technology
society
manolis anastasakos humanity
nature
12 / 12 / 2015
Ç Blender Gallery óõìðëçñþíåé óå ëßãï êáéñü ôñßá ÷ñüíéá äõíáìéêÞò ðáñïõóßáò óôçí ÁèÞíá. Óôï äéÜóôçìá áõôü, Ý÷ïõìå öéëïîåíÞóåé ðåñéóóüôåñåò áðü äåêáåðôÜ ïìáäéêÝò êáé áôïìéêÝò åêèÝóåéò åíôüò êáé åêôüò ÅëëÜäïò, ôüóï áíåñ÷üìåíùí üóï êáé äéåèíþò êáôáîéùìÝíùí êáëëéôå÷íþí. Âñéóêüìáóôå óå ìéá äçìéïõñãéêÞ äéáäéêáóßá áíÜäåéîçò ðïëëþí êáé äéáöïñåôéêþí êáëëéôå÷íéêþí ðñïóåããßóåùí êáé åîåëéóóüìáóôå êé åìåßò ðáñÜëëçëá áíÜãïíôáò ôçí Blender Gallery óå ìéá ðñùôïðüñï ãêáëåñß ðïõ Ý÷åé ðëÝïí Ýíá óáöÝò óçìåßï óôïí ðïëéôéóôéêü ÷Üñôç ôïõ ôüðïõ ìáò. Âáäßæïíôáò áíôßèåôá óôï ñåýìá ôùí äýóêïëùí êáéñþí ðïõ äéáíýïõìå, êáé óå åðï÷Þ ïéêïíïìéêÞò ýöåóçò, åìåßò óõíå÷ßæïõìå íá õðçñåôïýìå ôïí óêïðü ìáò: ðñï÷ùñïýìå óå óõíåñãáóßåò ìå ãêáëåñß êáé áßèïõóåò ôÝ÷íçò óôï åîùôåñéêü, áíáìïñöþíïõìå ôï åéêáóôéêü ôïðßï ìÝóá áðü ôçí ðáñïõóßá ìáò óå öïõÜñ êáé öåóôéâÜë ôÝ÷íçò êáé ðñïÜãïõìå ôïí äçìéïõñãéêü äéÜëïãï ìåôáîý äéáöïñåôéêþí åéêáóôéêþí áðüøåùí. Óôçí åêðíïÞ ôïõ èõåëëþäïõò 2015 êáé ãéá íá õðïäå÷ôïýìå åëðéäïöüñá ôï 2016, åßìáóôå éäéáßôåñá åõôõ÷åßò êáé åõãíþìïíåò ðïõ èá öéëïîåíÞóïõìå ôçí áôïìéêÞ Ýêèåóç ôïõ ðïëõìÞ÷áíïõ êáé óðïõäáßïõ Ìáíþëç ÁíáóôáóÜêïõ. Ï ÁíáóôáóÜêïò, ï ïðïßïò ôõã÷Üíåé äéåèíïýò áíáãíþñéóçò, åßíáé Ýíáò éäéáßôåñïò êáëëéôÝ÷íçò, ôï öÜóìá ôçò êáëëéôå÷íéêÞò ôïõ äçìéïõñãßáò áðëþíåôáé áðü ôç æùãñáöéêÞ ìÝ÷ñé ôç óêçíïãñáößá êáé áðü ôçí ãëõðôéêÞ êáé ôçí ôÝ÷íç ôïõ äñüìïõ ìÝ÷ñé ôïí êéíçìáôïãñÜöï. ÌÝóá áðü Ýíá åõñý öÜóìá åêöñáóôéêþí ìÝóùí, ìáò åìðéóôåýåôáé ôþñá ôç íÝá ôïõ ðñïóùðéêÞ èåìáôéêÞ ìå ôßôëï «Cosmos», êé åìåßò ìå ôç óåéñÜ ìáò ðáñïõóéÜæïõìå óôï öéëüôå÷íï êïéíü, Ýñãá ìå ðïëëáðëÝò áíáãíþóåéò, ìå âáèýôåñá íïÞìáôá, Ýñãá óýã÷ñïíá, ìå êïéíïíéêïðïëéôéêÞ ÷ñïéÜ êáé áíáôñåðôéêü ðïëëÝò öïñÝò åéêáóôéêü ëåîéëüãéï. Ç Ýêèåóç «Cosmos», èá áããßîåé ãéá äéáöïñåôéêïýò ëüãïõò ôïí êáèÝíá áðü åìÜò äéüôé áí õðÜñ÷åé êÜôé ôï ïðïßï ÷áñáêôçñßæåé ôç äïõëåßá ôïõ ÁíáóôáóÜêïõ åßíáé ç ðïëõåðßðåäç áíÜãíùóç ôïõ Ýñãïõ ôïõ ðïõ ï åêÜóôïôå èåáôÞò - äÝêôçò êáëåßôáé íá áíáêáëýøåé. Ìéá Ýêèåóç áöéåñùìÝíç óôçí êñéôéêÞ óêÝøç, ôïí äçìéïõñãéêü ðñïâëçìáôéóìü êáé ôïí Êüóìï. Ïé äéåõèõíôÝò ôçò Blender Gallery, ÉÜóùí Èåïöáíßäçò & Áíáóôáóßá ÊïëëÜêç - Èåïöáíßäç
The Blender Gallery soon completes its third year of dynamic presence in Athens. During this time, we have hosted more than seventeen group and solo exhibitions, both in Greece and abroad, of upcoming artists, but also internationally established artists. We always try to find creative ways to highlight the various aesthetic approaches adopted by our artists - collaborators and it is in this direction that we develop as a team of professionals. The Blender Gallery has earned a place in the cultural map of Athens as an innovative contemporary art gallery. Marching against the stream of difficulties of the era we live in, in a time of financial recession, we continue serving our goals: we pursue collaborations with galleries and art spaces abroad, we reshape the arena of art by participating in art fairs, we promote the creative dialogue between different artistic stances. As stormy 2015 ends, and as we welcome 2016 in an optimistic spirit, we are very happy and grateful that we will host the solo exhibition of the multifarious and brilliant Manolis Anastasakos. Anastasakos, whose work has received international acclaim, is a unique artist, as the range of his creativity spans from painting to scenography, and from sculpture to street art and film. Through a wide range of expressive media, he shares with us his new personal exhibition titled «Cosmos», and in turn, we present to our public artworks which bear multiple readings and deeper meanings. The artworks presented in «Cosmos» have a sociopolitical dimension and their unconventional artistic vocabulary often challenges the viewer. The exhibition «Cosmos», will make an impact on every each of us for different reasons, as Anastasakos' work is ultimately characterised by the multilayered interpretations that are embedded in it, and that its viewers are called to discover. It is an exhibition that honors critical thought, creative thinking and the Cosmos. The directors of the Blender Gallery Iason theophanidis & Anastasia Kollakis – Theophanidi
Cosmos
crystal resin, acrylics, paper, gesso, lead, glass, Indian ink 89
x 104 x 7 cm
Hanging Man
marble, burnt wood
Title:
6
x 5,5 x 17,5 cm
Ìáíþëçò ÁíáóôáóÜêïò Ï Ìáíþëçò ÁíáóôáóÜêïò åßíáé ¸ëëçíáò êáëëéôÝ÷íçò. ÃåííÞèçêå óôçí ÁèÞíá ôï 1977. ¸÷åé ðñáãìáôïðïéÞóåé ôéò óðïõäÝò ôïõ óôïí ôïìÝá ôùí åöáñìïóìÝíùí ôå÷íþí, ôùí êáëþí ôå÷íþí, ôçí åéêáóôéêÞ øõ÷ïèåñáðåßá êáé ôçí óêçíïèåóßá áðïóðþíôáò êñáôéêÝò õðïôñïößåò êáé óõììåôï÷Ýò óå ÅõñùðáúêÜ ðñïãñÜììáôá. ¸÷åé ìåëåôÞóåé óå åñãáóôçñéáêü åðßðåäï åíôüò êáé åêôüò ÅëëÜäïò ôéò ôÝ÷íéêÝò ôçò õáëïõñãßáò, îõëïãëõðôéêÞò. Åðßóçò, Ý÷åé ìåëåôÞóåé êáé áó÷ïëçèåß ìå ôçí öùôïãñáößá, ôç óêçíïãñáößá êáé ôçí áãéïãñáößá. ¸÷åé óõììåôÜó÷åé êáé åêðñïóùðÞóåé ôçí ÅëëÜäá ìå áôïìéêÝò êáé ïìáäéêÝò åêèÝóåéò óå Åõñþðç, Áóßá êáé ÁìåñéêÞ áðïóðþíôáò äéåèíÞ âñáâåßá êáé åðáßíïõò ãéá ôï Ýñãï ôïõ. Äñáóôçñéïðïéåßôáé ùò æùãñÜöïò, ôïé÷ïãñÜöïò, ãëýðôçò, åéêïíïãñÜöïò, ÷áñÜêôçò, óêçíïèÝôçò, óêçíïãñÜöïò êáé åðéìåëçôÞò åêèÝóåùí. Åßíáé êáëëéôå÷íéêüò äéåõèõíôÞò óôï êÝíôñï ´´Âéïìéìçôéóìüò ÅëëÜäïò, Ýñåõíáò êáé êáéíïôïìßáò´´ óôï ôìÞìá ôçò ôÝ÷íçò. ¸÷åé åñãáóôåß ãéá ôïí êéíçìáôïãñÜöï êáé ôï èÝáôñï, óå åêäïôéêïýò ïßêïõò êáé óôçí ôçëåüñáóç. ¸÷åé ëÜâåé ìÝñïò óôï ôìÞìá ãëõðôéêÞò, æùãñáöéêÞò êáé óêçíïãñáößáò óôçí 28ç ôåëåôÞ Ýíáñîçò ôùí Ïëõìðéáêþí Áãþíùí óôçí ÁèÞíá ôï 2004. Åßíáé