Šñ¡óôïò
ŒáëëáíôæÜò
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Χ Ο Ρ Η Γ Ο Σ
ΕΛΛΗΝΙΚΑ ΠΕΤΡΕΛΑΙΑ ΚΥΠΡΟΥ LTD
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Christos
Pallantzas
C. K. ART GALLERY Nicosia - Cyprus
Åßíáé ðñÜãìáôé ðïëý äýóêïëï óôçí åðï÷Þ ôïõ åõöÜíôáóôïõ, ôïõ åíôõðùóéáêïý, ôçò åýêïëçò áíáðáñáãùãÞò íá åììÝíåéò óôç óðïõäÞ ôïõ ó÷åäßïõ, ôçò öüñìáò. Íá óõíå÷ßæåéò íá áíé÷íåýåéò ôéò ó÷Ýóåéò ôùí ôüíùí ìÝóá óôéò ðïéêßëåò åíáëëáãÝò. Íá äïêéìÜæåéò ôç äýíáìç ðïõ äßíåé ôï öùò ôüóï óôá ðñÜãìáôá üóï êáé óôïí ôñüðï ðïõ ôá âëÝðïõìå. Êáé áêüìç ðéï äýóêïëï, üôáí ìÝóá áðü áõôÞ ôç äéáäéêáóßá áíáæçôÜò Ýíáí êáéíïýñéï âçìáôéóìü, ìéá äéáöïñåôéêÞ óõíïìéëßá ìå ôçí åìðåéñßá êáé ôï áßóèçìá ðïõ ðñïêýðôåé áðü áõôÞ. ºóùò íá åßíáé áõôü ðïõ êÜíåé îå÷ùñéóôü áõôü ôïí "ôåëåõôáßï óôáèìü" ôïõ ×ñÞóôïõ ÐáëëáíôæÜ. Ãéáôß áíáêáëýðôïõìå üôé ìÝóá áðü ìéá ôÝôïéá óôï÷áóôéêÞ êáé äéåñåõíçôéêÞ ðïñåßá áíáäýåôáé ï "íÝïò" êüóìïò ôïõ. Ìå ìéá áíáíåùìÝíç ìáôéÜ êáé ìáæß ìéá ðéï äéåõñõìÝíç áíôßëçøç ãéá ôç æùãñáöéêÞ. Ãéáôß äåí åßíáé ðéá ôüóï ï ÷þñïò ìå ôç äéêÞ ôïõ ðñïäéáãåãñáììÝíç ôáõôüôçôá, ìå ôï äéêü ôïõ ìõèïëïãéêü öïñôßï, ðïõ êáëåß ôá ðñüóùðá íá õðïäõèïýí Ýíá ñüëï Þ ôá áíôéêåßìåíá íá åðéôåëÝóïõí ìéá óõãêåêñéìÝíç ëåéôïõñãßá. Ï ÷þñïò äåí åðéâÜëëåôáé ðëÝïí ùò óêçíéêü. Äåí öéëïîåíåß, üðùò ðáëéüôåñá, ôá èÝìáôá. Äéáìïñöþíåôáé ìáæß ôïõò ùò ÷ñùìáôéêÞ ãêÜìá, ùò ôïíéêüôçôá êáé ó÷çìáôéêÞ ïñéïèÝôçóç. Ìåôáó÷çìáôßæåôáé ïõóéáóôéêÜ óå Ýíá "ïõäÝôåñï" ðåñéâÜëëïí ðïõ ðñïêáëåß óõãêßíçóç óôï âáèìü êõñßùò ðïõ õðçñåôåß ôïí ôüíï, ôï ó÷Ýäéï, ôç öüñìá, ôçí êëßìáêá, ôçí êßíçóç êáé ôï áßóèçìá ðïõ ðñïêýðôåé áðü áõôÜ. Óôï ðëáßóéï áõôü ôá "ðñüóùðá", ðáñüíôá Þ áðüíôá, áíáëáìâÜíïõí Ýíáí äéáöïñåôéêü ñüëï. Óáí íá ìçí áîéïðïéåß ðëÝïí ï æùãñÜöïò ôá âëÝììáôá êáé ôéò åêöñÜóåéò ôïõò ãéá íá äçìéïõñãÞóåé êáé êÜðïéåò öïñÝò íá åêâéÜóåé ôç óõãêßíçóç. ÓôñÝöåé áëëïý ôç ìáôéÜ ôïõ. Äåß÷íåé íá áíáæçôÜ ôç óôéãìÞ. Íá èÝëåé íá áðïôõðþóåé ìéá óõãêåêñéìÝíç ÷ñïíéêÞ äéÜñêåéá, óõìðõêíùìÝíç óå Ýíá ïñéóìÝíï óôéãìéüôõðï. Óáí íá ôï ðáñáêïëïõèåß, íá áíé÷íåýåé êáé íá áðïôõðþíåé ìáæß ôç óõãêßíçóç ðïõ ðñïêýðôåé áðü áõôü, êáèþò áíáäåéêíýïíôáé ïé áéóèçôéêÝò ôïõ ðïéüôçôåò. Ìéá óôéãìÞ ëßãï ðñéí ÷áèåß. Ðïõ áöÞíåé ôï äéêü ôçò áðïôýðùìá óôá ðñüóùðá êáé ôá ðñÜãìáôá, áëëÜ êáé óôïí ôñüðï ðïõ ôá âëÝðïõìå êáé ôá áöçãïýìáóôå. Êáé Ýôóé ðñïêýðôåé ìéá ðïéêéëßá ó÷çìÜôùí, ôüíùí áëëÜ êáé êéíÞóåùí Þ óôÜóåùí óôçí áíáæÞôçóç ìéáò - åðéóöáëïýò ðïëëÝò öïñÝò - áéóèçôéêÞò éóïññïðßáò. Ïðüôå ôá "ðñüóùðá" äåí öáßíïíôáé íá óôÞíïíôáé óôçí ðñïïðôéêÞ ôçò äçìéïõñãßáò åíüò