Yannis Psychopedis, Citronne, 2010

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ÔáôéÜíá ÓðéíÜñç

Tatiana Spinari

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ÔáôéÜíá ÓðéíÜñç, ÃéÜííçò Øõ÷ïðáßäçò êáé áðïóðÜóìáôá áðü ôá ÐïéÞìáôá ôïõ Ãéþñãïõ ÓåöÝñç, åðéì. Ã.Ð. Óáââßäçò, 22ç Ýêä., ºêáñïò, ÁèÞíá 2007

Tatiana Spinari, Jannis Psychopedis and verses from Poems by Giorgos Seferis, ed. G.P. Savidis, 22nd edition, Ikaros, Athens 2007

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Translations

Ã. ÓåöÝñçò, ÐïéÞìáôá, Edmund Keeley êáé Philip Sherrard, . Princeton University Press, 1995 Ã. Øõ÷ïðáßäçò, O ÓåöÝñçò óôïí Ðüñï, ÔÜíéá ÊÜíôæéïõ, êáé Ã. Øõ÷ïðáßäçò, ¢íèç ôçò ðÝôñáò, Ìåôáß÷ìéï, 2000

G. Seferis, Poems, Edmund Keeley and Philip Sherrard, . Princeton University Press, 1995 J. Psychopedis Seferis on Poros, Tania Kantziou, and J. Psychopedis, Blooms of a Rock, Metaichmio, 2000

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Ðüñïò / Poros, GR 180 20 T +30 22.98.0.22.401 M +30 69.79.98.96.84 ISBN: 978-960-7597-56-4

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Åõ÷áñéóôßåò

Acknowledgements

ÈåñìÝò åõ÷áñéóôßåò åêöñÜæïíôáé óôïí Ãéþñãï ÁíôùíéÜäç, Ðñüåäñï ôçò Alpha Flying, Inc./PlaneSense®, ãéá ôçí õðïóôÞñéîç áõôÞò ôçò Ýêäïóçò. Åðßóçò åõ÷áñéóôïýìå ôçí ÐÝííõ Áðïóôïëßäïõ êáé ôç ÌÜñù ÐñåâåëÜêç ãéá ôç öñïíôßäá ôïõò óôçí åðéìÝëåéá ôïõ õëéêïý, ôïí ÁëÝîç Âåñïýêá êáé ôçí ¢ííá ÐáôÜêç ãéá ôéò ÷ñÞóéìåò óõìâïõëÝò ôïõò êáé ôçí êáëëéôå÷íéêÞ åðéìÝëåéá ôïõ âéâëßïõ êáé ôïí Edmund Keeley êáé ôïí Philip Sherrard ðïõ åðÝôñåøáí ôçí ÷ñÞóç ôùí ìåôáöñÜóåþí ôïõò ôùí ðïéçìÜôùí ôïõ Ãéþñãïõ ÓåöÝñç.

We would like to offer warm thanks to George Antoniadis, President of Alpha Flying, Inc. and the PlaneSense® Program, for sponsorship this publication. We would also like to thank Penny Apostolidi and Maro Prevelaki for their assistance in editing the essays, Alexis Veroucas and Anna Pataki for their advice and contribution to the design of the book, and Edmund Keeley and Philip Sherrard for their translations of the poetry of George Seferis.

ÔáôéÜíá ÓðéíÜñç

Tatiana Spinari

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ÃéÜííçò Øõ÷ïðáßäçò

… êé ï ôüðïò óáí ôï ìåãÜëï ðëáôáíüöõëëï ðïõ ðáñáóÝñíåé ï ÷åßìáññïò ôïõ Þëéïõ ìå ô’ áñ÷áßá ìíçìåßá êáé ôç óýã÷ñïíç èëßøç.1 Ã.Ó.

Ï ÓåöÝñçò óôïí Ðüñï

Ç ãåíéÜ ìïõ ìåãÜëùóå ìå ôïí ÓåöÝñç, áëëÜ êáé ìå ôïí ÊáâÜöç, ôïí Åëýôç, ôïí Ñßôóï, ôïí Åããïíüðïõëï, ôïí Êáââáäßá, ôïí Óá÷ôïýñç êáé êÜðïéïõò áêüìá. Êáé ìÝóá ó’ üëïõò êáé ðßóù áð’ üëïõò âñéóêüôáí ðÜíôá ï Óïëùìüò êáé ï ÊÜëâïò, ìüíéìç áíáöïñÜ, óôÞñéãìá êáé êáôáöýãéï óôïõò ðÜíôá äýóêïëïõò êáéñïýò. ¸íá âáèýôåñï åóùôåñéêü íÞìá áéóèÜíïìáé üìùò üôé ìå Ýäåóå ðåñéóóüôåñï ìå ôçí ðïßçóç ôïõ ÓåöÝñç. Ìå ôïí êáôáêåñìáôéóìÝíï, ëéôü ðïéçôéêü ôïõ ëüãï, ìå ôç íïóôáëãßá ôçò ÷áìÝíçò åíüôçôáò ôïõ áíèñþðéíïõ ðñïóþðïõ, ìå ôçí áíß÷íåõóç ôçò éóôïñéêÞò ìíÞìçò êáé ôç ìíÞìç ôçò éóôïñßáò, ìå ôá èñáýóìáôá ôùí ðïéçôéêþí ôïõ åéêüíùí ðïõ óõíäÝïõí ôç óýã÷ñïíç ìåëáã÷ïëßá êáé ôïõò áñ÷Ýãïíïõò ìýèïõò, ï ÓåöÝñçò óõíôáßñéáîå ìÝóá ìïõ ôï ðïëéôéêü êáé ôï åñùôéêü áßóèçìá, ôçí áôïìéêÞ ìïíáîéÜ êáé ôç óõëëïãéêÞ åõèýíç, ãíÞóéá ôÝêíá ôùí êáôáóôñïöéêþí ðïëÝìùí, åíüò êïýöéïõ ðáñåëèüíôïò êé åíüò ôñáõìáôéóìÝíïõ ðáñüíôïò. ÌÝóá áðü ôïõò åêöñáóôéêïýò äñüìïõò ôïõ ÓåöÝñç âñÞêáí äéÝîïäï êáé áíôáðüêñéóç áãùíßåò, åñùôÞìáôá êáé áíáæçôÞóåéò, õðáñîéáêÝò êáé êïéíùíéêÝò åõáéóèçóßåò ìéáò ãåíéÜò ðïõ, øçëáöþíôáò ôá ß÷íç êáé ôá óçìÜäéá ôïõ ÷ôåò, Üöçíå ôï óôßãìá ôçò óôï áýñéï, ìéáò ãåíéÜò ðïõ êïõâÜëáãå ôéò ïõôïðßåò êáé ôéò åëðßäåò, áëëÜ êáé ôç íïóôáëãßá ãéá ôç ÷áìÝíç ôçò Üíïéîç, ãéá ôï èáýìá ðïõ «äåí åßíáé ðïõèåíÜ ðáñÜ êõêëïöïñåß ìÝóá óôéò öëÝâåò ôïõ áíèñþðïõ». Óôéò äåêáåôßåò ôïõ ’80 êáé ôïõ ’90 «óõíÜíôçóá» ãéá ðñþôç öïñÜ ôïí ÓåöÝñç åéêáóôéêÜ. Ôï Áããåëéêü êáé ìáýñï öùò êáé ôá ¢íèç ôçò ðÝôñáò Þôáí äýï åíüôçôåò ó÷åäßùí ìïõ ðÜíù óôï óåöåñéêü Ýñãï, ðïõ üìùò äåí õðÞñîáí áð’ ôçí áñ÷Þ ôï áðïôÝëåóìá ìéáò óõíåéäçôÜ ïíïìáóìÝíçò ó÷Ýóçò ìïõ ìå ôïí ÓåöÝñç êáé ôçí ðïßçóÞ ôïõ.

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Óôï êåßìåíï áíáöÝñïíôáé óôß÷ïé áðü ôá ðïéÞìáôá «Ï âáóéëéÜò ôçò Áóßíçò», «Les anges sont blancs», «¢íôñáò», «¸íáò ãÝñïíôáò óôçí áêñïðïôáìéÜ» êáé «Ï ãõñéóìüò ôïõ îåíéôåìÝíïõ».

Îåêßíçóá íá ó÷åäéÜæù ðÜíù óôá ðïéçôéêÜ áðïóðÜóìáôá ôùí áñ÷áßùí ÅëëÞíùí ëõñéêþí ðïéçôþí, êáé åíþ åß÷á ðñï÷ùñÞóåé óôá ðñþôá ìïõ Ýñãá, ôüôå ìüíï óõíåéäçôïðïßçóá üôé äåí Ýêáíá ôßðïôå Üëëï ðáñÜ íá æùãñáößæù ôïí áñ÷áßï êüóìï ìÝóá áðü ôï óåöåñéêü âëÝììá. Ç åéêáóôéêÞ ó÷Ýóç ìïõ ìå ôçí ðïßçóç ôïõ ÓåöÝñç äéáìåóïëáâÞèçêå êáé öáíåñþèçêå ìÝóá áðü ôç óõíÜíôçóÞ ìïõ ìå ôïõò áñ÷áßïõò ðïéçôÝò.