ìÝëïò ôïõ Éäñýìáôïò åéêáóôéêþí ôå÷íþí ´´Á. ÔÜóóïò´´. ¸ñãá ôïõ âñßóêïíôáé Þäç óå Ìïõóåßá óýã÷ñïíçò ôÝ÷íçò åíôüò êáé åêôüò ÅëëÜäïò êáé óå óçìáíôéêÝò éäéùôéêÝò óõëëïãÝò. Ôïí åíäéáöÝñåé ç ôÝ÷íç ôïõ äñüìïõ óå åðßðåäï ôïé÷ïãñáößáò êáé ìåãÜëùí åéêáóôéêþí åãêáôáóôÜóåùí óôïí äçìüóéï ÷þñï. ÁñêåôÜ ìíçìåéáêþí äéáóôÜóåùí Ýñãá ôïõ, âñßóêïíôáé óôïí äçìüóéï ÷þñï, ìÝóù åõñùðáúêþí ðñïãñáììÜôùí êáé êñáôéêþí óõíåñãáóéþí. Ôï Ýñãï ôïõ Ý÷åé ðñïâëçèåß, äçìïóéåõèåß ôüóï óôïí Åëëçíéêü Ôýðï üóï êáé óôï åîùôåñéêü, ìÝóá áðü åîþöõëëá óå åöçìåñßäåò, óå áöéåñþìáôá óå íôïêéìáíôÝñ, óå óõíåñãáóßåò ìå åêäïôéêïýò ïßêïõò, óå óõíåíôåýîåéò êáé êéíçìáôïãñáöéêÝò ðáñáãùãÝò. Ùò åðßêåíôñï ôçò åóùôåñéêÞò ôïõ áíçóõ÷ßáò, åßíáé ç áíáæÞôçóç ôçò áðÜíôçóçò ðßóù áðü ôçí ôÜóç ôùí áíèñþðùí íá ìðåñäåýïõí ôçí áóöÜëåéá ìå ôçí åõôõ÷ßá êáé ìå ðéïí ôñüðï, ïé åéêáóôéêÝò åêöÜíóåéò ôçò ôÝ÷íçò, ìðïñïýí íá áíáìïñöþóïõí ôçí ðíåõìáôéêÞ äïìÞ ôïõ åêÜóôïôå èåáôÞ, ìå ãíþìïíá ôçí áéóèçôéêÞ êáé ôçí êñéôéêÞ óêÝøç. Äåí Ý÷åé áêüìá êáôáëÞîåé, êáôÜ ôá ëåãüìåíá ôïõ êÜðïõ, áëëÜ åßíáé óßãïõñï, üôé ôïõ áñÝóåé íá áíáæçôÜ.
Manolis Anastasakos Manolis Anastasakos is a Greek artist. He was born in Athens in 1977. He completed his studies in applied arts, fine arts, visual psychotherapy and directing through various state scholarships and participations in European programs. Through his participation in numerous workshops, both in Greece and abroad, he gained an insight into the techniques of glassmaking and woodcarving. He also studied photography, scenography and iconography. He represented Greece in many solo and group exhibitions in Europe, Asia and the United States, where he received international acclaim and awards. He works across a wide range of disciplines such as painting, sculpture, illustration, engraving, directing, scenography, art curation. He is the director of the art department of the “ Biomimicry Greece, Research & Innovation Center” and a member of the visual arts institution “A.Tassos”. He has worked in film and in theatre, in publishing houses and in the TV industry. One of the highlights of his career was working in the department of sculpture, painting and scenography in the 28th closing ceremony of the Olympic Games in Athens (2004). His work is included in contemporary art museums collections in Greece and abroad, as well as in important private collections. Anastasakos is interested in street art, in terms of wall murals and art installations. Several monumental works of his have been displayed in public spaces, through European programs. His work has been presented internationally in press publications, newspaper covers, documentaries, interviews and film productions. One of the main concerns of the artist is why people tend to confuse security with happiness and in which way art can reshape the viewers' spiritual configuration, depending on their sense of aesthetics and critical thought. The artist claims he has not yet found an answer to this question, but he surely enjoys the pursuit of it.
ÖïñÝò, ç æùãñáöéêÞ åßíáé ìéá ïíåéñïðïéçôéêÞ ìç÷áíÞ ðïõ ìáò ôáîéäåýåé. ÖïñÝò ðÜëé, Ýíáò ìï÷ëüò ðßåóçò þóôå íá äïýìå ôá ðñÜãìáôá áëëéþò Þ ìÜëëïí, þóôå íá äïýìå ôá ðñÜãìáôá ìå ôï ðéï áëçèéíü ôïõò ðñüóùðï, ôï ðÜíôïôå êñõììÝíï óôï óêïôÜäé. ÅîÜëëïõ, ôï óêïôÜäé åßíáé áíáãêáßï ãéá íá ãåííçèåß ôï öùò. ÐñïóùðéêÜ, õðåñáóðßæïìáé ôç æùãñáöéêÞ ãéáôß áõôÞ åßíáé ç ðáíÜñ÷áéç ìÞôñá åéêüíùí ðïõ äßíåé éäÝåò êáé ôñïöïäïôåß ìå Ýìðíåõóç åêöñÜóåéò, ôüóï äéáöïñåôéêÝò ìåôáîý ôïõò, üóï ç öùôïãñáößá êáé ôï óéíåìÜ Þ ç video art êáé ôá ãêñÜöéôé. Ðáñáêïëïõèþ ìå ðïëý åíäéáöÝñïí, åäþ êáé ÷ñüíéá, ôç äïõëåéÜ ôïõ Ìáíþëç ÁíáóôáóÜêïõ, êõñßùò ãéáôß ï ßäéïò óõíäõÜæåé ðïëëïýò êáé äéáöïñåôéêïýò ôñüðïõò Ýêöñáóçò þóôå íá ðñïóåããßóåé ôï üñáìÜ ôïõ áëëÜ êáé ãéáôß, åßíáé ôüóï ôÝëåéïò ãíþóôçò ôùí äõíáôïôÞôùí ðïõ êñýâïõí ôá äéÜöïñá õëéêÜ, þóôå íá âãÜæåé áðü áõôÜ ôçí Üõëç ôïõò õðüóôáóç, äçëáäÞ ôçí éäÝá ôïõò. ¿óôå íá âãÜæåé áðü ôçí óÜñêá ðíåýìá, üðùò èá´ ëåãå ï óõìðáôñéþôçò, ôïõ Íßêïò ÊáæáíôæÜêçò. Ìå åíäéáöÝñåé åðßóçò, ç êïéíùíéêÞ ðáñÝìâáóç ôïõ ÁíáóôáóÜêïõ ìÝóá áðü ôá ãêñÜöéôé ðïõ äçìéïõñãåß óôçí ðüëç, åßôå ìüíïò ôïõ åßôå ìå óõíåñãÜôåò, êáèþò Ýôóé õöáßíåôáé ìéá êáéíïýñãéá åðéêÞ ðáñÜäïóç áöÞãçóçò óôï áóôéêü ôïðßï, îåêïììÝíç áðü ôçí äéáêïóìçôéêÞ - áãïñáßá ÷ñÞóç ôçò æùãñáöéêÞò åéêüíáò. ÁëëÜ êáé ùò æùãñÜöïò ôïõ êáâáëÝôïõ, ï ÁíáóôáóÜêïò ðïëý óõ÷íÜ êáéíïôïìåß êáèþò áñýåôáé - óôïé÷åßá áðü üëç ôç æùãñáöéêÞ ðáñÜäïóç ôïõ äõôéêïý êüóìïõ êáé ôá ìðïëéÜæåé ìå ôéò áíÜãêåò êáé ôç ãëþóóá ôïõ óÞìåñá. Áðü ôçí åéêïíïðïéßá ôïõ Éåñþíõìïõ Ìðïò Þ ôïõ Ãêüãéá ùò ôçí ðáñáöïñÜ ôùí Ñïìáíôéêþí ôïõ 19ïõ, áðü ôïõò ìýèïõò êáé ôá óýìâïëá ôïõ Ìåóáßùíá ùò ôá pixels ôçò øçöéáêÞò ãëþóóáò êáé ôá êüìéî, ï êáëëéôÝ÷íçò öéëïôå÷íåß óõíèÝóåéò ðïõ áíôÝ÷ïõí óå ðïëëáðëÝò áíáãíþóåéò êáé ðïõ äåí äéåêðåñáéþíïõí ìéá áéóèçôéêÞ Üðïøç áëëÜ ôçí äçìéïõñãïýí åî õðáñ÷Þò. Ôïí Ìáíþëç ÁíáóôáóÜêï áðáó÷ïëÝé ðïëý, êáé èåùñçôéêÜ êáé ðñáêôéêÜ, ç öùôïãñáößá êáé ç äõíáìéêÞ ôçò ùò ðñïò ôçí ðéóôÞ êáôáãñáöÞ ôçò ðñáãìáôéêüôçôáò. ÄçëáäÞ åêåßíç ôç óôéãìÞ ðïõ ñÝåé, ðïõ äéáññÝåé êáé ðïõ ÷Üíåôáé... ºóùò ç öùôïãñáößá íá åßíáé ôï ðéï äñáìáôéêü ìÝóï Ýêöñáóçò, áëçèéíü áíôç÷åßï èáíÜôïõ. Ç åêäßêçóç ôïõ ÷ñüíïõ - Êñüíïõ áðÝíáíôé óôçí áíèñþðéíç ìáôáéïäïîßá ôçò íåüôçôáò. ÁõôÞò ôçò áññþóôéáò ðïõ ãßíåôáé áíßáôç êáôÜ ôçí ðåñßïäï ôïõ ãÞñáôïò, åííïþ ôçí íåüôçôá, êáé ðïõ äåí èåñáðåýåôáé ðáñÜ ìüíï óôá ÷áñþíåéá ìÝãáñá. Äåßôå ôçí üðïéá öùôïãñáößá ôïõ ÷èåò. Åßíáé óáí íá óõìâáßíåé ôþñá - ç ìåãÜëç ðáñáßóèçóç ôïõ ìÝóïõ, êé üìùò, ìðïñåß íá Ýëáâå ÷þñá ìéóüí áéþíá ðñéí. ¼ëïé ïé åéêïíéæüìåíïé, ëáìðåñïß