of Peloponnese Department of Informatics Telecommunications (not acquire diploma) 2004 Erasmios Greek German School (Primary School)
Εxibitions 2018 3xxx, French Institute of Thessaloniki 2018 4th parthenώn film festival 2018 Δικτυωνόμαστε-International Museums Day, @ Archeological Museum of Thessaloniki (outdoor exhibition) 2018 4th parthenώn film festival 2019 216th Concealment - D. Alithinos 2019 ''Το ταξίδι'' - ''The Journey'' at Athens International Airport - Exhibition Area ''Art and Environment'' Departures Level (Entrance No.3),at National Bank of Greece Cultural Foundation - Culture Center of Athens at oThe Box, Mavili Square 2019 Bridges Festival - Resouvenir 2019 Σ(χ)ήματα στο χώρο, Papatzikou Art Gallery 2020 Uncharted Places - Αχαρτογράφητοι Τόποι, Archeological Museum of Thessaloniki 2020 - 2021 The disPLAY Project - Art to Change Neighborhoods 2021 Inspire Project ''DOMA'' From Plato' s Cave to modern ''reality'' at MOMus Participations: 2018(- present) Horse in love-The absurd of love - Ερωτευμένα Άλογα, Endynamei Ensemble ( collective of artists with and without disabilities),special effects and custom design 2019 4th Conference Cultural and Creative Industries: trends and developments in research and policy , Hellenic Ministry of Culture and Sport 2019 Sculpture Workshop at the Archeological Museum of Thessaloniki, Nature and art, Make nature with clay, Hellenic Ministry of Culture and Sport 2020 Ex Libris, School of Visual and Applied Arts AUTH, Print Making Studio Yannadakis Emmanuel 2021 Zine Without a Crown - Zine vol.3
Experience - Art and applied arts curriculum Children' s Municipal Development Center (KDAP) Municipality of Ampelokipi Menemeni, 2019 - Part time working on Livemarbel, traditional marblegraph, since 2017 - Radical Artistic ActionSociopolitical artistic action – activism as member of collectives and teams, since 2012
Contact Details Address: Torstraße 43, 10119, Berlin, Germany E-mail : leandrosmarios@gmail.com Site : https://leandros.cargo.site/ Instagram : https://www.instagram.com/leandros.marios/
Grateful to my mother Daphne Varvara Venieri Σ.Λ I would also like to thank my fellow students (A-Z) Aphroditi Koulaftaki, Giannis Kontos, Paraskevas Mavrotas, Rafael Ilioniou and Shekin Naidi for their help and patience. Finally, thanks to my friend Nikos Bibis (Reaktive) for our constant cooperation in sound editing