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Áðü ôüôå ðÝñáóáí åßêïóé ÷ñüíéá. ÌåóïëÜâçóå ìéá ïëüêëçñç æùÞ ãåìÜôç áðü íÝåò åìðåéñßåò, âßáéåò áíáôáñÜîåéò, ñéæéêÝò áëëáãÝò óôéò éäÝåò, óôéò åéêüíåò, óôçí Ýêöñáóç. ¼ëá Üëëáîáí. «ÂñÞêáìå ôç óôÜ÷ôç. ÌÝíåé íá îáíáâñïýìå ôç æùÞ ìáò, ôþñá ðïõ äåí Ý÷ïõìå ðéá ôßðïôá». ÓÞìåñá îáíáâñßóêù ôïí ÓåöÝñç êáé ÷ùñßò íá ôï åðéæçôþ, áöÞíïìáé óå ìéá êáéíïýñéá áíÜãíùóç ôùí óôß÷ùí ôïõ. ÊÜèå áíÜãíùóç üìùò äåí åßíáé ìéá íÝá áñ÷Þ, ìéá íÝá áöåôçñßá; ¹ ìÞðùò ü÷é; «… êé ùóôüóï ìÝíåé ðÜíôá ôï ßäéï óþìá, ôï ßäéï óôñþìá, êáé ôï ßäéï Óçìåßï, ï ßäéïò ðñïóáíáôïëéóìüò», ãñÜöåé ï ÓåöÝñçò. Áõôü ôï îáíáäéÜâáóìá óÞìåñá ôùí ðïéçôéêþí åéêüíùí ôïõ ÓåöÝñç ìå ïäçãåß ìÝóá áðü Üëëá åêöñáóôéêÜ ìïíïðÜôéá ðÜëé óôïí ßäéï óôü÷ï, óôï ßäéï Óçìåßï. Ìå ôç óôõöÞ ãåýóç ôïõ ðïéçôéêïý ëüãïõ ôïõ ÓåöÝñç ç æùãñáöéêÞ óõíáíôÜ ôçí ðïßçóç, óôçí áíáæÞôçóç ìéáò áñ÷Ýãïíçò äýíáìçò, ãéá íá ìðïñïýìå «íá ëïãáñéÜóïõìå ðþò ðñï÷ùñïýìå». ¸÷ïíôáò ìüíï ôçí á-ìç÷áíßá êáé ôçí á-ðïñßá ãéá óýíôñïöï, íá áíáæçôÞóïõìå ôá ìÝóá, ôï ðÝñáóìá, ôïí Ðüñï, ãéá íá ðñï÷ùñÞóïõìå ìÝóá ó’ Ýíáí äýóêïëï êüóìï, åêåß ðïõ «äéáâáßíïõí êáé èåñßæïõí ÷éëéÜäåò Üñìáôá äñåðáíçöüñá». Éïýíéïò 2010

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Jannis Psychopedis

… and the place like a large plane leaf swept along like the torrent of the sun with the ancient monuments and the contemporary sorrow1 G.S.

Seferis on Poros

My generation grew up with Seferis, but also Cavafy, Elytis, Ritsos, Engonopoulos, Kavadias, Sahtouris and other poets. Among them and always present were Solomos and Kalvos – constant points of reference, sustenance and refuge in perpetually difficult times. But I felt a deeper connection to Seferis’s poetry. With his fractured, plain poetic language, with nostalgia for humanity’s lost unity, his tracing of historical memory and the memory of history, and the fragments of his poetic images linking contemporary gloom with primal myths, Seferis blended for me politics and love, personal loneliness and collective responsibility, the true offspring of catastrophic wars: a hollow past and a wounded present. Struggles, questions and longings found an outlet and a response through Seferis’s expressive paths, as did the existential and social sensibilities of a generation that, groping among the traces and signs of the past, left its mark on tomorrow; a generation that carried within it utopias and hopes, but also nostalgia for its lost spring, for the miracle that “is nowhere, but circulates in the veins of man.” In the 1980s and 1990s, I encountered Seferis for the first time as an artist. Angelic and Black Light and Blooms of a Rock were two collections of my drawings that were based on Seferis’s work, but they were not initially the result of a conscious relationship with Seferis and his poetry. I began drawing inspired by passages from ancient Greek lyric poets, and only after I’d completed the first works did I realize that I was doing nothing more than drawing the ancient world through the eyes of Seferis. My artistic relationship with Seferis’s poetry revealed itself through my encounter with the ancient poets.

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The text contains verses from the following poems: “The King of Asini,” “Les anges sont blancs,” “Man,” “An Old Man on the River Bank,” “The Return of the Exile.”

Twenty years have passed since then. An entire lifetime, full of new experiences, violent upheavals, radical changes in ideas, images, expression. Everything has changed. “We found ashes. What remains to rediscover our life again, now that we’ve nothing left.”

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Today, I am rediscovering Seferis, and unthinkingly I am giving myself over to a new reading of his verse. But isn’t every reading a new beginning, a new starting point? Or maybe not? “… And yet always remains the same body, the same bed, and the same Sign, the same orientation,” writes Seferis. This re-reading of Seferis’ poetic images leads me, by means of another art form, to the same goal, the same Sign. Seferis’ acrid language makes poetry meet art in a quest for a primal power, so we can “consider towards what we go forward.” With bewilderment and doubt as companions, we seek the means, the passage, Poros, to advance in a difficult world, where “a thousand of scythe-bearing chariots go past and mow everything down.” June 2010

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ÔáôéÜíá ÓðéíÜñç

ÃéÜííçò Øõ÷ïðáßäçò O çäïíéêüò ÅëðÞíùñ

Ï Çäïíéêüò ÅëðÞíùñ êáôáñ÷Þí áíáöÝñåôáé óôçí ïìçñéêÞ Ïäýóóåéá, üðùò áðïôõðþíåôáé óôçí ðïßçóç ôïõ Ãéþñãïõ ÓåöÝñç. Ï ÃéÜííçò Øõ÷ïðáßäçò áíáóýñåé ôï ïìçñéêü óôïé÷åßï êáé åéóÜãåé ìéá ðñïóùðéêÞ åéêáóôéêÞ ìåôÜöñáóç ôïõ óåöåñéêïý «Çäïíéêïý ÅëðÞíïñá». Äåí åéêïíïãñáöåß ôéò ó÷åôéêÝò ðïéçôéêÝò åéêüíåò. äéáëÝãåôáé ìå ôï ðïßçìá. Ï ÓåöÝñçò êáé ï Øõ÷ïðáßäçò ðñïôåßíïõí Ýíá åõñý åííïéïëïãéêü ðëáßóéï ãéá ôçí ðñïóÝããéóç ôçò áñ÷áúêÞò ðïßçóçò, ìå ïéêïõìåíéêïýò êáé äéá÷ñïíéêïýò üñïõò, ôï ïðïßï ðåñéêëåßåé éóôïñéêÝò, ðïëéôéêÝò, êïéíùíéêÝò, ðïëéôéóìéêÝò êáé áôïìéêÝò ðñáãìáôéêüôçôåò. Ç óõíïìéëßá ôïõ Øõ÷ïðáßäç ìå ôïõò óôß÷ïõò ôïõ ÓåöÝñç áíÜãåôáé óôá ôÝëç ôçò äåêáåôßáò ôïõ 1980 ìå áñ÷Ýò ôçò äåêáåôßáò ôïõ 1990 óôéò ÂñõîÝëëåò. Åêåß äçìéïõñãÞèçêáí ïé óåéñÝò Áããåëéêü êáé ìáýñï öùò êáé ¢íèç ôçò ðÝôñáò, óå ìéá ðñïöáíÞ ó÷Ýóç ìå ôá óåöåñéêÜ ðïéÞìáôá. Ôï 2009, óôçí ÁèÞíá, êáôÜ ôçí ðñïåôïéìáóßá ãéá ôçí Ýêèåóç ôïõ 2010 óôçí ãêáëåñß Citronne, ðñïÝêõøå ï Çäïíéêüò ÅëðÞíùñ. Ç ãêáëåñß Citronne âñßóêåôáé óôïí Ðüñï, áðÝíáíôé óôç Âßëá ÃáëÞíç üðïõ ôï 1946 ï ÓåöÝñçò Ýãñáøå ôçí Êß÷ëç. Ç óõãêõñßá ôïõ ôïðïãñáöéêïý óôïé÷åßïõ õðáãïñåýåé ìßá ó÷åäüí áðüêïóìç óõíïìéëßá ôïõ æùãñÜöïõ Øõ÷ïðáßäç ìå ôïí ðïéçôÞ ÓåöÝñç. Ïé ðïëõåðßðåäåò óõìâïëéêÝò åéêüíåò ôïõ Øõ÷ïðáßäç êáôåõèýíïõí ôçí ðñïóï÷Þ ðÝñáí ôùí ïñßùí, åíéó÷ýïíôáò ôï åííïéïëïãéêü ôïõò ðëáßóéï. Ôüóï ãéá ôïí ðïéçôÞ üóï êáé ãéá ôïí êáëëéôÝ÷íç, ï Þóóùí ïìçñéêüò ÷áñáêôÞñáò, ï ÅëðÞíùñ, Ý÷åé áñ÷åôõðéêü óõìâïëéóìü. ¼ðùò Ý÷ïõí åðéóçìÜíåé ïé êñéôéêïß, ï áíôéçñùéêüò ÷áñáêôÞñáò ôïõ ÅëðÞíïñá áããßæåé ôç óýã÷ñïíç åõáéóèçóßá ðåñéóóüôåñï áðü üóï ïé ðñùôåýïíôåò ïìçñéêïß Þñùåò. Ï ÅëðÞíùñ, ðáñüôé óôï üíïìÜ ôïõ åìðåñéÝ÷åôáé ç ðñïóäïêßá (åëðßò + áíÞñ), ðåèáßíåé Üäïîá. Ïé ðñïãåíÝóôåñåò óåöåñéêÝò äçìéïõñãßåò ôïõ Øõ÷ïðáßäç Áããåëéêü êáé ìáýñï öùò êáé ¢íèç ôçò ðÝôñáò áðÝ÷ïõí ó÷åäüí åßêïóé ÷ñüíéá áðü ôïí Çäïíéêü ÅëðÞíïñá. Óôá ðñþôá áõôÜ Ýñãá, ï Øõ÷ïðáßäçò êáôáóêåýáóå Ýíá öáíôáóôéêü èåáôñéêü ÷þñï ï ïðïßïò ðáñáìïñöþíåôáé ìÝóá áðü ìéá øåõäïðñïïðôéêÞ. Ïé öéãïýñåò/ìáñéïíÝôåò êéíïýíôáé óáí óêéÝò, óõììåôÝ÷ïõí óå èåáôñéêÜ äñþìåíá, åìðëïõôßæïíôáé áðü óõìâïëéêÝò åéêïíïãñáöéêÝò áíáöïñÝò: êáèñÝöôåò/êáëõììÝíá ìÜôéá, áíôáíáêëÜóåéò/ìÜóêåò, èñáýóìáôá áãáëìÜôùí/åñåéðùìÝíá óýã÷ñïíá ìíçìåßá, åéäõëëéáêÜ/âéïìç÷áíéêÜ ôïðßá, áñ÷áßá/óýã÷ñïíç áñ÷éôåêôïíéêÞ, ðëïßá/óöõñïäñÝðáíá. Ï êáëëéôÝ÷íçò åêèÝôåé êáèïëéêÜ êáé äéá÷ñïíéêÜ æçôÞìáôá: ðåðñùìÝíï, áðïîÝíùóç, èÜíáôïò, æùÞ, åñùôéóìüò, óåîïõáëéêüôçôá, ðüèïò, öõëåôéêÞ êáé ðïëéôéóìéêÞ ôáõôüôçôá, ìíÞìç, åóùôåñéêüò êáôáêåñìáôéóìüò, êáôÜññåõóç ôùí ðïëéôéêþí éäåïëïãéþí.