êáé íÝïé, êÜðïôå. ¼ðùò ðïôÝ ðéá. ¼ðùò ðïôÝ ðéá ç ÷áñÜ ðïõ õðÞñîå êÜðïôå. Ç ïìïñöéÜ. ¼÷é ç äéêÞ ôïõò. Ç äéêÞ ìáò. Íá ôé åííïþ üôáí ìéëþ ãéá ðÝíèïò: áíáöÝñïìáé óôçí ýóôáôç åõêáéñßá ãéá ôï ðÜèïò. Ôï ìüíï îüñêé ìáò åíáíôßïí ôïõ èáíÜôïõ. Ðñéí êáôáóôïýìå áðëþò ìéá öùôïãñáößá ðïõ èá ðåñéöÝñïõí ìå óõãêßíçóç ïé åðüìåíïé. Óôçí åéêïíïðïéßá ôïõ ÁíáóôáóÜêïõ üëïé áõôïß ïé ðñïâëçìáôéóìïß åßíáé ðáñüíôåò. Ç ìÜ÷ç áíÜìåóá óôç ÷åéñïðïßçôç êáé ôç ìç÷áíéêÞ åéêüíá, áíÜìåóá óôéò ãñáöÝò ôïõ êáìâÜ êáé ôç ìåãÜëç ÷åéñïíïìßá óôïí ôïß÷ï, áíÜìåóá óôçí êáôáóêåõáóôéêÞ äéáäéêáóßá êáé ôçí åëåýèåñç Ýêöñáóç ìáßíåôáé óôáèåñÜ êáé ÷ùñßò íá äéáöáßíåôáé ãñÞãïñç ç Ýêâáóç ôçò. Ç ëåðôÞ éóïññïðßá áëëÜ êáé ç äéáêéíäýíåõóç åßíáé óôáèåñÜ ôá æçôïýìåíá. Óôá èÝìáôÜ ôïõ ï ìéêñüêïóìïò ôçò æùÞò åíüò ãõñßíïõ Þ ìéáò ðñïíýìöçò êáé ï ìåãÜêïóìïò åíüò óýìðáíôïò ðïõ ðåñéêëåßåé ðïëëÜ óýìðáíôá áêüìá, óõãêëßíïõí óå Ýíá êïéíü ìõóôéêü ðïõ ìüíïí ç ôÝ÷íç, äçëáäÞ ï Üíèñùðïò, ìðïñåß íá äéáëåõêÜíåé êáé åí ôÝëåé íá êáôáíïÞóåé. Ôï ìõóôéêü ôçò æùÞò; Ôï ìõóôÞñéï ôïõ èáíÜôïõ; Ç ôñÝëá ôïõ Ýñùôá; Ç óôéãìÞ ðïõ ãßíåôáé áéþíáò; Ï áéþíáò ðïõ ÷ùñÜåé óå Ýíá äÜêñõ; Ôï äÜêñõ ðïõ ìðïñåß íá ÷ñùìáôßóåé ìéá ïëüêëçñç èÜëáóóá; Ç øõ÷Þ ðïõ êñÝìåôáé áðü ôï óþìá ôçò üðùò ôï ðáíß áð´ ôï êáôÜñôé; Äåí åßìáé âÝâáéïò ãéá ôçí áðÜíôçóç. Ïýôå åîÜëëïõ êáé ï êáëëéôÝ÷íçò ï ßäéïò. Êáé äåí ðñÝðåé. ÅðåéäÞ ôÝ÷íç åßíáé ðåñéóóüôåñï áõôÞ ç ôñïìáêôéêÞ äéåñþôçóç ðïõ áíôç÷åß ðáñÜôáéñç óôï ÷Üïò ôïõ óýìðáíôïò êáé ëéãüôåñï ìéá åöçóõ÷áóìÝíç áðÜíôçóç. Ãßíïíôáé üëá áõôÜ åéêüíåò; Óõ÷íÜ óôá ÷Ýñéá ôïõ Ìáíþëç ÁíáóôáóÜêïõ ãßíïíôáé. ¢ëëïôå ìå ìéíéáôïõñßóôéêç áêñßâåéá, Üëëïôå ìå ôçí åìðëïêÞ ìéáò ôå÷íéêÞò ðïõ áîéïðïéåß ëýóåéò ìç÷áíéêÞò Þ çëåêôñéêÞò åíÝñãåéáò êé Üëëïôå ìå ôéò ìåãÜëåò ÷åéñïíïìßåò ðÜíù óôïõò ôïß÷ïõò êáé ôá óüêïñá ôùí ðïëõêáôïéêéþí, ï êáëëéôÝ÷íçò åðé÷åéñåß íá ðåé ôç äéêÞ ôïõ ðñïóùðéêÞ áëÞèåéá: Ðùò äçëáäÞ, áðü ôç öýóç óôïí Üíèñùðï êé áðü ôïí Üíèñùðï óôç öýóç, ï ìüíïò äñüìïò ðïõ Ý÷åé åðÜñêåéá êáé áîßæåé ôïí êüðï íá ðåñðáôçèåß åßíáé ç ôÝ÷íç. ¸íá äéêáßùìá ðïõ ôï Ý÷ïõí âÝâáéá üëïé, áëëÜ ôï áîéïðïéïýí ðïëý ëßãïé. ¸íáò ìåãÜëïò Éóðáíüò ðïéçôÞò, ï Antonio Machado äéáôýðùóå áõôÞ ôç ìåãÜëç áëÞèåéá êÜðùò Ýôóé óôï ðïßçìÜ ôïõ «Al andar Caminante»: Ïäïéðüñå äåí õðÜñ÷åé äñüìïò. Ôïí äñüìï èá ôïí öôéÜîåéò åóý ðåñðáôþíôáò... ÌÜíïò Óôåöáíßäçò / Éóôïñéêüò ÔÝ÷íçò ÁíáðëçñùôÞò êáèçãçôÞò ôçò ÖéëïóïöéêÞò Ó÷ïëÞò, ÅÊÐÁ
There are times when painting's purpose is to take us upon a journey in the world of poetry and dreams. Other times, it is a way to push us to see things differently. Or rather, to see things in the clearest way possible, despite the darkness surrounding us. After all, it is the darkness that gives birth to the light. I personally stand for painting because I see it as the ancient womb of images, incubating ideas and infusing inspiration to expressions as different to each other as photography and cinema, or video art and graffiti. I have been following Manolis Anastasakos' work with great interest, for many years now, mainly because he combines many and different ways of expression to fulfill his vision, but also because he has such a deep knowledge of the possibilities - applications hidden in various media, that he brings their intangible dimension to the surface, their essence that is. He draws spirit out of flesh, as his compatriot Nikos Kazantzakis would say. I am also interested in Anastasakos' social intervention through the graffiti pieces he creates in the city, either on his own or with collaborators, as this is how a new epic tradition of narration is created in the urban landscape, a tradition that is detached from the decorative-commercial use of art. Nevertheless, Anastasakos' artistic practice in the established -institutionalized art arena is also innovative as he draws elements from the Western painting tradition and blends them with the needs and the language of today. The artist takes elements ranging from the imagery of Hieronymus Bosch or Goya to the furor of the 19th century Romantics, from the myths and symbols of Middle Age to the pixels of the digital language and the world of comics, therefore making compositions which bear multiple interpretations and which do not simply state an aesthetic view, but in fact create one. Manolis Anastasakos is interested, both in theory and in practice, in photography and its power to truthfully depict reality. Its power to catch that flowing moment, the moment, which diffuses and is then gone forever… Perhaps photography is the most dramatic means of expression, a true reverberation of death. Perhaps it is the revenge of Time-Saturn facing the vanity of youth. By “youth”, I mean the disease of getting older, which is curable only in the boat of Charon. Take a look at any photo from the past. It feels like it is taking place in the present – the big illusion of the medium-, even though it could have occurred half a century ago. All the people depicted, brilliant and young, once upon a time. Never again, though. Never again, just like the joy that has once been felt. The beauty. Not theirs. Ours. That is what I mean when I speak of mourning. I refer to our last chance for passion. Our only way to exorcise death. Before we become nothing more than a photograph to which we those who succeed us hold on to. All those concerns are present in the imagery of Anastasakos. In the artists' work, the microcosm of a larva and the macrocosm of a universe, which surrounds many other universes, share a common secret that only art, hence only man, can shed light upon