ìýèïõ. ÁöÞíïíôáé, ãõìíÜ êïñìéÜ êõñßùò, íá êéíçèïýí óôï ÷þñï Þ êÜðïéåò öïñÝò íá óùñéáóèïýí, óáí ìÝëç åíüò îÝðíïïõ ßóùò êïñìéïý, åíüò ãëõðôïý, äçìéïõñãþíôáò ìéá ìïíáäéêÞ áéóèçôéêÞ åìðåéñßá. Ìéá åìðåéñßá, ðïõ óôçí ðñïïðôéêÞ áíáæÞôçóçò ìéáò éäÝáò, ôçò éäÝáò ôïõ ùñáßïõ, ðáñÜãåé áðü ìüíç ôçò ìýèï êáé äçìéïõñãåß óõãêßíçóç. Óáí íá èÝëåé ï æùãñÜöïò íá îåöýãåé áðü ôéò ìíÞìåò ôïõ, áðü ôïõò ðáëéïýò ôïõ ìýèïõò. Íá ìáò êÜíåé êïéíùíïýò ìéáò äéáöïñåôéêÞò óõíïìéëßáò, Üìåóçò ðëÝïí. Íá ìïéñáóôåß ìáæß ìáò áõôü ðïõ ï ßäéïò âëÝðåé. ÅðáíÝñ÷åôáé Ýôóé êáé ðÜëé óôéò áéóèÞóåéò. ÁõôÝò ðïõ ï ðïëéôéóìüò ìáò Ý÷åé ïäçãÞóåé óôçí áôñïößá. ÈÝëåé íá íéþóåé êáé ðÜëé ôçí åìðåéñßá êáé íá äïêéìÜóåé ôç äýíáìÞ ôçò. Íá áéóèáíèåß ôá ðñÜãìáôá, íá ôá êáôáëÜâåé êáé íá áðïôõðþóåé áõôÞ ôçí áßóèçóç. ÊÜíïíôáò âÝâáéá ôéò äéêÝò ôïõ åðéëïãÝò. Áðïôõðþíïíôáò ôç äéêÞ ôïõ ïðôéêÞ. Äåí ÷Üíåé Ýôóé ôç ðñïóùðéêÞ ôïõ ìáôéÜ ìÝóá áðü ôçí ïðïßá áíáäýåôáé, áíáíåùìÝíïò ßóùò, ï ðáëéüò ôïõ êüóìïò. Áõôüò ðïõ ìå ôüóá Ýñãá ôïõ ìáò áöçãÞèçêå. Ìüíï ðïõ ðëÝïí ðñïêýðôåé ðåñéóóüôåñï õðáéíéêôéêÜ óå ìéá áíåðáßóèçôç êßíçóç, ìéá êáèçìåñéíÞ óôÜóç, ìéá Üäåéá óåóëüãê, Ýíá áíïé÷ôü ðáñÜèõñï óå Ýíáí Üíáñ÷ï êüóìï. Öáßíåôáé ôåëéêÜ íá áìöéôáëáíôåýåôáé áíÜìåóá óå ìéá áöÞãçóç, ðïõ ðñïêýðôåé áðü ôéò ðñïóùðéêÝò ôïõ ðñáãìáôéêÝò Þ ðëáóìáôéêÝò éóôïñßåò, êáé ôç óõíåéäçôïðïßçóç ìéáò êáôÜóôáóçò. Óå áíáæÞôçóç üìùò ðÜíôá ìéáò ìïíáäéêÞò áßóèçóçò. Ìéáò ãíÞóéáò óõãêßíçóçò. Ìéáò îå÷ùñéóôÞò ðïñåßáò.
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Ïñéïèåôþíôáò ìéá íÝá ðñáãìáôéêüôçôá
ÔóÜöïò Âáóßëåéïò ËÝêôïñáò Åèíéêïý Êáðïäéóôñéáêïý Ðáíåðéóôçìßïõ Áèçíþí 5
Delineating a new reality In the age of the imaginative and the impressive, of easy reproduction, it is really difficult to persist with the study of drawing and form; to continue to explore the relations among the tones though all kinds of variations; to test the power with which light invests both the objects and the way we see them. And it is even more difficult when what you seek through this process is a new pace, a different dialogue with experience and the feelings derived from it. This is probably what makes the latest work of Christos Pallantzas so special. For we discover that his ‘new’ world emerges from this kind of reflective, exploratory course, with a fresh outlook and a broader perception of painting. This is because it is no longer the space, with its own predetermined identity and its own mythological charge, that calls upon the figures to assume a role or the objects to perform a specific