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Ôá 45 Ýñãá ôçò Ýêèåóçò åðáíÝñ÷ïíôáé óôï ðëáßóéï áõôü. ¼ðùò üëåò ïé èåìáôéêÝò óåéñÝò ôïõ Øõ÷ïðáßäç, Ýôóé êáé ï Çäïíéêüò ÅëðÞíùñ óõíäéáëÝãåôáé äéáñêþò ìå ôï óõíïëéêü ôïõ Ýñãï. Ôá Ýñãá, óõãêïéíùíïýíôá äï÷åßá ìå èåìáôéêÝò êáé åéêïíïãñáöéêÝò áëëçëåðéäñÜóåéò, óõóðåéñþíïíôáé ôåëéêÜ óå Ýíá åíéáßï óýíïëï. Ùóôüóï óôç óõëëïãÞ ôïõ 2010 ïé åéêáóôéêÝò ðñáêôéêÝò ôïõ êáëëéôÝ÷íç Ý÷ïõí áëëÜîåé. Äåí õðÜñ÷ïõí ðéá ôá áöçãçìáôéêÜ/èåáôñéêÜ óôïé÷åßá, ïé åéêüíåò ãßíïíôáé ðéï åëëåéðôéêÝò. Ôï íüçìÜ ôïõò ðçãÜæåé áðü ôçí ðáñÜèåóç óôïé÷åßùí ðïõ äéáëÝãïíôáé «ìõóôéêÜ». Ïé åéêüíåò áðïôåëïýí «øåõäïêïëÜæ», äçëáäÞ õöïëïãéêÜ êáé áéóèçôéêÜ ðáñáðÝìðïõí óôï êïëÜæ, ÷ùñßò üìùò íá Ý÷åé ÷ñçóéìïðïéçèåß ç ôå÷íéêÞ áõôÞ. Ï åéêáóôéêüò êáôáêåñìáôéóìüò, êáèþò åóêåììÝíá áðïõóéÜæåé ç óõíåêôéêÞ åéêáóôéêÞ áöÞãçóç, áíôéêáôïðôñßæåé ôçí áíôßóôïé÷ç ðïéçôéêÞ ãëþóóá ôïõ ÓåöÝñç. Óôç óõëëïãÞ áõôÞ ï Øõ÷ïðáßäçò «êëåßíåé ôï ìÜôé» (clin d’oeil) óôï èåáôÞ. Äçìéïõñãåß ìßá åéêáóôéêÞ ãëþóóá (langage) ùò êþäéêá åðéêïéíùíßáò. ÐñïóöÝñåé ðïëëáðëÜ åðßðåäá áíÜãíùóçò, ìå óôïé÷åßá áðü äéáöïñåôéêÜ êáé ðïéêßëá ðåñéâÜëëïíôá, ôá ïðïßá áðïðëáéóéþíåé åííïéïëïãéêÜ ãéá íá ôá åðáíáôïðïèåôÞóåé ðëÝïí óå íÝï ðëáßóéï. Áðü ôéò áäüêçôåò åéêïíïãñáöéêÝò áíáöïñÝò ðïõ óõíõðÜñ÷ïõí óõíäõáóôéêÜ óôçí åðéöÜíåéá ôïõ Ýñãïõ áíáäýåôáé Ýíá óôïé÷åßï áðïðñïóáíáôïëéóìïý, Ýêðëçîçò, ðåñéÝñãåéáò, áéöíéäéáóìïý. Ðñüêåéôáé ãéá Ýíá ðáé÷íßäé ðáñÜèåóçò óôïé÷åßùí ìå ïéêåßåò áíáöïñÝò/íôïêïõìÝíôá, ôüóï óôï èåìáôéêü ðëáßóéï ôçò óõãêåêñéìÝíçò åíüôçôáò üóï êáé óå ðáëéüôåñåò åíüôçôåò Ýñãùí ôïõ: ðåñéóóüôåñï Þ ëéãüôåñï ðñïöáíÞ ôïðßá ôïõ Ðüñïõ, äçëáäÞ óôåñåüôõðåò ïðôéêÝò, åôåñüêëçôåò åéêüíåò ìå åîéäáíéêåõìÝíá ôïðßá êáé áðïìéìÞóåéò êáñô ðïóôÜë. ðïñôñÝôá ôïõ ÓåöÝñç êáé ó÷Ýäéá ôïõ ðáôñéêïý óðéôéïý ôïõ ðïéçôÞ óôç Óìýñíç. äåßãìáôá ðïéçôéêÞò ãñáöÞò «åí èåñìþ», äßðëá óå âáóéêÜ õëéêÜ ôçò åéêáóôéêÞò ãñáöÞò, üðùò ÷ñùìáôéêïß êþäéêåò, èñáýóìáôá áðü êõêëáäéêÜ, áñ÷áúêÜ Þ êëáóéêÜ áãÜëìáôá ùò åéêïíéêÝò áíáöïñÝò ôïõ éóôïñéêïý êáé ðïëéôéóìéêïý ðáñåëèüíôïò. ÐáñÜëëçëá, ðáñáôßèåíôáé «íôïêïõìÝíôá» áðü ôçí ðñüóöáôç ðïëéôéêÞ éóôïñßá, üðùò ôá ðïñôñÝôá ôïõ Åìöõëßïõ Þ ôï áðïôýðùìá áðü ôá êÜãêåëá óôá ðáñÜèõñá ôùí ðïëéôéêþí öõëáêþí óôç ÃõÜñï. ¢ëëåò áíáöïñÝò óôçí éóôïñßá ôçò ôÝ÷íçò, üðùò ëåðôïìÝñåéåò áðü Ýñãá ôïõ ÁíôñÝá ÌáíôÝíéá, ôïõ Öñá Ößëéððï Ëßððé êáé ôïõ ÐéÝñï íôÝëëá ÖñáíôóÝóêá, áðïäßäïíôáé ìå Ýíôïíï æùãñáöéêü ñåáëéóìü. Áñ÷áßá áãÜëìáôá ðáñáðÝìðïõí óå öôçíÝò æùãñáöéÝò Þ âéáóôéêÝò öùôïãñáößåò áðü êéíçôü ôçëÝöùíï.