and comprehend. One wonders what it is that humans seek to uncover and understand… Is it the secret of life? Is it the mystery of death or the madness of Eros? Is it a moment that feels like a century or is it a century entrapped in a teardrop? A teardrop so powerful that it gives color to the sea? The soul hanging from the body, just like the sail hangs from the mast? I am not certain about the answer. Neither is the artist himself. And he should not be. Because art is more of that terrifying questioning, the echo of which is negligible in the chaos of the universe, and less of an answer that puts our minds at rest. Can all these be translated into images? Often, in the hands of Manolis Anastasakos, they are. Sometimes with meticulous precision, other times with techniques that make use of mechanical or electric energy, and at other times with big gestural drawings on the walls and planks of buildings, the artist attempts to tell his own personal truth: That from nature to man and from man to nature, the only path that is meaningful and worth walking is the path of art. Everyone is entitled to take that path, but only a few do so. A great Spanish poet, Antonio Machado, expressed this truth in his poem ´´Al andar Caminante´´: Traveller, there is no roadway. By walking you will make the way…
Manos Stefanidis / Art Critic Associate Professor Faculty of Philosophy, University of Athens
Icarus
polyester, nickel-plated plastic parts, steel, plastic, enamel color, aluminum
Title:
70
x 175 x 70 cm
The Traveller
43
x 60 x 6 cm
wood, plexiglass, gesso, paper, acrylics colors, wood, gypsum, shells
Shadow Theatre
207 x 255 x 35
cm
plexiglass, radiographs, timber, melanin, led light
Alpha Omega
black marble, copper, hand made paper, bronze
38,5 x 38,5 x 50
cm
12
x 16 x 21,5 cm
Eva
plastic, foam coat, acrylics colors, usb socket, on wood
Now
25
granite, usb socket
x 7,5 x 10 cm
Future Is Calling
gypsum, PVC, organic matter
18
x 9 x 4 cm
Observe The Observer
16
x 18 x 18,5 cm
marble, acrylics, plastic, organic matter, glass, crystal resin
Sugar Squirrel
30,5 x 19
acrylics colors, sugar
x 9,5 cm
Salted Harlequin Soldier
ceramic, acrylics colors, salt, semi-transparent glue
22
x 12 x 17,5 cm
23
x 31,5 x 2 cm
The Weather Is Changing crystal resin, aluminum, plexiglass, paper, metal plate
Inner Call
28
x 22 x 14 cm
ready-made object
Internet
wood, aluminum, cotton paper, steel, acrylics
44
x 21 x 17 cm
Order Versus World
cotton, paper, acrylics colors, iron, on wood
26
x 20 x 32 cm
12
x 16 x 9 cm
Crisis
gold leaf 24k, PVC, glass, mirror glass, gesso, on wood
Listen To The Kids
14
x 14 x 14 cm
crystal resin, wood, cotton fiber, paper, gypsum
Title:
Mediterranean Kitchen (Patato)
12,5 x 12,5 x 20,5 cm
organic matter, crystal resin, indian ink
Mediterranean Kitchen (Grass)
organic matter, crystal resin
Duties And Rights
polystyrene, acrylics colors, paper, plastic
63
x 25 x 45 cm
Gre ek Fable
kalay, clay, marble
19
x 14,5 x 20,5 cm
Among Us
organic matter, crystal resin plastic, paper, gesso, wood
16
x 16 x 6 cm
Ðþò ìðïñåß ç õðåñâïëÞ íá óõìâáäßæåé ìå ôç öñüíçóç; Ï ÷ñùìáôéêüò êáé óôõëéóôéêüò êïñåóìüò ìå ôçí åãêñÜôåéá ìéáò áóêçôéêÞò áéóèçôéêÞò; Êáé ìå ðïéüí ôñüðï ìðïñåß íá óõíäéáëÝãåôáé ðáñáãùãéêÜ ìßá Ýêðôùôç áîßá ìå ôï üñáìá ôçò áíáäçìéïõñãßáò êáé ôçò áíáãÝííçóçò; Ï Ìáíþëçò ÁíáóôáóÜêïò áöçãåßôáé ôçí ðåñéðåôåéþäç áëëÜ êáé ìåëáã÷ïëéêÞ ðåñéðëÜíçóÞ ôïõ óå Ýíáí áðïêáëõðôéêü êüóìï åííïéïëïãéêþí êé áéóèçôéêþí áíôéèÝóåùí, åðéæçôþíôáò ôç óõìöéëßùóç, ôï äßäáãìá, ôçí åëåõèåñßá. Ïñìþìåíïò áðü ìßá ïõóéáóôéêÞ áíÜãêç ðåñéðáôçôéêÞò èåþñçóçò ôçò åìðåéñéêÞò ðñáãìáôéêüôçôáò, óõ÷íÜ óõëëÝãåé ôõ÷áßá õëéêÜ, èñáýóìáôá êáé õðïëåßììáôá. Óå åðßðåäï áéóèçôéêÞò ðñïóÝããéóçò, óõíôáéñéÜæåé ôçí ðïéïôéêüôçôá ôïõ objet trouve΄ ìå Ýíá åõñý êé åðéìåëþò ìåëåôçìÝíï öÜóìá åêöñáóôéêþí ìÝóùí, ðïõ ðåñéëáìâÜíåé ìåôáîý Üëëùí ôï ó÷Ýäéï, ôï æùãñáöéêü êïëÜæ, ôç öùôïãñáößá, ôçí åãêáôÜóôáóç êáé ôç ãëõðôéêÞ. Äåí äéóôÜæåé íá óõíäõÜóåé óôï ßäéï Ýñãï åôåñüêëçôåò áéóèçôéêÝò áíáöïñÝò, íá ðåéñáìáôéóôåß ìå ôç óõíáñìïãÞ ðïð, ñåáëéóôéêþí, óïõñåáëéóôéêþí, ìßíéìáë êáé ìðáñüê ôå÷íïôñïðéþí, íá åîåñåõíÞóåé ôçí áðüóôáóç ðïõ ÷ùñßæåé ôï «ðïìðþäåò» áðü ôï «áðÝñéôôï» êáé ôåëéêÜ, áêüìá êáé íá áíáäåßîåé êïéíïýò ôüðïõò ìåôáîý ôïõò. ÓõíÞèùò, ùò êïéíüò ôüðïò áíáäåéêíýåôáé ç ðáñáãùãÞ ôïõ ðáëßìøçóôïõ. Ç áäéÜêïðç åðåîåñãáóßá ôùí õëéêþí óõíôåëåßôáé óå ðïëëáðëÜ åðßðåäá ðïõ ðñïóôßèåíôáé óõíå÷þò óôçí ðñùôáñ÷éêÞ åðéöÜíåéá, Ýôóé þóôå ç óýíèåóç, óôçí ôåëéêÞ ôçò ìïñöÞ, íá åðéóôñÝöåé óå Ýíá óçìåßï «ìçäÝí»: ï ðëåïíáóìüò óùðáßíåé êáé ç áöèïíßá ãßíåôáé áðïõóßá. Ç ìåôÜâáóç áðü ôçí õðåñâïëÞ óôçí áöáßñåóç ðñáãìáôïðïéåßôáé åðßóçò ìÝóá áðü ôå÷íéêÝò åðéêÜëõøçò, ïé ïðïßåò óõìðïñåýïíôáé ìå ôçí óõìâïëéêÞ íïçìáôïäüôçóç ôïõ åêÜóôïôå Ýñãïõ: ëåõêü - ãêñé åðß÷ñéóìá ãéá ôçí áßóèçóç ôçò «áðþëåéáò» Þ ôçí åêðíïÞ ôçò áðëüôçôáò êáé ôçò áèùüôçôáò, ÷ñõóü ùò ðáñáðïìðÞ óôï õðåñâáôéêü êáé ôï èñçóêåõôéêü óôïé÷åßï, ùò áíáöïñÜ óôïí «÷áìÝíï èçóáõñü», óôï ÷ñÞìá êáé ôç ìáôáéüôçôá. Ï Ìáíþëçò ÁíáóôáóÜêïò äéåéóäýåé óôïí êüóìï ôïõ Ìýèïõ, áíôéðáñáâÜëëïíôáò áëëçãïñßåò ôçò ìõèïëïãéêÞò ãñáììáôéêÞò êáé ôçò èñçóêåõôéêÞò ðáñÜäïóçò Þ ôïí Ìýèï ôçò Öýóçò êáé ôçò ÔÝ÷íçò áõôÞò êáèåáõôÞò, ìå ôïõò øåõäáéóèçóéáêïýò ìýèïõò ôçò óýã÷ñïíçò ðñáãìáôéêüôçôáò. Ï ëáâýñéíèïò, ï ìßôïò, ç Óößããá, ï ºêáñïò, ï óêáñáâáßïò ôï ôÜìá, ôï ÷ñÞìá êáé ïé íÝåò ôå÷íïëïãßåò åßíáé ëßãá ìüíï áðü ôá óýìâïëá ðïõ ÷ñçóéìïðïéåß ãéá íá ðåñéãñÜøåé ôïí áõôïåãêëùâéóìü ôïõ óýã÷ñïíïõ áíèñþðïõ óôçí ðëÜíç ôçò ðñïüäïõ, ôçí áäõíáìßá áõôïðáñáôÞñçóÞò ôïõ êáé óýíäåóÞò ôïõ ìå ôçí Éóôïñßá