function. Space is no longer imposed as a setting; it does not host the subjects as it used to. Now it is shaped with them as a range of colours, as tonality and schematic delineation. It is essentially transformed into a ‘neutral’ environment which appeals to the emotions only inasmuch as it serves the tone, the drawing, the form, the scale, motion and the sentiments from all these. In this context the ‘figures’, whether present or absent, assume a different role. The painter no longer seems to use their gaze or expression to create emotion or even to force it upon us, sometimes. He turns his attention elsewhere, and seems to be searching for the moment, as if to condense a certain period of time and render it as a ‘snapshot’; as if he has followed the moment and rendered it together with the feelings generated by it as its aesthetic qualities come to light, before it is gone. A moment which leaves its trace on the faces and the objects, but also on the way we see and narrate things. All this results in a variety of shapes, tones but also movements or postures in the quest for an often precarious aesthetic equilibrium. The heroes do not appear to contribute to the creation of a myth; being mostly nude bodies, they are left to move about or sometimes to slump down like the limbs of a listless body, a sculpture, and produce a unique aesthetic experience; an experience which, along the quest for an idea, an idea of beauty, ends up generating its own myth and triggering emotion. It is as if the painter was to escape his memories, his old myths, and engage us in a different dialogue – a direct one, this time; to share with us what he sees. In this way he goes back to the senses, those that our culture has led to atrophy. He wishes to relive the experience and taste its power: to feel things, to understand them and to render this sensation. Of course, he does all this by making his own choices and presenting his own viewpoint. Thus he does not lose the personal view through which his old world re-emerges, perhaps in a fresh form. It is the world he has narrated in so many earlier works, only now it transpires more subtly in a slight movement, an everyday posture, an empty chaise-longue, an open window to an anarchic world. Ultimately, the artist seems to waver between a narrative based on his own true or fictional stories and the realisation of a situation. But he remains always in quest of a unique sensation; a genuine emotion; a special course.