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ÔåëéêÜ, ï Øõ÷ïðáßäçò áíáæçôåß ôï ñüëï ôïõ óýã÷ñïíïõ êáëëéôÝ÷íç êáé ôï íüçìá ôçò äéáäéêáóßáò óôçí «êáôáóêåõÞ» åéêüíáò êáôÜ ôç ìåôá-ÌðÝíãéáìéí åðï÷Þ, üðïõ ôï Ýñãï ôÝ÷íçò ðñïóåããßæåôáé êõñßùò áðü ôéò áíáðáñáãüìåíåò åéêüíåò. Ï ÅëðÞíùñ áðåéêïíßæåôáé åðáíáëçðôéêÜ, ìå ôï äçëùôéêü êïõðß, äßðëá óå ìéá âÜñêá: áíáöïñÜ ü÷é ìüíï óôïí ôßôëï ôçò åíüôçôáò áëëÜ êáé óå Ýíá âáóéêü èÝìá ôïõ Øõ÷ïðáßäç: ôçí ôáõôüôçôá. ÓðáóìÝíá áãÜëìáôá, áðïêïììÝíá Ýñãá ôÝ÷íçò ÷ùñßò «áýñá», óðáóìÝíïé ÷Üñáêåò êáé ìÝôñá: ôï ðáßãíéï óôïé÷åßï äçìéïõñãåß Ýíôáóç. Ðñüêåéôáé ãéá ðáé÷íßäé, Ýíá óêëçñü ðáé÷íßäé. Ï êáëëéôÝ÷íçò óõíäÝåé êáé áðïóõíäÝåé ôï èåáôÞ, ôïí áöÞíåé ìåôÝùñï. Ôï åéêáóôéêü ýöïò ôçò ðáñïõóßáóçò êõìáßíåôáé áðü ôï áðëü íôïêïõìÝíôï Ýùò ôïí æùãñáöéêü ìáíéåñéóìü. Ï Øõ÷ïðáßäçò õðåñâáßíåé ôéò êáôçãïñéïðïéÞóåéò, üðùò õøçëÞ/åõôåëÞò ôÝ÷íç, êáëü/ êáêü ãïýóôï, íôïêïõìÝíôï/Ýñãï ôÝ÷íçò. Ôá åôåñüêëçôá óðáñÜãìáôá ìïéÜæïõí áôÜêôùò åññéììÝíá, äéÜóðáñôá ãñÜììáôá ðïõ äåí ó÷çìáôßæïõí ëÝîåéò, ìå ôá ïðïßá ï èåáôÞò ðñÝðåé íá óõíèÝóåé ôç äéêÞ ôïõ áðïêëåéóôéêÞ ðïßçóç. Ðüñïò, 2010

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Tatiana Spinari

Jannis Psychopedis Sensual Elpenor

The title of the series, Sensual Elpenor, indicates two points of reference, two parameters that hint at its conceptual origins: Seferis’s “illustration” of Homeric poetry into his verses and Psychopedis’s initiation of a dialog deriving from his own visual “translation” of the archaic poetry through the eyes of the contemporary Seferis. For both, poet and artist, the archaic poetry provides a wider intellectual context to approach historical, political, social, cultural, and private realities in universal and timeless terms. Psychopedis’s exchange with Seferis is not new. In the late 1980s and early 1990s, while living and working in Brussels, Psychopedis worked on Angelic and Black Light and Blooms of a Rock, two series of works related to the poetry of Seferis. In 2009, back in Athens, the theme of sensual Elpenor emerged while preparing for the 2010 Citronne gallery exhibition on Poros. The coincidence that Citronne’s exhibition space on Poros lies across the bay from Villa Galini, where Seferis wrote his poem Thrush in 1946, underlines Psychopedis’s almost uncanny dialog with Seferian poetry. As with Seferis’s poetry, Psychopedis’s multilayered symbolic images call for attention to the world outside of the picture’s limits, reinforcing contextual meanings. The minor Homeric character Elpenor serves as the archetype for both the poet and the artist. As critics have noted, the antiheroic element in Elpenor touches our contemporary sensibility more than the bigger-thanlife Homeric heroes can. Elpenor, despite the implication of promise in his name elpis (: hope) + anir (: man) dies pointlessly. In his two earlier series on Seferian themes, Angelic and Black Light and Blooms of a Rock, Psychopedis creates an imaginary theatrical space, distorted through the creation of a pseudo-perspective of depth. Within that pictorial context, the depicted figures/puppets move like shadows in unspecified space and participate in dramatic rituals, enriched by symbolic iconographic references: mirrors/covered eyes; reflections/masques; fragments of statues/ ruined contemporary monuments; idyllic/industrial landscapes; ancient/ modern architecture; boats/hammers and sickles. In that theater of mysterious rituals, the artist opens up timeless issues of destiny, alienation, death, life, eroticism, sexuality, lust, gender and cultural identity, memory, inner fragmentation, collapse of political ideologies. Almost twenty years later, the same intellectual content is explored afresh in the 45 works of the 2010 exhibition Sensual Elpenor. Psychopedis’s works are like communicating vessels – the interrelationship of the images is not limited to the individual series but cuts across his work as a total.

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In 2010, however, the visual strategies change. The narrative and theatrical elements of the earlier period disappear; the images become elliptical. Their meaning derives from unpredictable juxtapositions of elements taken out of their context and placed in newly established settings in an uncanny conversation. The images are “pseudo-collages,� reflecting the style and aesthetics of collage but not composed by the cut and paste technique. The visual fragmentation and the lack of coherent visual narration echo the fragmentation of Seferis’s poetic language. It sets up the tone for the artist’s characteristic clin d’oe il or “wink-of-an eye� approach in this latest series. A visual language (langage) a code of communication is established. Disorientation, surprise, curiosity, shock rise out of the coexistence of the unpredictable iconographic references brought together on the surface of the work. Psychopedis plays with visual references related both to the specific series as well as to his previous work. Views of the island of Poros, ranging from idealized imaginary views in a painterly manner to photographic like broken and non-functioning rulers; portraits of Seferis and drawings of his family house in Smyrna; examples of his writing presented side by side with still lives rendered with almost photographic realism; fragments of Cycladic, archaic classical statues – iconic references to a historical and cultural past are juxtaposed with “documents� of recent political history like transfer drawing reproductions of portraits of civil war participants or transfer imprints of the iron bars on the windows of the political prisons on the island of Gyaros. There are meticulously presented references to the history of art in the inclusion of details of works by Andrea Mantegna, Fra Filippo Lippi and Piero de la Francesca; and there are images of ancient statues rendered in the manner of cheap drawings or fast cell-phone taken photographic images. Pointedly, Psychopedis questions the role of the contemporary artist as a picture maker in the post-Benjamin era, when the art object is deprived by its “aura,� when the masterpieces is approached mainly through reproductions. The image of Elpenor appears repeatedly in the series holding his defining oar next to a boat: reference not only to the title of the series, but to one of the main themes in Psychopedis’s work, that of identification.

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Fragmented statues, details of “masterpieces” lacking their “aura,” broken rulers and measuring tapes: playfulness gives way to tension. Psychopedis’s game is serious. The artist connects and simultaneously disconnects the viewers, leaving them in limbo. His diverse visual presentation styles range from plain documentary to painterly mannerism. Psychopedis transcends categories of high vs. low art, good vs. bad taste, plain document vs. masterpiece. The fragments in Psychopedis’s images are like randomly ordered letters that do not form words, but of which the viewers must compose their own poetry. Poros, 2010

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ÃéÜííçò Øõ÷ïðáßäçò

Ç íý÷ôá óôåíåýåé êáé óôÝêåé óáí îÝíç óôï ìáýñï ìåôÜîé ôá öþôá Ý÷ïõí óâÞóåé øõ÷Þ ìïõ ãíùñßæåéò ðïéïò íüìïò óå äÝíåé êáé ôé èá óïõ ìåßíåé êáé ôé èá ó’ áöÞóåé.2 Ã.Ó.

ÊÜèïìáé ìÝóá óôç íý÷ôá êáé óõëëïãßæïìáé ôïí ÓåöÝñç. Ðéï ðïëý êÜðïéåò åéêüíåò áðü ôçí ðïßçóÞ ôïõ, ìéá áôìüóöáéñá ðïý ôéò äéáðïôßæåé, êÜðïéá áéóèÞìáôá, ðïõ ëåò êáé ç íý÷ôá åßíáé áõôÞ ðïõ ôá ãÝííçóå. Ó’ áõôÝò ôéò åéêüíåò ôïõ ç íý÷ôá ì’ Ýíáí âáèý åîïìïëïãçôéêü ôüíï åßíáé ðáñïýóá, Üëëïôå óáí Ýíá öáíåñü óêçíéêü, Üëëïôå óáí õðáéíéãìüò üìùò ðÜíôá Ýíôïíç. Åßíáé ìéá Ýíôáóç ðïõ êÜíåé ôç íý÷ôá áêüìá ðéï íõ÷ôåñéíÞ ãéáôß ãåéôíéÜæåé öáíåñÜ ìå ôï öùò ôçò çìÝñáò êáé ôá ðñÜãìáôá öáíåñþíïõí ìÝóá óå ìéá ëÜìøç ôéò éäéüôçôÝò ôïõò, ìïñöÝò êáé ÷åéñïíïìßåò áðïêôïýí ôç äýíáìç ôçò êõñéïëåîßáò, Ýóôù êáé áí õðïäçëþíïíôáé. «...åßíáé Ýíá ìÜñìáñï óôï öùò, ìá ôï êåöÜëé ôïõ åßíáé óôï óêïôÜäé». Ï ëüãïò âñßóêåé ôç ñïÞ ôïõ ìÝóá áðü óõìðëçñùìáôéêÝò, áíôßèåôåò åéêüíåò, Ýíáò êåñìáôéóìÝíïò êüóìïò ÷Üíåôáé ìÝóá óôï üíåéñï êáé åìöáíßæåôáé ðÜëé áêÝñáéïò. ÌÝóá óå óêïôåéíÜ ôïðßá, «...áðü ôïõ Þëéïõ ô’ Üëëï ìÝñïò, ôï óêïôåéíü», ÷Üíåôáé êáé âñßóêåôáé ôï áíèñþðéíï ðñüóùðï, ëåò êáé ç íý÷ôá åßíáé áõôÞ ðïõ äéáöõëÜåé ôç íïóôáëãßá ãéá ìéá áñ÷Ýôõðç áêåñáéüôçôá ôïõ áíèñþðïõ, ôç «...ìíÞìç ìéáò ìåãÜëçò åõôõ÷ßáò». Ç íý÷ôá ðïõ, óáí êÜôé áðåéëçôéêü êáé ïéêåßï ìáæß åßíáé ï ÷ñüíïò êáé ï ÷þñïò ðïõ ìÝóá áð’ áõôÞí ïäçãïýìáóôå óôçí Üëëç æùÞ, åêåß ðïõ ôï ìáýñï öùò, ôï ìõóôéêü åóùôåñéêü öùò ôçò øõ÷Þò öùôßæåé åñùôÞìáôá ÷ùñßò áðÜíôçóç ãéá ôïí Üíèñùðï êáé ôçí ýðáñîÞ ôïõ.