êáé ôç Öýóç, ôéò óõíÝðåéåò óýã÷ñïíùí ôå÷íïëïãéêþí ðåéñáìáôéóìþí, ôçí ïéêïëïãéêÞ áóõíåéäçóßá, ôçí Ýêðôùóç ôïõ Ýñùôá, ôç äéáóôñåâëùìÝíç áíôßëçøç ôçò åëåõèåñßáò óôï ðëáßóéï ìßáò öáéíïìåíéêÜ ëïãïêñáôïýìåíçò êïéíùíßáò. Ï ìõèïëïãéêüò óõãêñçôéóìüò ùóôüóï äåí åîáíôëåßôáé óå ðñïûðÜñ÷ïõóåò ìåôáöïñÝò. Ï êáëëéôÝ÷íçò åðéíïåß åõöÜíôáóôïõò óõíåéñìéêïýò óõó÷åôéóìïýò üðïõ áðïôõðþíåé ìå ÷áñáêôçñéóôéêÜ áðëü êáé ìÝóï áéóèçôéêü ëüãï ôïõò ðñïâëçìáôéóìïýò ôïõ ãéá ôï áíåêðëÞñùôï ôáîßäé ðñïò ôçí áõôïãíùóßá («Future is calling», «Now», «Eva»). Áêüìá, áîéïðïéåß óçìåéïëïãéêÜ êáé ìå äéÜèåóç óêùðôéêÞ, óõóôÞìáôá ðñþéìùí ðáñáóôÜóåùí êáé åííïéþí (óôïé÷åßá ðñùôïãïíéóìïý, éåñïãëõöéêÜ, áðïëéèþìáôá êáèþò êáé áñ÷áéïëïãéêÝò ðáñáðïìðÝò Þ óôïé÷åéþäç óõóôáôéêÜ ïñãáíéêÞò ýëçò) Üëëïôå ãéá íá ðñïóäþóåé óôï Ýñãï ôïõ ôçí áßóèçóç ôçò ðëçñüôçôáò êáé Üëëïôå ãéá íá ðñïôåßíåé ìßá ïëéãáñêÞ, áóêçôéêÞ ðñïóÝããéóç ôçò óýã÷ñïíçò åìðåéñßáò. Óå ìéá ðéï âáèéÜ üìùò áíÜãíùóç, ï åðßëïãïò ôïõ Ìáíþëç ÁíáóôáóÜêïõ äåí åßíáé Ýíáò áêüìç .èñçíïëïãéêüò óôï÷áóìüò. Ç «óéùðÞ», ùò áéóèçôéêü êáé íïçìáôéêü áðüóôáãìá ôïõ Ýñãïõ ôïõ, åßíáé êõñßùò áõôïáíáöïñéêÞ ï äçìéïõñãüò áõôïáíáéñåßôáé êáé áðïöáßíåôáé üôé «ï áíþôáôïò âáèìüò ôçò ¢óêçóçò ëÝãåôáé ÓéãÞ (...) Ðþò ìðïñåßò íá öôÜóåéò óôï
óðëÜ÷íï ôçò ¢âõóóïò êáé íá ôçí êáñðßóåéò; Áõôü äåí ìðïñåß íá åéðùèåß, äåí ìðïñåß íá óôñéìù÷ôåß óå ëüãéá, íá õðïôá÷ôåß . óå íüìïõò êáèÝíáò Ý÷åé êáé ôç ëýôñùóç ôç äéêÞ ôïõ, áðüëõôá åëåýèåñïò. Äéäáóêáëßá äåí õðÜñ÷åé, äåí õðÜñ÷åé ËõôñùôÞò ðïõ í´ áíïßîåé äñüìï» (Íßêïò ÊáæáíôæÜêçò, ÁóêçôéêÞ - Salvatores Dei ).
ÂÜíá Âåññïéïðïýëïõ ÕðïøÞöéá ÄéäÜêôùñ Èåùñßáò êáé Éóôïñßáò ôçò ÔÝ÷íçò - ÁéóèçôéêÞò (ÁÓÊÔ - Universite ΄ Paris VIII)
How can exaggeration comply with prudence? How can saturation in color and style accord with an ascetic aesthetic? And in which way can a deposed value serve the vision of recreation and rebirth? Manolis Anastasakos tells us the story of an adventurous and melancholic wandering in an apocalyptic world of conceptual and aesthetic contradictions, seeking reconciliation, wisdom, freedom. Driven by his peripatetic approach to empirical reality, he often collects random discarded objects,´´fragments´´ and ´´relics´´ of everyday life. Then he matches the poetic aura of the objet trouve΄ with a wide range of artistic expressions, including among others drawing, collage painting, photography, installation and sculpture. He does not hesitate to combine heterogeneous aesthetic references in one piece, to experiment with the assemblage of pop, realistic, surrealistic, minimal and baroque techniques, in order to explore the distance separating the ´´pompous´´ from the ´´modest´´ and to even highlight the common ground between them. In most cases what emerges as common ground is the effect of the palimpsest. The constant processing of the materials occurs in multiple layers which are continuously added in the original surface, so that the composition, in its final form, returns to point ´´zero´´: exaggeration fades away and abundance disappears. The transition from redundancy to ´´abstraction´´ also takes place through over layering techniques, which always go hand in hand with the symbolic significance of each work: white – grey overlay for the sense of ´´loss´´ or the end of simplicity and innocence, gold hinting the transcendent and religious element, as a reference to the ´´lost treasure´´, to money and futility. Manolis Anastasakos immerses in the world of Myth, contrasting allegories of mythological and religious traditions , Nature's Myth or Art itself, with a variety of contemporary illusory myths. The maze, the thread, the Sphinx, Icarus, the Egyptian scarab, the vow, money, and new technologies are only a few of the symbols that he uses to describe how man nowadays, trapped by the luring idea of progress, fails to exercise self-reflection and to connect with History and Nature. They are symbols used to illustrate the consequences of contemporary technological experiments, the lack of ecological consciousness, the dismissal of love, the twisted perception of freedom in the context of a supposedly rational society. Anastasakos' mythological dialectic however, is not restricted to already existing metaphors. The artist invents creative associations through which he captures, in a distinctively simple and dense aesthetic language, his concerns on the incomplete journey towards self-knowledge (´´Future is calling´´, ´´Now´´, ´´Eva´´). Moreover, always in an ironic spirit, he examines the semiotics of various primal representations and notions (elements of primitivism, hieroglyphics, fossils as well as archaeological references or basic constituents of organic matter), sometimes embedding a sense of wholeness - completeness to his work, and other times suggesting a ´´frugal´´, ascetic approach to our experience of contemporaneity. Nevertheless, in a deeper analysis, the epilogue of Manolis Anastasakos must not be seen as another threnody. ´´Silence´´, as the aesthetic and conceptual essence of his work, is mainly self-referential; the creator renounces himself and decides that ´´the ultimate stage of our spiritual Exercise is called Silence (…) How can you reach the womb of the Abyss and make it fruitful? This cannot be expressed, cannot be narrowed into words, cannot be subjected to laws; every man is completely free
and has his own special liberation. No form of instruction exists, no Savior exists to open up the road´´
(Nikos Kazantzakis, The Saviors of God- Salvatores Dei ).