Vassilios Tsafos Lecturer, University of Athens 6
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Γυναίκα I Woman 35 x 58 cm
Πίσω από την πόρτα I Behind the door 20 x 18 cm 8
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Πίσω απ’ την πόρτα I Behind the door 45 x 35 cm 9
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Μάιος I May 180 x 280 cm
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Γυμνό στη σεζλόνγκ I Naked woman on the Siege-long 190 x 230 cm 12
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Φωτο: Το παράθυρο της Μυλλέρου 16
8 (οκτώ) Ιουνίου I The 8th of June 215 x 245 cm
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Φωτο: Το παράθυρο της Μ. Αλεξάνδρου 18
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Γυμνό στο γαλάζιο ντιβάνι I Naked woman on the ciel divan 190 x 125 cm
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Ντιβάνι τυρκουάζ I divan turquoise 51 x 87 cm 20
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Γυναίκα ξαπλωμένη Laid woman 140 x 130 cm 22
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Γυναίκα ξαπλωμένη I Laid woman 20 x 18 cm 23
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Πλάτη I Naked shoulder 115 x 230 cm
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Γυμνό I Naked woman 45 x 50 cm 27
Φωτο: Το πίσω παράθυρο
Γυμνό I Naked woman 117 x 130 cm
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Καθιστή γυναίκα I Seating woman 130 x 140 cm 30
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Φωτο: Η μπαλκονόπορτα 32
Στον καναπέ I On the sofa 40 x 45 cm
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Το βλέμμα I A look 45 x 80 cm 35
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Ξαπλωμένο γυμνό I Laid woman 45 x 50 cm
Στον ψάθινο καναπέ I On the straw sofa 13 x18 cm 37
Φωτο: Το πάτωμα
Πόδια διπλωμένα I Legs 25 x 30 cm
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Γυναίκα στον καναπέ I Woman on the sofa 40
18 x 28 cm
Γυναίκα με γάτα I Woman with a cat 135 x 135 cm
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Πλάτη I Naked shoulder 35 x 58 cm
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Φωτο: Η σκάλα
Ξαπλωμένο γυμνό I Laid naked woman 115 x 130 cm
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Στον ψάθινο καναπέ I On the straw sofa 46
20 x 18 cm
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Απόγευμα I Afternoon 41 x 55 cm
Γυμνό γκρίζο I Gray nude 40 x 50 cm 48
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Ξαπλωμένο γυμνό I Laid naked woman 100 x 130 cm
Γαλάζιο ντιβάνι I Ciel divan 50
18 x 28 cm
Ψάχνοντας την πόζα I In search of the position 25 x 30 cm
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Γυναίκα που κοιμάται I Woman in sleep 35 x 60 cm 53
Φωτο: Τα σεντόνια μετά την πόζα 54
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Ξεκούραστη πόζα, (πλάτη) I Comfortable position 40 x 50 cm
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Άσπρο σεντόνι I White sheet 28 x 40 cm 57
Διπλωμένη στον καναπέ I On the sofa 40 x 50 cm 58
Προσχέδιο Μα?ου I The sketch of May 45 x 50 cm
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Φωτο: Το μαξιλάρι
Σημείωση I The note 45 x 50 cm
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Γυμνό I Naked woman 18 x 28 cm 62
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Ελαφρύ κόκκινο I Light red 35 x 45 cm