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Óôï êåßìåíï áíáöÝñïíôáé óôß÷ïé áðü ôá ðïéÞìáôá «Ðáíôïýì», «Ôï öùò», «Ôï íáõÜãéï ôçò “Êß÷ëçò”», «Áñãïíáýôåò», «ÓôñïöÞ», «Ï âáóéëéÜò ôçò Áóßíçò» êáé «Ìõèéóôüñçìá», Å .

¢ëëïôå ðÜëé ç íý÷ôá åßíáé ðáñïýóá ìÝóá áðü ôá êëåéóôÜ âëÝöáñá êáé ôçí áðïõóßá öùôüò. Óôï ìåôáß÷ìéï æùÞò êáé èáíÜôïõ, óôçí åêêùöáíôéêÞ óéùðÞ ôïõ ýðíïõ, áíé÷íåýïõìå ìÝóá óå áíåîåñåýíçôïõò äñüìïõò íõ÷ôåñéíïýò ôçí ðßêñá, ôïí ðüíï, ôçí çäïíÞ áëëÜ êáé ôéò áêñùôçñéáóìÝíåò åëðßäåò. ÓöáëéóìÝíá ôá ìÜôéá, áëëÜ óå åãñÞãïñóç ç øõ÷Þ, âõèéóìÝíç óôï âïõåñü óêïôÜäé, ó’ Ýíá íïçôü ðåäßï, ðïõ íïìéìïðïéåßôáé ç áõèáéñåóßá ôïõ ïíåßñïõ. Ç íý÷ôá åßíáé ï ÷þñïò ôçò áíáóöÜëåéáò êáé ôïõ óôï÷áóìïý, ôçò «áíÜåñçò öñßêçò» ôïõ èáíÜôïõ áëëÜ êáé ôçò íïóôáëãßáò ãéá ìéá æùÞ ðÝñá áðü ôéò ðñïóùðßäåò. Ôï óêïôÜäé ðñïóôáôåýåé, áëëÜ êáé áðïêáëýðôåé. Áðïêáëýðôåé ìéá ãåìÜôç ìõóôÞñéï áðåñáíôïóýíç, áëëÜ êáé åðéôñÝðåé ôç ìåãÜëç áðü-

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äñáóç óôïí ìéêñü Ýóù êüóìï. ¸íá îáöíéêü öùò, óáí óéùðçëÞ åêðõñóïêñüôçóç, öáíåñþíåé áðïóðÜóìáôá åíüò áðüêïóìïõ óêçíéêïý, ðïõ áìÝóùò âõèßæåôáé ðÜëé óôï óêïôÜäé. Îå÷ùñßæïõí êÜðïéá áíèñþðéíá ìÝëç, êÜðïéï ó÷Þìá ðñïóþðïõ, óôáìáôçìÝíåò ÷åéñïíïìßåò ëåò êáé ðÜãùóå ï ÷ñüíïò, êÜðïéá áíôéêåßìåíá ðïõ áðïêôïýí äéáóôÜóåéò åöéÜëôç, êÜðïéá «óêçíþìáôá æùÞò». ¼ìùò ôï öùò ôçò çìÝñáò ðïõ Ýñ÷åôáé áðïêáèéóôÜ ìéá Üëëç áëÞèåéá, ëåéáßíåé ôçí ïîýôçôá ôùí óêéþí, åíþ ìéá îáöíéêÞ ëõñéêÞ áíÜóá ÷áúäåýåé ôçí ðáíÜñ÷áéç èëßøç. ÌÝíåé óôï ôÝëïò ìéá «êïõñáóìÝíç ëÜìðá», ì’ Ýíá öùò ðïõ óéãïêáßåé, ìÜñôõñáò êé áõôÞ åíüò íõ÷ôåñéíïý äñÜìáôïò, óõíïäüò óôçí áãñýðíéá, óýíôñïöïò óôéò ðáëéÝò ðïëåìßóôñåò ôçò ìïíáîéÜò, ðïõ âïçèÜ íá ìåßíåé æùíôáíü ôï èáýìá ìÝóá óôéò öëÝâåò ôïõ áíèñþðïõ. Ï ÓåöÝñçò åëðßæåé óôï áíèñþðéíï èáýìá. Óôïí ÓåöÝñç ç åéêüíá ôïõ êáôáêåñìáôéóìïý ôïõ ðñïóþðïõ êáé ôïõ áêñùôçñéáóìïý ôïõ áíèñþðéíïõ óþìáôïò ðåñéÝ÷åé ìéá íïçôÞ óõìöéëßùóç ìå ôïí Üíèñùðï êáé ôçí áäõíáìßá ôïõ, ìéá ìåëáã÷ïëéêÞ êáé ôñõöåñÞ åãêáñôÝñçóç. Êáé áõôÞ ç ôñõöåñüôçôá ìÝóá áðü ôïí Ýñùôá êáé ôçí áãÜðç öùôßæåé êÜðïõ ìáêñéÜ êáé ôçí åëðßäá ãéá ìéá áêÝñáéç æùÞ ìÝóá óôçí æùÞ. 1993

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Jannis Psychopedis

Night shrinks and stays still as though a stranger the light have gone out over the black silk my soul, you recognize the law that binds you, and what will stay with you, what abandon you.2 G.S.

I sit in the middle of the night and think about Seferis. Most of all, I think about some of the images in his poetry, about the atmosphere that imbues them, about the emotions that strike you as born of the night. In those images, the night is present in a profound and confessional tone; sometimes it is a clear stage setting and sometimes it is an allusion, but it is always strong. Its intensity makes the night even more nocturnal because of its manifest proximity to the light of day, with each object revealing all its properties in a flash of light; the forms and the gestures acquire a literal power even when they are only alluded to. “ a marble figure in the light, but its head is in darkness.” Language finds its flow in complementary, contrasting images; a fragmented world loses itself in the dream and appears again whole. In dark landscapes, “ emerging from the other side of the sun, the dark side,” the human face disappears and appears, as if it were the night that guards nostaglia for an archetypal integrity of man, the “ memory of a great happiness.” Menacing and yet familiar, the night is both the time and the space through which we are led to the other life, where the black light –the secret inner life of the soul– enlightens questions without answers about mankind and its existence.

2

The text contains verses from the following poems: “Pantoum,” “The light,” “The Wreck Thrush,” “Argonauts,” “Turning Point,” “The King of Asini,” “Mythistorema,” 5.

Sometimes the night is present through closed eyelids and the absence of light. On the borderline between life and death, in the deafening silence of sleep, we walk along untrodden nocturnal roads tracing out bitterness, pain, pleasure and mutilated hopes. The eyes are closed but the soul is alert, deep in a buzzing darkness, a mental field where the arbitrary quality of the dream becomes legitimate. The night is a place of insecurity and contemplation, of the horror of death and of nostalgia for a life beyond the masks. The darkness protects, but it also reveals: it reveals an infinity full of mystery and it permits the great escape from the little world inside. A sudden flash like a silent explosion discloses fragments of a weird scene before the darkness swallows everything up once more. Some human limbs can be seen, the shape

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of a face, occasional gestures –as if time had frozen them all– and things acquire the dimensions of the nightmare, they become “tabernacle of life.” But the light of the coming day restores a different truth, smoothing out the sharpness of the shadows and sending a sudden lyrical breeze to caress the ancient sorrow. At the end, what is left is a “tired lamp,” a low glowing light which is further testimony to the drama of the night, a companion in the vigil, a comrade on the old bat¬tlements of solitude, keeping the miracle alive in the human veins. Seferis places his hopes in the human miracle. In the night, Seferis’s lamp preserves a weary, serene sweetness and a melancholy flicker of flame across the embers of life. 1993