Vana Verroiopoulou PhD Candidate Theory and History of Art - Aesthetics (ASFA – Universite ΄ Paris VIII)
Once Upon A Time
bones, aluminum, crystal resin, polyester, dry plants, organic materials, animal matter, plexiglass, led lights, wood
50
x 50 x 170 cm
Tre e Of Life
shell, gold leaf 24k, wax, crystal resin, plexiglass, crystal, acrylics
21
x 30 x 4,5 cm
The Birth
metal plate, PVC disk, organic matter, tar, wood, gesso, crystal resin, copper, plastic, cotton
30,5 x 30,5 x 4
cm
Captured Total
wood, plexiglass, crystal resin, paper, cotton, bronze, aluminum, pearl, cork
50
x 50 x 1,5 cm
The Acrobats
encaustic on wood, acrylics, gold leaf 24 k
76
x 43,5 x 2 cm
Golden Deal
glass, aluminum, bronze black marble, crystal resin, on wood
44
x 44 x 5,5 cm
Organic
44
x 44 x 3,5 cm
organic matter, crystal resin, acrylics colors, fuses, bronze, on wood
Faded Seasons
acrylics colors, paper, vinyl, semi-transparent glue, PVC, on wood
44
x 44 x 2,5 cm
Labyrinth
44
x 44 x 3,5 cm
organic matter, acrylics, gesso, silicon, crystal resin, capacitor fuses, on wood
Persona (Wealth)
gold leaf 24k on plaster, bronze, acrylics colors, crystal resin, on wood
44
x 44 x 15,5 cm
44
x 44 x 4,5 cm
Ascetic
crystal resin, gypsum, PVC, acrylics colors, bronze fiber, on wood
Persona (The Poet)
gypsum, mirror glass, acrylics colors, iron, stainless steel, paper, wood
44
x 44 x 25,5 cm
Chance To Change
50
laser cut wood, gypsum, mirror glass, plexiglass, aluminum
x 50 x 6 cm
The Sun, The Slave And The Pig
44
x 47,5 x 2 cm
oils colors on glass
Portrait Of Miss Hope
66
silver, copper, bronze, crystal resin, wood, paper, acrylics colors, indian ink, glass, plastic
x 56 x 5 cm
Dreams And Conflicts
34
x 42,5 x 2 cm
gold leaves 24k, crystal resin on PVC
Ï ÷ñüíïò êáé ï ÷þñïò öáßíåôáé íá áðïõóéÜæïõí óôïí «Êüóìï» ôïõ Ìáíþëç ÁíáóôáóÜêïõ, êáèþò äéåãåßñåé ôçí óõëëïãéêÞ ìáò ìíÞìç ìÝóá áðü ìéá åõöõÝóôáôç áíÜìåéîç áñ÷åôõðéêþí ìïôßâùí êáé óýã÷ñïíùí áðåéêïíßóåùí ðïõ ìüíï ùò ìáñôõñßá ôïõ ðíåýìáôïò ôçò åðï÷Þò ìáò (zeitgeist) ìðïñåß íá éäùèåß. Äçìéïõñãþíôáò Ýíáí êüóìï áðü áíôéöáôéêÜ êáé, ôçí ßäéá óôéãìÞ, óõìðëçñùìáôéêÜ óôïé÷åßá, ï êáëëéôÝ÷íçò ñß÷íåé ìéá ðñïóåêôéêÞ ìáôéÜ óôéò õðáñîéáêÝò áíçóõ÷ßåò ôïõ áíèñþðïõ ï ïðïßïò êõñéáñ÷åßôáé áðü ôçí åíÝñãåéá êáé ôïõò íüìïõò ôïõ óýìðáíôïò: ï ÁíáóôáóÜêïò ìáò ôáîéäåýåé óå ìéá äéáäñïìÞ áðü ôïí åóùôåñéêü êüóìï ôïõ êÜèå áôüìïõ óôï ÷áïôéêü óýìðáí, óôï ïðïßï ç ýðáñîç ôïõ áíèñþðïõ, óõíôñéðôéêÞ üðùò åßíáé ãéá ôïí ßäéï, ðáñáìÝíåé åíôïýôïéò Ýíá áóÞìáíôï, ìüíï, óõóôáôéêü óôïé÷åßï ôïõ Êýêëïõ ôçò ÆùÞò. Ùò åê ôïýôïõ, óýìöùíá ìå ôçí ïðôéêÞ ôïõ ãéá ôïí Êüóìï, ç ÅðéóôÞìç êáé ç ÔÝ÷íç (ç ôÝ÷íç ôïõ íá îÝñåé êáíåßò ðùò íá äéáìïñöþóåé êáé íá óöõñçëáôÞóåé ôçí ýëç) åíóùìáôþíïõí ôçí áíÝëðéäç åðéäßùîç ôïõ áíèñþðïõ íá îåöýãåé áðü ôïí óõíå÷þò áõîáíüìåíï öüâï êáé ôçí áóáöÞ áðåñáíôïóýíç ôçò ðñïÝëåõóçò ôùí ðñáãìÜôùí áðü ôéò áñ÷Ýãïíåò äõíÜìåéò ôçò öýóçò. Ç ëÝîç Êüóìïò, îõðíÜ áíáðüöåõêôÜ óôç óõíåßäçóç ôïõ êáèåíüò, ôéò áíåîé÷íßáóôåò äõíÜìåéò ðïõ äåí ìðïñïýí íá åëåã÷èïýí êáé íá êõñéáñ÷çèïýí üðùò ìðïñåß íá ãßíåé áðü ôçí ëïãéêÞ ðëåõñÜ ôïõ ìõáëïý ðïõ êáèçóõ÷Üæåôáé ìüíï ìå üôé õðüêåéôáé óôçí ðñáãìáôéêüôçôá êáé êáôÜ óõíÝðåéá åßíáé ïñãáíùìÝíï: êÜèå óôïé÷åßï ðïõ äýóêïëá ïñéïèåôåßôáé ìÝóá óå óõãêåêñéìÝíá ðëáßóéá, ãßíåôáé áéóèçôü ùò ðçãÞ Üã÷ïõò êáé öüâïõ. Ï «Êüóìïò», ôåßíåé íá êáèéåñþóåé ôçí ôÜîç êáé ôçí áñìïíßá, áëëÜ áõôü áðïôåëåß ìéá ôåñÜóôéá Ýííïéá ãéá íá ôç óõëëÜâåé ï Üíèñùðïò ðïõ óõ÷íÜ, ìïéÜæåé ìéá ôçí áíôßèåôç äýíáìç, ìå ôï ×Üïò, êé áò åßíáé óôçí ïõóßá ôï ×Üïò, ï ìïíáäéêüò óýììá÷ïò. Ðñüêåéôáé ãéá ìéá «éåñÞ» Ýíùóç ôùí óõìðáôéêþí áíôéèÝôùí: ï Êüóìïò êáé ôï ×Üïò åßíáé ïé ðáíôá÷ïý äõíÜìåéò ðïõ áëëçëïóõìðëçñþíïíôáé êáé ç ìéá äåí ãßíåôáé íá õðÜñîåé ÷ùñßò ôçí Üëëç. ÐåñéðëÝêïíôáé óå Ýíáí áÝíáï ÷ïñü, óå ìéá äýíç, äçìéïõñãþíôáò Üðåéñïõò óõíäõáóìïýò áðü êüóìïõò êáé ðñáãìáôéêüôçôåò ôùí ïðïßùí ïé íüìïé, ðáñÜ ôçí ðñüïäï ôçò ôå÷íïëïãßáò - ç Ýííïéá ôçò ïðïßáò ðáñáðÝìðåé óôçí ÔÝ÷íç ìå ôçí áñ÷éêÞ, áõèåíôéêÞ óçìáóßá ôçò - èá ðáñáìÝíïõí ãéá ðÜíôá Üãíùóôïé. ÌÝóá áðü áõôüí ôïí ðáãêüóìéï ÷ïñü ôùí áéþíéùí áíôéèÝóåùí, ç ðïëõó÷éäÞò ðñïóùðéêüôçôá ôïõ Ìáíþëç ÁíáóôáóÜêïõ, ðáßñíåé óÜñêá êáé ïóôÜ, ïäçãþíôáò ôéò øõ÷Ýò ìáò óôá âÜèç ôçò ðéï áõèåíôéêÞò ðñïÝëåõóçò ôçò áíèñþðéíçò öýóçò. Ç áíèñþðéíç öýóç, ðåñéóóüôåñï Þ ëéãüôåñï óôç ìåôáìößåóç, åßíáé ðáñïýóá, ìÝóá óôïõò óõíäõáóìïýò ôùí ìïñöéêþí êáé åéêïíéêþí êùäéêþí êáé ãëùóóþí ðåñíþíôáò áðü ôçí ðíåõìáôéêÞ êáé áéóèçôéêÞ êëçñïíïìéÜ ôçò óõëëïãéêÞò ìáò ìíÞìçò ãéá ôçí ôÝ÷íç, óôç äéêÞ ôïõ, ìïíáäéêÞ, åîáéñåôéêÜ ðñïóùðéêÞ êáé äçìéïõñãéêÞ ðñïóÝããéóç ôùí óýã÷ñïíùí õëéêþí êáé ÷ñùìáôéêþí åêöñÜóåùí. ¸ðåéôá, êÜèå óôïé÷åßï ôçò ôÝ÷íçò ãßíåôáé ôï åýöïñï Ýäáöïò, ðÜíù óôï ïðïßï ï Ìáíþëçò ÁíáóôáóÜêïò, óáí óå ìéá äõíáìéêÞ ñïÞ, ìÝóá áðü ôçí ýëç, ôçí öüñìá êáé ôï ÷ñþìá, ôïíßæåé üôé ï Üíèñùðïò äåí åßíáé ðáñÜ Ýíá óôïé÷åßï óå áõôüí ôïí êïóìéêü äõéóìü (äçëáäÞ, ôïí Êüóìï êáé ôï ×Üïò) åíþ áõôüò/áõôÞ èåùñåßôáé, ôçí ßäéá óôéãìÞ, ùò Ýíá îå÷ùñéóôü êïììÜôé áõôïý ôïõ áéþíéïõ êýêëïõ ïëüôçôáò. Ï êáëëéôÝ÷íçò, ðéóôåýåé, ðùò ôï áíèñþðéíï åßäïò ìðïñåß íá óþóåé ôçí ïõóßá ôïõ, êáé óå áõôü ôï ðëáßóéï, ï ÁíáóôáóÜêïò áíáäåéêíýåé ôï óýã÷ñïíï ðñüâëçìá üôé äçëáäÞ ç áëìáôþäçò áðïîÝíùóç ôïõ áíèñþðïõ áðü ôç öýóç, ðçãáßíåé ÷Ýñé ìå ÷Ýñé ìå ôçí