Γαλάζιος τοίχος I Blue wall 20 x 15 cm 64
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8 Ιουνίου (μικρό) I The 8th June (small) 24 x 18 cm 65
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Γυμνά πόδια I Naked legs 45 x 50 cm
Πόζα αιλουροειδούς I Leopard’s position 18 x 20 cm
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Κόκκινος τοίχος I Red wall 35 x 60 cm 69
CHRISTOS PALLANTZAS 1962 He was born in Larissa, Greece 1983-89 He studies at the Highest School of Fine Arts in Athens, Greece. He took Painting, Byzantine Icons' Technique, Fresco, History of Art and History of Architecture and Rhythmology. 1990-92 With the scholarship of the French Government he continued post-graduated studies at the Ecole Nationale Superieure des Beaux Arts de Paris, Atelier de la Peinture of Mr. Pierre CARRON SOLO EXHIBITIONS
1996
1991 1993 1996
1996 1997
1996 1999 2000 2004 2005 2009
Paris, France-Gallery Bernanos Athens, Greece - Skoufa Gallery Athens - Megara, Greece - "AGET HERACLES" Group of Companies Calendar Athens, Greece - "Art-Athena '96" - Skoufa Gallery Athens, Greece - "Skoufa" Gallery Athens, Greece - "Ekfrasi" Gallery Athens, Greece - "Skoufa" Gallery Nicosia, C. K. Art Gallery, Cyprus Nicosia, C. K. Art Gallery, Cyprus
MOST IMPORTANT COLLECTIVE EXHIBITIONS
1989 1989 1989 1991 1991 1992 1993 1993 1993 1995 1996
Athens - "Athens - Plastique Arts 1989" Athens - "3rd International Meeting for the Protection of Environment" Athens - "Fine Arts School Graduates"-National Institute of Research Athens "Vlassis Frissiras Collection" Pierides Museum - Cultural Center of Athens City Hall Paris, France - "Artistes du Monde" - Gallery Bernanos Rhodes, Zakynthos, "Vlassis Frissiras" Collection Pinacotheque Rhodes City Hall - Byzantine Museum. Nicosia, Cyprus - "The Midwest Group of Companies and the Dutch Association of Cyprus (NVC)". Hydra, Greece - "Young Greek Artists" Piraeus, Greece - "Young Greek Artists" Astrolavos Gallery Athens, Greece - "Honour to El Greko" National Gallery Athens, Greece - Ledra Marriot Hotel
1997 1997 1997 1998 1998 2000 2000 2002 2003 2003 2003 2003 2004 2004 2004 2005 2006 2007 2009
Chios - Volos, Greece - "HERCULES Group of Companies Collection" Nicosia, Cyprus - ARGO Gallery Salonica, Greece - Cultural City of Europe City Hall Pinacothe. Nicosia, Cyprus - Hilton Hotel. Nicosia, Cyprus - ARGO Gallery Larissa, Greece - Cultural Center of Modern Art Brussels, Belgium - West Europe Union Athens, Greece - Zoumboulakis Gallery 12 artists are painting for "SANTE Calendar" Athens, Greece - “Ekfrasi” Gallery “Personal Relations” Thessaloniki, Greece - “Epsilon” Gallery Athens, Greece - “Skoufa” Gallery “Red” "Ledra House", Nicosia - Cyprus Athens, Greece - “Skoufa” Gallery “Art Relations” Athens, Greece - Cultural Center of Athens City Hall Athens, Greece - Cultural Olympics Athens, “Art Athina”, Gallery Argo Athens, Technopoli Gazi, “City of the Games”, (A. Schina) Nicosia, C. K. Art Gallery, Cyprus Athens, Peri Technon Gallery - Masks Athens, Athens college, Penelope Delta Athens, Benakis Museum, birthday place Hydra, museum of Hydra
His work is located at the Greek National Gallery, at the Kouvoutsakis Pinacotheque, at the “AGET HERACLES” Group of Companies Collection, at the Frissiras Museum Collection, at Papastratos Collection, and other private collections in Greece and abroad.