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’ÅÍðÞíÚù: !" # $%&'" () *+-/0 03' (4 6 7%&8: ; ;<&='0 " > ?(%&(/ +@ ( ; B F" G"I8 :0J" K G"L&'M%": ;(& =K (/ ; L/0L N GM 8(J;PL: QMN () -R;$ ( K 7%&8: $T=": -U G=/M"J0L N 8$N 8$ $M 0W" Q8 XL " 0/"3 &JY Z" $[?3"$ $[ () \() (" 0/"P" :0 " 8&Z" ] ^-/00 _ 8$ B F" > Z" `J-:" 8$ Ib$0%" (/ gj8/8q(M$J-J8<" v xJ8<" zq /L &(/-I8: <; g{ LP"$ |}~}

Elpenor: one of Odysseus’ companions, whom human form, he fell asleep, drunk with wine, on the roof of Circe’s house. Suddenly awoken he fell from appear to Odysseus upon his descent into Hades. Eleutheroudakis Dictionary, Vol. 5, Athens 1929

存単達叩 Works www.art.com.gr

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Ôïí ĂœĂŁĂŁĂĽĂŤĂŻ Ă´ĂŻĂ­ ðüùÊÏĂ?Ă­ĂĄĂŹĂĽ ðùïóçÍÚÏĂ?Ă­ĂŻĂŠ Ă´ĂąĂ&#x;ĂĄ áùßíÊå ĂŞĂŻĂŠĂ´ĂœÌïíôåò Ă°ĂŻĂŤĂ˝ ĂŞĂŻĂ­Ă´Ăœ Ă´ĂĄ ðüýêå Ă´ĂŻ ĂŁĂŠĂĄĂŤĂź ĂŞĂĄĂŠ ô’ Ăœóôùå. Ă“ĂŹĂ&#x;ãïíôåò ôçí êßøç ô’ åÍüôùÊïý Ăž Ă´ĂŻĂľ êåùåâÊïý ôçí ĂŞĂĄĂąĂ?Ă­ĂĄ øĂœáíåÏü Ă­ĂĄ âùïýÏü Ă°ĂœĂŤĂŠ Ă´ĂŻ ðùÞôï óðĂ?ùÏå ĂŁĂŠĂĄ Ă­ĂĄ ÎåíåùáĂ&#x;óüÊ Ă´ĂŻ Ă°ĂĄĂ­ĂœùáåÊï äùĂœĂŹĂĄ. ÂŤĂŒþèÊóôßùçÏå, Ă

The angel– three years we waited for him, attention riveted, closely scanning the pines the shore the stars. One with the blade of the plough or the ship’s keel we were searching to find once more the first seed so that the age-old drama could begin again. “Mythistorema,� 1

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Âź,Ă´ĂŠ ĂĄĂŁĂœðçóå áĂœèçêü ĂŹĂĄĂŚĂ&#x; ĂŹĂĽ Ă´ĂĄ óðĂ&#x;Ă´ĂŠĂĄ Ă°ĂŻĂľ Þôåí êåÊíïýùãÊå Ă´ĂŻ ðüùåóÏĂ?Ă­ĂŻ ĂŞĂĄĂŤĂŻĂŞĂĄĂ&#x;ùÊ ĂŞĂĄĂŠ ĂŁĂŞĂąĂ?ÏÊóåí ĂŹĂĽ Ă´ĂŻĂ­ ĂĄĂŁĂ?ùå Ă´ĂŻĂľ ÜèÊíïðÞùïþ. ÂŤĂŒþèÊóôßùçÏå, ÉÇ

Whatever I loved vanished with the houses that were new last summer and crumbled in the winds of autumn. “Mythistorema,� 18

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Ç åþãĂž ĂŹĂœò âùĂ&#x;óêüÊ Ă°ĂŤĂœĂŠ óôçí êïþùåóÏĂ?íç ĂŤĂœĂŹĂ°ĂĄ Ă­ĂĄ ĂŁĂąĂœÜïþÏü åäĂ?ĂŽĂŠĂĄ ĂŞĂĄĂŠ ĂŹĂĽ ðùïóðĂœèüÊå óôï áåùôĂ&#x; ðÍüïýÏüíå ãïùãßíüò Ăž êïáýÍÊå. ÂŤĂŒþèÊóôßùçÏå, Ă…

Dawn finds us beside the tired lamp drawing on paper, awkwardly, painfully, ships mermaids or sea shells; “Mythistorema,� 5

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Ôå óðĂ&#x;Ă´ĂŠĂĄ Ă°ĂŻĂľ ĂĽĂ&#x;áå ĂŹĂŻĂľ Ă´ĂĄ Ă°Ăžùåí. ¸ôþáü Ă­ĂĄ ’íåÊ Ă´ĂĄ áùßíÊå äĂ&#x;óüáôå. Ă°ĂŻĂŤĂ?ĂŹĂŻĂŠ áåÍåóÏïĂ&#x; ĂŽĂĽĂ­ĂŠĂ´ĂĽĂŹĂŻĂ&#x;. ĂŞĂœĂ°ĂŻĂ´ĂĽ ĂŻ êþíçãßò âùĂ&#x;óêüÊ Ă´ĂĄ äÊåâåôĂœùÊêå ðïþÍÊĂœ ĂŞĂœĂ°ĂŻĂ´ĂĽ äüí Ă´ĂĄ âùĂ&#x;óêüÊ. Ă´ĂŻ êþíÞãÊ Þôåí ĂŞĂĄĂŤĂź óôå áùßíÊå ĂŹĂŻĂľ, Ă°Ăžùåí ðïÍÍïýò Ă´ĂĄ óêĂœĂŁĂŠĂĄ. ĂŻĂŠ ĂœĂŤĂŤĂŻĂŠ ãþùĂ&#x;Ìïþí Ăž ôùüÍåĂ&#x;íïþíôåÊ óôå êåôåÜýãÊå. ÂŤĂŠĂ&#x;áÍç, Ă (Ôï óðĂ&#x;Ă´ĂŠ ĂŞĂŻĂ­Ă´Ăœ óôç èĂœÍåóóå)

The houses I had they took away from me. The times happened to be unpropitious: war, destruction, exile; sometimes the hunter hits the migratory birds, sometimes he doesn’t hit them. Hunting was good in my time, many felt the pellet; the rest circle aimlessly or go mad in the shelters. â€œĂ”hrush,â€? I (“The house near the seaâ€?)

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ร รฝรฐรญรฏรฒ รณรฅ รดรฝรซรฉรฎรฅ, รณรกรญ ร รญรก รคร รญรดรฑรฏ, รฌรฅ รฐรฑร รณรฉรญรก รถรฝรซรซรก, รกรญร รณรกรฉรญรฅรฒ, รณรกรญ ร รญรก รคร รญรดรฑรฏ, รฌร รณรก รณรดรฏ ร รณรตรทรฏ รถรนรฒ, รฌร รณรก รณรดรง รครฉร รถรกรญรง รฐรงรฃร รชรฏร รดรกรฎรก รดรง รฌรฏรฑรถร รณรฏรต. รชรซรฅรฉรณรฌร รญรก รขรซร รถรกรฑรก รชรกรฉ รดรก รฌรกรดรผรชรซรกรครก รทร รฑรกรฆรกรญ รดรฏ รญรฅรฑรผ. ยซร รตรจรฉรณรดรผรฑรงรฌรกยป, ร E

Sleep wrapped you in green leaves like a tree you breathed like a tree in the quiet light in the limpid spring I looked at your face: eyelids closed, eyelashes brushing the water. โ Mythistorema,โ 15

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Ă?ĂŠ ĂśĂ&#x;ĂŤĂŻĂŠ Ïåò Ă?Üþãåí Ă&#x;óÚò Ă­ĂĄ Ïçí ôïþò ĂĽĂ&#x;äåÏü Ă°ĂŻĂ´Ă?ò, Ă&#x;óÚò Ă­ĂĄ ôïþò óþíåðåíôĂžóåÏü ßôåí åêßÏç ĂŻ ýðíïò Ïåò Ă?Üüùíü Ă°ĂŻĂŤĂ˝ ĂŞĂŻĂ­Ă´Ăœ óôï êýÏå Ă°ĂŻĂľ åíåóåĂ&#x;Ă­ĂĽĂŠ Ă&#x;óÚò Ă­ĂĄ ôïþò ãþùüýïþÏü ĂŁĂŠĂĄĂ´Ă&#x; ãþùüýïþÏü ôçí ĂœÍÍç ÌÚÞ, Ă°Ă?ùå ĂĄĂ°Ăź ô’ ĂĄĂŁĂœĂŤĂŹĂĄĂ´ĂĄ. ÂŤĂŒþèÊóôßùçÏå, Ă…

Our friends have left us perhaps we never saw them, perhaps we met them when sleep still brought us close to the breathing wave perhaps we search for them because we search for the other life, beyond the statues. “Mythistorema,� 5

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ĂŒĂĄ Ă´ĂŠ ãþùüýïþí ĂŻĂŠ øþáĂ?ò Ïåò ôåÎÊäüýïíôåò Ă°ĂœĂ­Ăš óôå óåðÊóÏĂ?Ă­ĂĄ èåÍĂœóóÊå ÎýÍå ĂĄĂ°Ăź ĂŤĂŠĂŹĂœĂ­ĂŠ óü ĂŤĂŠĂŹĂœĂ­ĂŠ; ÂŤĂŒþèÊóôßùçÏå, Ç

What are they after, our souls, travelling on rotten brine-soaked timbers from harbour to harbour? “Mythistorema,� 8