ðáñáðëáíçôéêÞ, áõîáíüìåíç ðåðïßèçóÞ ôïõ ðùò üëç áõôÞ ç õðåñìåãÝèçò êáôáíÜëùóç ôçò ôå÷íïëïãßáò, ôïí öÝñíåé ðéï êïíôÜ óôçí êïéíùíéêÞ êáé ðñïóùðéêÞ åõçìåñßá. Ï ÁíáóôáóÜêïò, ìáò åíèáññýíåé íá äéáóþóïõìå ôïí áñìïíéêü äéÜëïãï ìå ôç öýóç, êÜôé ðïõ óõíåðÜãåôáé êáô´ áíÜãêçí ìå ôçí ïéêïäüìçóç ìéáò ó÷Ýóçò ìå áõôÞí, áðïêáëýðôïíôáò åê íÝïõ ìéá ÷áìÝíç áõèåíôéêÞ ãëþóóá ôçí ïðïßá ï êáëëéôÝ÷íçò ìå óýíåóç êáé óáñêáóìü, åðß ôïýôïõ áñíåßôáé íá ôåìá÷ßóåé êáé íá äéáìåëßóåé ãéá íá ôïíßóåé êáé íá ðñïóöÝñåé áêñéâþò ôï áíôßèåôï: ôç ãëþóóá ðïõ ìïíáäéêÜ êáé áíáðüöåõêôá ïìéëåßôáé áðü ôïí Ýñùôá, ôï èåúêü óýìâïëï ôçò äýíáìçò ôçò óõíäåôéêüôçôáò êáé ôçò ðáãêüóìéáò, êáèïëéêÞò óõíåßäçóçò. Ùóôüóï, ï äçìéïõñãüò, ðáñïõóéÜæåé Ýíáí íéêçìÝíï êáé åãêáôáëåëåéììÝíï ¸ñùôá, Ýíáí áêüìá èýìá ôçò ðñïóùñéíÞò ìáò ôýöëùóçò êáé íùèñüôçôáò ïé ïðïßåò, áêñéâþò åðåéäÞ èñÝöïíôáé áðü Ýíá óõíå÷þò áõîáíüìåíï êáé áíÞèéêá Üðëçóôï ïéêïíïìéêü êÝñäïò, ìáò áíáãêÜæïõí íá áíáãíùñßæïõìå ôïí ¸ñùôá ùò Ýíá áðïêëåéóôéêÜ êáôáíáëùôéêü ðñïúüí ãéá éäéïôåëÞ ÷ñÞóç. Ïé äçìéïõñãßåò ôïõ ÁíáóôáóÜêïõ, öïñåßò ðñïôÜóåùí áíáìåìåéãìÝíåò óå Ýíá ðõêíü åéêïíéóôéêü èÝìá, üëåò ìáæß ùò óýíïëï áëëÜ êáé ìéá - ìéá óáí óå Ýíáí ìáãéêü êýêëï, áðïôåëïýí ìéá ðñüóêëçóç óôï ôáîßäé ôçò ìýçóçò ìÝóá óôïí ëáâýñéíèï ôçò æùÞò üðùò ï êáëëéôÝ÷íçò ôï öáíôÜóôçêå ìÝóá óôçí ïëüôåëá äéêÞ ôïõ óåéñÜ «Cosmos». ÌÝóá áðü ôçí åðéäÝîéá ôå÷íéêÞ ôïõ, ï êáëëéôÝ÷íçò ãßíåôáé ï óõíèÝôçò åíüò äéêïý ôïõ óýìðáíôïò, Ýíáí ôüðï øõ÷Þò ðïõ åìöïñåßôáé áðü ôéò áéþíéåò áñ÷åôõðéêÝò åéêüíåò óõíõöáóìÝíåò ìå ôá åðáíáëáìâáíüìåíá óýã÷ñïíá ìïôßâá, åðéêïéíùíåß ôçí êáôáññÝïõóá êáé ÷áïôéêÞ óýã÷ñïíç êáôÜóôáóç ôïõ áíèñþðïõ ðïõ, óáí ôïí ìðåñäåìÝíï êáé åîáðáôçìÝíï êáôáíáëùôÞ, ðéóôåýåé óôçí øåõäáßóèçóç ðùò ç ôå÷íïëïãßá ìðïñåß íá ôïí áðåëåõèåñþóåé áðü ôéò áâåâáéüôçôåò êáé ôéò áìößâïëßåò ðïõ áðïññÝïõí áðü ôïí ÷ñüíï: ôç ìåãáëýôåñç, åî´ áíÜãêçò, ôùí åöåõñÝóåùí - óõìâÜóåùí. Ñßíï ÓáìðÝëá Ó÷ïëéáóôÞò ÔÝ÷íçò
Time and space are made obsolete in the Cosmos of Manolis Anastasakos, as he stimulates our collective memory by ingeniously blending archetypal motifs with our contemporary imagery that can only be testimony to the spirit of our time (zeitgeist). By crafting a world of contradictory and, at the same time, complementary elements, he takes an intimate look into the existential concerns of a mankind that is overpowered by the energy and laws of the universe: he accompanies us upon a journey from the intrinsic cosmos of each individual to the chaotic cosmos in which man's existence, overwhelming as it is for the human being, nonetheless remains just an insignificant component of the circle of life. Hence, in Manolis Anastasakos's view of the Cosmos, Science and Tekhne (art of knowing how to shape, forge the matter) embody the hopeless striving of man to escape the fear-raising and obscure immensity of the origin of things, of the primordial forces of nature. The word Cosmos also evokes inevitably in everyone's conscience unfathomable strengths that cannot be controlled and dominated by man as the rational side of the mind is reassured only by what in our reality can be ordered and consequently organized: every element, which can hardly be embraced within specific boundaries, is sensed by the human being as a generator of anxiety and fear. Cosmos tends to establish order and harmony, but it is such an immense notion for the human mind to capture that it often takes the form of its seemingly opposite force, but, in fact, the only genuine ally, Chaos. It is a sacred union of the cosmic opposites: Cosmos and Chaos are the all-embracing forces that cannot exist without the other. They are entwined in an endless, spiralling dance creating infinite combinations of worlds and realities whose laws, despite our faith in tekhnology and progress whose meaning today is so far adrift from Tekhne, still (or always will) remain unknown. It is through this universal dance of the eternal opposites that the multifarious creativity of Manolis Anastasakos takes shape leading our souls into the depths of the most authentic roots of human nature: that human nature so much present, more or less in disguise, throughout the artist's combinations of figurative and pictorial codes and languages passing from the spiritual and aesthetic legacy of our art collective memory to his unique, extremely personal and creative approach to the contemporary materials and chromatic expressions. Then every art element becomes the fertile soil thanks to which, Manolis Anastasakos, like in a dynamic flow, through matter, form and colour, highlights that man is nothing but a component in this cosmic duality, while he/she is seen, at the same time, as a special part of this eternally circular wholeness. The artist believes that mankind has the opportunity to rescue its essence and it is in virtue of such viewpoint that he continuously signifies our increasing alienation from nature, which goes hand in hand with a deceptive, growing conviction that devouring, massifying, consuming technology brings social and individual well-being. Anastasakos encourages us to rescue our harmonious dialogue with nature, which necessarily implies building a relationship with it by rediscovering