1962 ÃåííÞèçêå óôçí ËÜñéóá 1983-89 Óðïýäáóå óôçí ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí ôçò ÁèÞíáò æùãñáöéêÞ ôå÷íéêÞ ôùí âõæáíôéíþí åéêüíùí (áãéïãñáößá) íùðïãñáößá (öñÝóêï) éóôïñßá ôçò ôÝ÷íçò, éóôïñßá ôçò Áñ÷éôåêôïíéêÞò êáé Ñõèìïëïãßá. 1990-92 ÓõíÝ÷éóå ìåôáðôõ÷éáêÝò óðïõäÝò, ìå õðïôñïößá ôçò ÃáëëéêÞò êõâÝñíçóçò, óôçí ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí ôïõ Ðáñéóéïý óôï åñãáóôÞñéï ôïõ ê. Pierre Carron. ÁÔÏÌÉÊÅÓ ÅÊÈÅÓÅÉÓ
1991 1993 1996 1996 1999 2000 2004 2005 2009
Ðáñßóé Gallerie Bernanos ÁèÞíá Áßèïõóá ÓêïõöÜ. ÁèÞíá Çìåñïëüãéï Ïìßëïõ åôáéñåéþí ÁÃÅÔ ÇÑÁÊËÇÓ ÈÝìá ÍÉÓÓÕÑÏÓ ÁèÞíá "ART ATHINA 96" Áßèïõóá ÓêïõöÜ ÁèÞíá Áßèïõóá ÔÝ÷íçò "ÓêïõöÜ" ÁèÞíá, Áßèïõóá ÔÝ÷íçò "¸êöñáóç" ÃëõöÜäá ÁèÞíá, Áßèïõóá ÔÝ÷íçò "ÓêïõöÜ" Ëåõêùóßá, C. K. Art Gallery, Êýðñïò Ëåõêùóßá, C. K. Art Gallery, Êýðñïò
ÏÌÁÄÉÊÅÓ ÅÊÈÅÓÅÉÓ
1989 1989 1989 1991 1991 1992 1993 1993 1993 1995 1996 1996 1996
ÁèÞíá "ÁÈÇÍÁ ÅÉÊÁÓÔÉÊÁ 89". ÄÞìïò Áèçíáßùí. ÁèÞíá "3ç ÄéåèíÞò ÓõíÜíôçóç ãéá ôçí ðñïóôáóßá ôïõ ðåñéâÜëëïíôïò. ÁèÞíá "áðüöïéôïé ôçò Á.Ó.Ê.Ô. Áèçíþí Åèíéêü ´Éäñõìá åñåõíþí. ÁèÞíá "ÓõëëïãÞ ÂëÜóóç Öñéóóýñá" Ìïõóåßï Ðéåññßäç - Ðíåõìáôéêü êÝíôñï ÄÞìïõ Áèçíáßùí. Ðáñßóé "Artistes du monde" Callerie Bernanos. Ñüäïò -ÆÜêõíèïò ÓõëëïãÞ ÂëÜóóç Öñéóóýñá ´Õäñá "13 ÍÝïé ´Åëëçíåò æùãñÜöïé" ÐåéñáéÜò "ÍÝïé ´Åëëçíåò æùãñÜöïé" Gallerie ÁóôñïëÜâïò. Êýðñïò - "The midwest group of Comanies and the Dutch Associations of Cyprus. AèÞíá - ÅèíéêÞ ÐéíáêïèÞêç "ÔéìÞ óôïí Greco". ×ßïò - Âüëïò - ÓõëëïãÞ ÁÃÅÔ ÇÑÁÊËÇÓ ÁèÞíá - Ledra Marriot Hotel Êýðñïò - Ëåõêùóßá Gallerie Argo
1997 1997 1997 1997 1998 1998 2000 2000 2002 2003 2003 2003 2003 2004 2004 2004 2005 2006 2007 2009