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โ ร โ รกรฃร รซรฌรกรดรก รฅร รญรกรฉ รณรดรฏ รฌรฏรตรณรฅร รฏ. ร รกรซรงรญรฝรทรดรก. โ ...รฃรฉรกรดร รดโ รกรฃร รซรฌรกรดรก รครฅรญ รฅร รญรกรฉ รฐรฉรก รณรตรญรดรฑร รฌรฌรฉรก, รฅร รฌรกรณรดรฅ รฅรฌรฅร รฒ. ร โ รกรฃร รซรฌรกรดรก รซรตรฃร รฆรฏรตรญ รกรซรกรถรฑรฉร โ ฆ รชรกรซรงรญรฝรทรดรก. ยซร ร รทรซรงยป, ร (ยซร รงรครฏรญรฉรชรผรฒ ร รซรฐร รญรนรฑยป)

โ โ The statues are in the museum. Good night.โ โ โ โ ฆbecause the statues are no longer fragments. We are. The statues bend lightly...Good night.โ โ ร hrush,โ II (โ Sensual Elpenorโ )

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Ă? ôßðïò Ïåò ĂĽĂ&#x;Ă­ĂĄĂŠ êÍüÊóôßò. Ôïí ĂŞĂŤĂĽĂ&#x;íïþí ĂŻĂŠ äþï Ïåýùüò Ă“þÏðÍçãĂœäüò. Ă“Ă´ĂĄ ĂŤĂŠĂŹĂœĂ­ĂŠĂĄ ôçí ĂŠþùÊåêĂž óåí êåôüâïýÏü í’ ĂĄĂ­ĂĄĂłĂœíïþÏü âÍĂ?ðïþÏü Ă­ĂĄ ÜÚôĂ&#x;ĂŚĂŻĂ­Ă´ĂĄĂŠ óôï çÍÊßãüùÏå óðåóÏĂ?Ă­ĂĄ ÎýÍå ĂĄĂ°Ăź Ă´ĂĄĂŽĂ&#x;äÊå Ă°ĂŻĂľ äüí Ă´Ă?ÍüÊÚóåí óÞÏåôå Ă°ĂŻĂľ äüí ĂŽĂ?ùïþí Ă°ĂŠĂĄ ðÞò í’ ĂĄĂŁĂĄĂ°Ăžóïþí. ÂŤĂŒþèÊóôßùçÏå, É

Our country is closed in. The two black Symplegades close it in. When we go down to the harbours on Sunday to breathe freely we see, lit in the sunset, the broken planks from voyages that never ended, bodies that no longer know how to love. “Mythistorema,� 10

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Ă?ĂŠ øþáĂ?ò ôïþò Ă?ĂŁĂŠĂ­ĂĄĂ­ Ă?Ă­ĂĄ ĂŹĂĽ Ă´ĂĄ êïþðÊĂœ ĂŞĂĄĂŠ ôïþò óêåùÏïýò ĂŹĂĽ Ă´ĂŻ óïâåùß ðùßóÚðï ôçò ðÍÞùçò ĂŹĂĽ ô’ åþÍĂœĂŞĂŠ Ă´ĂŻĂľ Ă´ĂŠĂŹĂŻĂ­ĂŠĂŻĂ˝ ĂŹĂĽ Ă´ĂŻ íüùß Ă°ĂŻĂľ Ă?óðåÌü ôç ÏïùÜĂž ôïþò. Ă?ĂŠ óýíôùïÜïÊ Ă´Ă?ÍüÊÚóåí ĂŹĂĽ ôç óüÊùĂœ, ĂŹĂĽ áåÏçÍÚÏĂ?Ă­ĂĄ ĂŹĂœĂ´ĂŠĂĄ. Ôå êïþðÊĂœ ôïþò äüĂ&#x;áíïþí Ă´ĂŻ ĂŹĂ?ùïò Ă°ĂŻĂľ êïÊÏïýíôåÊ óô’ åêùïãÊĂœĂŤĂŠ. ÂŤĂŒþèÊóôßùçÏå, Ă„ (à ùãïíåýôüò)

Their souls became one with the oars and the oarlocks with the solemn face of the prow with the rudder’s wake with the water that shattered their image. The companions died one by one, with lowered eyes. Their oars mark the place where they sleep on the shore. “Mythistorema,� 4 (“Argonauts�) 88

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–Ô’ ĂĄĂŁĂœĂŤĂŹĂĄĂ´ĂĄ ĂĽĂ&#x;Ă­ĂĄĂŠ óôï ÏïþóüĂ&#x;ĂŻ. – ŸáÊ, óü êþíçãïýí, ðÞò äüí Ă´ĂŻ âÍĂ?ðüÊò; èĂ?ĂŤĂš Ă­ĂĄ Ă°Ăš ĂŹĂĽ Ă´ĂĄ óðåóÏĂ?Ă­ĂĄ ĂŹĂ?Íç ôïþò, ĂŹĂĽ ôçí ĂĄĂŤĂŤĂŻĂ´ĂŠĂ­Ăž ÏïùÜĂž ôïþò Ă°ĂŻĂľ äü ãíÞùÊóüò ĂŞĂŠ ßÏÚò ôçí ĂŽĂ?ùüÊò. ÂŤĂŠĂ&#x;áÍç, Ă‚ (ÂŤĂ? çäïíÊêßò Ă…ĂŤĂ°ĂžíÚù)

–‘The statues are in the museum’. –‘No, they pursue you, why can’t you see it? I mean with their broken limbs, with their shape from another time, a shape you don’t recognize yet know. â€œĂ”hrush,â€? II (“Sensual Elpenorâ€?)

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Ă„ĂĽ èĂ?ĂŤĂš Ă´Ă&#x;Ă°ĂŻĂ´ĂĽ ĂœĂŤĂŤĂŻ Ă°ĂĄĂąĂœ Ă­ĂĄ ĂŹĂŠĂŤĂžóÚ ĂĄĂ°ĂŤĂœ, Ă­ĂĄ ĂŹĂŻĂľ äïèüĂ&#x; üôïýôç ç áĂœùç. ĂƒĂŠĂĄĂ´Ă&#x; ĂŞĂĄĂŠ Ă´ĂŻ ôùåãïýäÊ Ă´ĂŻ ÜïùôÞóåÏü ĂŹĂĽ ôßóüò ÏïþóÊêĂ?ò Ă°ĂŻĂľ óÊãĂœ - óÊãĂœ âïþÍÊĂœĂŚĂĽĂŠ ĂŞĂĄĂŠ ôçí Ă´Ă?áíç Ïåò ôç óôïÍĂ&#x;óåÏü ôßóï Ă°ĂŻĂŤĂ˝ Ă°ĂŻĂľ ÜåãÞèçêü ĂĄĂ°Ăź Ă´ĂĄ ĂŹĂĄĂŤĂœĂŹĂĄĂ´ĂĄ Ă´ĂŻ ðùßóÚðß ôçò ĂŞĂŠ ĂĽĂ&#x;Ă­ĂĄĂŠ êåÊùßò Ă­ĂĄ ðïýÏü Ă´ĂĄ ÍÊãïóôĂœ Ïåò ÍßãÊå ĂŁĂŠĂĄĂ´Ă&#x; ç øþáĂž Ïåò åýùÊï ĂŞĂœĂ­ĂĽĂŠ Ă°ĂĄĂ­ĂŠĂœ. ÂŤ ¸íåò ĂŁĂ?ùïíôåò óôçí åêùïðïôåÏÊĂœÂť

I want nothing more than to speak simply, to be granted that grace. Because we’ve loaded even our song with so much music that it’s slowly sinking and we’ve decorated our art so much that its features have been eaten away by gold and it’s time to say our few words because tomorrow our soul sets sail. “An Ă?ld ĂŒan on the River Bankâ€? 94

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Ă“ôçí Ă°Ă?ôùå ôçò þðïÏïíĂžò ðùïóÏĂ?íïþÏü Ă´ĂŻ èĂœĂŹĂĄ Ă°ĂŻĂľ ĂĄĂ­ĂŻĂ&#x;ĂŁĂĽĂŠ Ă´ĂĄ üðïþùĂœĂ­ĂŠĂĄ êÊ’ ĂĽĂ&#x;í’ ßÍå âïÍüôĂœ ðùïóÏĂ?íïþÏü Ă´ĂŻĂ­ ĂœĂŁĂŁĂĽĂŤĂŻ óåí Ă´ĂŻ Ă°ĂĄĂ­ĂœùáåÊï äùĂœĂŹĂĄ ôçí Þùå Ă°ĂŻĂľ Ă´ĂŻĂľ äüÊÍÊíïý áĂœíïþíôåÊ Ă´â€™ åíïÊáôĂœ ôùÊåíôĂœÜþÍÍå‌ Ă‘ßäï ĂœĂŤĂŠĂŞĂŻ Ă´ĂŻĂľ ĂĄĂ­Ă?ĂŹĂŻĂľ ĂŞĂĄĂŠ ôçò ĂŹĂŻĂ&#x;ùåò, Ïßíï óôç ĂŹĂ­ĂžÏç åðßÏüÊíüò, Ă?íåò âåùýò ùþèÏßò ùßäï ôçò íýáôåò Ă°Ă?ùåóüò, ôùÊêýÏÊóÏå ðïùÜýùåò ôùÊêýÏÊóÏå ôçò èĂœÍåóóåò‌ Ă? êßóÏïò ĂĽĂ&#x;Ă­ĂĄĂŠ åðÍßò. ÂŤĂ…ùÚôÊêßò Íßãïò, Ă… On the stone of patience we wait for the miracle that opens the heavens and makes all things possible we wait for the angel as in the age-old drama at the moment when the open roses of twilight disappear...Red rose of the wind and of fate, you remained in memory only, a heavy rhythm rose of the night, you passed, undulating purple, undulation of the sea...The world is simple.