a lost, authentic language that he, wisely and sarcastically, denies on purpose by fragmenting and dismembering it to mark and offer exactly its opposite: the language, uniquely and inevitably spoken by Eros, the divine symbol of the power of connectedness and universal conscience. However, the artist shows a defeated and abandoned Eros, another victim of our temporary blindness and dullness, which, as they are nourished by an ever-icreasing, unethical greed for financial profit, force us to recognize Eros exclusively as a consumer item for selfish use. Anastasakos's creations, bearers of arcane suggestions mixed in a dense figurative matter, all together as a whole and one by one like in a magic circle, are an invitation to the initiation journey into the maze of life as imagined in the artist's own internal Cosmos. Through his masterful technique, the artist becomes the builder of his own universe, a soul place nimated by eternal archetypal images interwoven with recurring contemporary motifs communicating the shattered and chaotic current condition of human beings who, like confused and deceived consumers, believe in the illusion that technology can free them from the uncertainties and doubts stemming from the greatest, by necessity, of inventions /conventions: time.
Rino Sabella Art Commentator
åýãëùôôç åéêüíá.
Ìáíþëçò ÁíáóôáóÜêïò
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Manolis Anastasakos
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acrylics colors on wood, on iron structure, linen covered with organic glue and calcium
312 x 132 x 7
cm
Venus Punishing Profane Love
acrylics and oils on canvas
160 x 100
cm
All The Way
oils and acrylics on Marburg paper 190gr pressed on wood
53
x 67 cm
Paradise Lost
oils colors, acrylics and pencil on Marburg paper 190gr pressed on wood
80
x 80 cm
Requiem To Goya
oils colors, acrylics and pencil on Marburg paper 190gr pressed on wood
80
x 80 cm
Diverse Marriage
oils colors and pencil on Marburg paper 190gr pressed on wood
80
x 80 cm
Holy Family In Blue
oils colors and acrylics on Marburg paper 190gr pressed on wood
80
x 80 cm
80
Eros
oils colors and pencil on Marburg paper 190gr pressed on wood
x 80 cm
113 x 108
Disguised Past Dangerous Future
oils colors and pencil on Marburg paper 190gr pressed on wood
cm
Passing Winter
60
oils colors and acrylics on canvas
x 60 cm
Rein-Carnation
70
oils colors and acrylics with gesso on canvas
x 70 cm
Fre edom
oils colors and acrylics on Marburg paper 190gr pressed on wood
77
x 82 cm
«Åëåõèåñßá» Óå ðåñßïäï ðïõ ôá èáýìáôá èåùñïýíôáé öáíôáóéþóåéò, åßíáé èáýìá íá ðáßñíåéò êïõñÜãéï áðü ôçí áêßíçôç åéêüíá. Óå ðåñßïäï ðïõ ïé åðï÷Ýò óõíèëßâïíôáé, ç ìßá ìå ôçí Üëëç, åßíáé èáýìá íá äçìéïõñãåßò ôïõ êüóìïõ ôçí åéêüíá. Óå ðåñßïäï ôçò öïâåñÞò åöüäïõ, äñáóêåëßæïíôáò å÷èñïýò êáé ößëïõò, åßíáé èáýìá íá áöïõãêñÜæåóáé ôçí Üãíùóôç åéêüíá. Óå ðåñßïäï ðïõ ôá ëÜèç «ãåííïýí» áäéêßá, åßíáé èáýìá íá íéþèåéò áêüìá åëåýèåñïò êé áí äåí åßíáé èáýìá, åßíáé èáõìÜóéï! Ìáíþëçò ÁíáóôáóÜêïò
«Freedom» In a time when miracles are perceived as fictions of our imagination, It is a miracle to be able to take courage from a still image. In a time when seasons crush with each other, It is a miracle to be able to create the world's image. In this time of continuous assaults, striding over enemies and friends, It is a miracle to be able to understand, to feel, to «listen» to the unborn image. In a time when mistakes «generate» injustice, It is a miracle to still be able to feel free and even if it is not a miracle, it certainly feels wonderful! Manolis Anastasakos
Ìáíþëçò ÁíáóôáóÜêïò É ÊÏÓÌÏÓ Ç Ýêäïóç ìå ôïí ôßôëï «ÊÏÓÌÏÓ» äçìéïõñãÞèçêå ìå áöïñìÞ ôçí ïìþíõìç Ýêèåóç ðïõ ðñáãìáôïðïéÞèçêå áðü 12 Äåêåìâñßïõ 2015 Ýùò 2 Öåâñïõáñßïõ 2016 óôç ÌðëÝíôåñ ÃêÜëåñé ôçò ÃëõöÜäáò. Áíôßôõðï áõôïý ôïõ âéâëßïõ öõëÜóóåôáé óôçí ÅèíéêÞ ÂéâëéïèÞêç ôçò ÅëëÜäïò, www.nlg.gr ÓõíôåëåóôÝò Êáôáëüãïõ Êåßìåíá Ýêèåóçò: ÌÜíïò Óôåöáíßäçò, ÂÜíá Âåññïéïðïýëïõ, Ñßíï ÓáìðÝëá, Ìáíþëçò ÁíáóôáóÜêïò ÅðéìÝëåéá êåéìÝíùí: ¸öç ÐÜëëç ÌåôÜöñáóç êåéìÝíùí: Ëåþíç Ãáâñßá, ¸öç ÐÜëëç Êáëëéôå÷íéêüò ó÷åäéáóìüò: Ãéþñãïò ÓáìáíôæÞò Äéá÷ùñéóìïß, Åêôýðùóç, Âéâëéïäåóßá: Alta Grafico ÖùôïãñÜöéóç Ýñãùí: Ìáíþëçò ÁíáóôáóÜêïò, ÃéÜííçò ÐïõëçìÝíïò Óõíôïíéóìüò Ýñãïõ: Ëåþíç Ãáâñßá
×ïñçãïß / Sponsors
Manolis Anastasakos É COSMOS The publication entitled “COSMOS” materialized on the occasion of the namesake exhibition that took place from 12 December 2015 till 2 February 2016 at The Blender Gallery, Glyfada.
Catalogue Contributors Exhibition texts: Manos Stefanidis, Vana Veriopoulou, Rino Sabella, Manolis Anastasakos Text editing: Efi Palli Translations: Leonie Gavrias, Efi Palli Artistic design: samantzis.com Colour Separations, Printing, Binding: Alta Grafico Artwork photography: Manolis Anastasakos, Yannis Poulimenos Project coordination: Leonie Gavrias
The Blender Gallery 4 Zisimopoulou Street, Glyfada, GR 16674 Tel: +30 213 0280 597
Unity
gold leaves 24k, lacquer colours, gypsum
28
x 7 x 7 cm
Fragile Worlds
cosmos II
77
photo / installation / performance (Berlin /Germany)
x 82 cm
Cosmos - D.N.A
oils colors and acrylics on canvas
150 x 60
cm
home
manolis anastasakos cosmos