Èåóóáëïíßêç "ÐïëéôéóôéêÞ Ðñùôåýïõóá ôçò Åõñþðçò "Äçìáñ÷åßï Èåóóáëïíßêçò" Êýðñïò - Ëåõêùóßá Gallerie Argo Êýðñïò - Ëåõêùóßá Hilton Hotel. ËÜñéóá ÊÝíôñï Óýã÷ñïíçò ÅéêáóôéêÞò ÔÝ÷íçò. ÂÝëãéï - ÂñõîÝëëåò West Europe Union ÁèÞíá 12 ÆùãñÜöïé æùãñáößæïõí ãéá ôï "sante" Gallerie ÆïõìðïõëÜêç ÁèÞíá, Áßèïõóá ÔÝ÷íçò "¸êöñáóç" ÐñïóùðéêÝò Ó÷Ýóåéò Èåóóáëïíßêç, Áßèïõóá ÔÝ÷íçò "¸øéëïí" ÁèÞíá, Áßèïõóá ÔÝ÷íçò ÓêïõöÜ "Áðï÷ñþóåéò ôïõ Êüêêéíïõ" "Ledra House", Ëåõêùóßá - Êýðñïò Áßèïõóá ÓêïõöÜ "ÆùãñáöéêÝò ÓõããÝíåéåò" ÁèÞíá, Ðïëéôéóôéêü ÊÝíôñï ÄÞìïõ Áèçíþí "ÅéêáóôéêÞ ÙäÞ" (Á. Ó÷éíÜ) ÐïëéôéóôéêÞ ÏëõìðéÜäá (Ð. ÊïõíåíÜêç) - Åêäüóåéò ÁÄÁÌ ÁèÞíá, “Art ÁèÞíá”, Ãêáëåñß Áñãþ ÁèÞíá, Ôå÷íüðïëç ÃêÜæé, “Áãþíùí Ðüëéò”, (Á. Ó÷éíÜ) Ëåõêùóßá, C. K. Art Gallery, Êýðñïò ÁèÞíá, Γκαλερί ΠΕΡΙ ΤΕΧΝΩΝ - Μάσκες ÁèÞíá, Κολλέγιο Αθηνών Ήταν κάποτε η Πηνελόπη Δέλτα ÁèÞíá, Μουσείο Μπενάκη Γεννέθλιος Τόπος Ύδρα - Ιστορικό Αρχείο - Μουσείο Ύδρας
¸ñãá ôïõ âñßóêïíôáé óôçí ÅèíéêÞ ÐéíáêïèÞêç, óôçí ÐéíáêïèÞêç ÊïõâïõôóÜêç, óôï Ìïõóåßï Öñõóßñá, óôçí ÁãñïôéêÞ ÔñÜðåæá, óôç óõëëïãÞ ÐáðáóôñÜôïò, óôç óõëëïãÞ ôçò ÁÃÅÔ ÇÑÁÊËÇÓ êáé óå Üëëåò äçìüóéåò êáé éäéùôéêÝò óõëëïãÝò óôçí ÅëëÜäá Þ ôï åîùôåñéêü.
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×ÑÇÓÔÏÓ ÐÁËËÁÍÔÆÁÓ
Ξαπλωμένο γυμνό I Naked woman, 18 x 36 cm
Å Ê Ä Ï È Ç Ê Å Á Œ Ï ÔÇÍ ÍÇÑÅÁÓ Å.Œ.Å. ÌÅ ÔÇÍ ÅÕÊÁ¨Ñ¨Á ÔÇÓ ÅÊÈÅÓÇÓ ÔÏÕ Š. ŒÁËËÁÍÔÆÁ ÔÏ ÍÏÅÌÂÑ¨Ï ÔÏÕ 2009 ÓÔÇ C.K. ART GALLERY ËÅÕÊÙÓ¨Á, ÊÕŒÑÏÓ ÖÙÔÏÃÑÁÖÇÓÇ ÅÑÃÙÍ: ÈÁ˨Á ÊYÌŒÁÑÇ ÖÙÔÏÃÑÁÖÇÓÇ ÁÔÅ˨Š: Š. ŒÁËËÁÍÔÆÁÓ ÅŒ¨ÌÅËŨÁ: ÂÁÓ¨ËÇÓ ÊÁÔÏÕÖÁÓ
72
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Christos
Pallantzas
C. K. ART GALLERY