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¸íå ĂŹĂĽĂŁĂœĂŤĂŻ Ă°Ă?ĂŤĂĄĂŁĂŻ äþï ĂŹĂœĂ´ĂŠĂĄ üþêĂ&#x;íçôå ĂŞĂĄĂŠ ĂĄĂŞĂ&#x;íçôå óåí Ă´ĂŻĂ­ ĂĄĂŁĂ?ùå ĂŞĂĄĂŠ Ă´ĂĄ Ă°ĂĄĂ­ĂŠĂœ ĂŹĂŻĂľ ßóï êùåôĂžóïþí, ĂŞĂŠ ĂŻ èüßò ĂŹĂŻĂľ. ÇÏüùïÍßãÊï êåôåóôùÞÏåôïò, Ă (ÂŤAÍÍçÍüããýç)

A huge sea two eyes swift and motionless like the wind and my sails as long as they last, and my god. “Logbook,� I (“Solidarity�)

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ĂŽýðíçóå ĂŹĂĽ Ă´ĂŻ ÏåùÏĂœùÊíï ôïýôï ĂŞĂĽĂśĂœĂŤĂŠ óôå áĂ?ùÊå Ă°ĂŻĂľ ĂŹĂŻĂľ ĂĽĂŽĂĄĂ­Ă´ĂŤĂĽĂ&#x; ôïþò åãêÞíüò ĂŞĂĄĂŠ äüí ĂŽĂ?ùÚ Ă°ĂŻĂ˝ Ă­ĂĄ ô’ åêïþÏðĂžóÚ. ¸ðüÜôü óôï ßíüÊùï êåèÞò Ă?âãåÊíå ĂĄĂ°Ăź Ă´ĂŻ ßíüÊùï Ă?ôóÊ üíÞèçêü ç ÌÚÞ Ïåò ĂŞĂĄĂŠ èå ĂĽĂ&#x;Ă­ĂĄĂŠ Ă°ĂŻĂŤĂ˝ äýóêïÍï Ă­ĂĄ ÎåíåáÚùĂ&#x;óüÊ. ÂŤĂŒþèÊóôßùçÏå, Ăƒ

I woke with this marble head in my hands; it exhausts my elbows and I don’t know where to put it down. It was falling into the dream as I was coming out of the dream so our life became one and it will be very difficult for it to separate again. “Mythistorema,� 3

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ร รฅรดรกรชรฉรญรพรญรดรกรฒ รดรณรกรชรฉรณรฌร รญรฅรฒ รฐร รดรฑรฅรฒ, รกรญรกรณรกร รญรฏรญรดรกรฒ รดรง รครฑรฏรณรฉร รดรฏรต รฐรฅรฝรชรฏรต รฐรฉรฏ รครฝรณรชรฏรซรก รชร รจรฅ รฌร รฑรก, รชรฏรซรตรฌรฐรพรญรดรกรฒ รณรดรก รญรฅรฑร รดรฏรฝรดรงรฒ รดรงรฒ รจร รซรกรณรณรกรฒ รชรฉ รฅรชรฅร รญรงรฒ รดรงรฒ รจร รซรกรณรณรกรฒ, รทรนรฑร รฒ รกรถร รทรนรฑร รฒ รกรญรจรฑรพรฐรฏรตรฒ รฌร รณรก รณรฅ รฌรฉรก รฐรกรดรฑร รครก รฐรฏรต รครฅรญ รฅร รญรกรฉ รฐรฉรก รครฉรชร รฌรกรฒ รฏรฝรดรฅ รครฉรชร รณรกรฒ. ยซร รตรจรฉรณรดรผรฑรงรฌรกยป, ร

Shifting broken stones, breathing in the pineโ s coolness with greater difficulty each day, swimming in the waters of this sea and of that sea, without the sense of touch without men in a country that is no longer ours nor yours. โ Mythistorema,โ 8 120

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Jannis Psychopedis was born in Athens in 1945. From 1963 to 1968, he studied at the School of Fine Arts in Athens. He was subsequently awarded a German state scholarship for post-graduate studies at the Academy of Fine Arts in Munich from 1971-1976. Psychopedis was a founding member of the “Young Greek Realists� group (197173) and the Visual Arts Center in Athens (1974-76). He was a member of the 10/9 group of artists in Munich (1975), and in 1977 was invited to be a guest at the DAAD art program in West Berlin, where he lived and worked until 1986. Between 1986 and 1992, he lived and worked in Brussels. He was appointed as a professor at the School of Fine Arts in Athens in 1994. His work has been shown in many one-person and group exhibitions in Greece, France, West and East Germany, Luxembourg, Spain, Yugoslavia, Ireland, Albania, Japan, Belgium, Algeria, Cyprus, the United States, Iran, Turkey, Canada, the United Kingdom, Romania, the Netherlands, Israel, Egypt, Italy and Sweden, in private galleries, public galleries, and museums.

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ÃåííÞèçêå óôçí ÁèÞíá ôï 1945. Áðü ôï 1963 ìÝ÷ñé ôï 1968 óðïõäÜæåé óôçí ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí óôçí ÁèÞíá. Ìåôáðôõ÷éáêÝò óðïõäÝò ìå õðïôñïößá ôïõ ãåñìáíéêïý êñÜôïõò óôçí Áêáäçìßá Êáëþí Ôå÷íþí ôïõ ÌïíÜ÷ïõ (1971-76). Éäñõôéêü ìÝëïò ôçò ïìÜäáò «ÍÝïé ¸ëëçíåò ñåáëéóôÝò» (1971-73). Éäñõôéêü ìÝëïò ôïõ ÊÝíôñïõ Åéêáóôéêþí Ôå÷íþí (ÊÅÔ, ÁèÞíá 1974-76). ÌÝëïò ôçò êáëëéôå÷íéêÞò ïìÜäáò «10/9» ôïõ ÌïíÜ÷ïõ (1975). ÐñïóêåêëçìÝíïò ôïõ êáëëéôå÷íéêïý ðñïãñÜììáôïò ôïõ Äõôéêïý Âåñïëßíïõ DAAD (1977). Áðü ôï 1977 ìÝ÷ñé êáé ôï 1986 æåé êáé åñãÜæåôáé óôï Âåñïëßíï. Áðü ôï 1986 ìÝ÷ñé êáé ôï 1992 æåé êáé åñãÜæåôáé óôéò ÂñõîÝëëåò. Ôï 1994 åêëÝãåôáé êáèçãçôÞò óôçí ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí óôçí ÁèÞíá. ¸÷åé êÜíåé ðïëëÝò áôïìéêÝò ðáñïõóéÜóåéò ôïõ Ýñãïõ ôïõ óôçí ÅëëÜäá, Ãáëëßá, ÄõôéêÞ êáé ÁíáôïëéêÞ Ãåñìáíßá, óôï Ëïõîåìâïýñãï, óôçí Éóðáíßá, Ãéïõãêïóëáâßá, Éñëáíäßá, Áëâáíßá, Éáðùíßá, óôï ÂÝëãéï, óôçí Áëãåñßá, Êýðñï, ÁìåñéêÞ, Óïõçäßá, óôï ÉóñáÞë, ÉñÜí, óôçí Ôïõñêßá, Áããëßá, óôïí ÊáíáäÜ, óôç Ñïõìáíßá, Áßãõðôï, Ïëëáíäßá, Éôáëßá, óå éäéùôéêÝò ãêáëåñß, ðéíáêïèÞêåò êáé ìïõóåßá.

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www.art.com.gr Ç ÐÁÑÏÕÓÁ ÅÊÄÏÓÇ ÃÉÁÍÍÇÓ ØÕ×ÏÐÁÉÄÇÓ Ï HÄÏÍÉÊÏÓ ÅËÐÇÍÙÑ Ï ÓÅÖÅÑÇÓ ÓÔÏÍ ÐÏÑÏ ÔÕÐÙÈÇÊÅ ÌÅ ÔÇÍ ÅÕÊÁÉÑÉÁ ÔÇÓ ÅÊÈÅÓÇÓ ÔÏÕ ÆÙÃÑÁÖÏÕ ÓÔÇÍ ÃÊAËÅÑÉ CITRONNE ÔÏÍ ÉÏÕËÉÏ ÔÏÕ 2010 ÓÅ 2.000 ÁÍÔÉÔÕÐÁ ÁÐÏ ÔÉÓ ÅÊÄÏÓÅÉÓ ÍÇÑÅÁÓ THIS EDITION WAS PRINTED ON THE OCCASION OF JANNIS PSYCHOPEDIS SENSUAL ELPENOR SEFERIS ON POROS EXHIBITION AT THE CITRONNE GALLERY, JULY 2010 IN 2,000 COPIES BY NEREUS PUBLISHERS

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