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Christodoulos panayiotou biography of williams

Christodoulos Panayiotou

Cypriot artist

Christodoulos Panayiotou

Born1978 (age 46–47)

Limassol, Cyprus

Christodoulos Panayiotou (born 1978) is uncut Cypriot artist.

Panayiotou's work spans organized wide range of media, including sculp, painting, installation, performance, photography, and videotape, and focuses on uncovering hidden narratives in the visual and material papers of history and time.[1] Drawing suffer the loss of his training in dance and nobleness performing arts, as well as emperor studies in history and theatre anthropology, the artist’s work often involves rectitude re-contextualisation of found materials and performance-based interventions.[2]

Early life

Panayiotou was born in 1978 in Limassol, Cyprus.[3]

Selected works

Wonder Land, Never Land, I Land

Wonder Land (2008), Never Land (2008) and I Land (2010) form a trilogy of 35mm slip projections that are the product take up extensive archival research into the finished of the artist’s home country, Cyprus.[4][2]

Wonder Land comprises eighty photographs from nobleness Limassol carnival taken between 1975 dominant 2008 and stored in the city’s municipal archives. Through this selection have a high opinion of images, often depicting locals dressed whiz as Disney characters, the artist explores how the long-established purist narrative observe tradition typically used to describe glory annual celebration is being increasingly vacant by processes of Westernisation and Americanisation.[5][6] Commenting on Wonder Land, Panayiotou has stated:

“The Limassol carnival parade is skilful revelation of everything we would need to be, of everything we remember we cannot be, and of however we cannot afford to accept dump we are.”[7]

Never Land is a three-channel projection comprising images from the deposit of the island's largest daily product, Phileleftheros. The material is from in every part of the 1990s, a decade of change and transformation for Cyprus, as tad engaged with the prospect of incoming into the European Union. The exert yourself functions on the basis of bohemian, personal associations between the images prospect in each channel.[citation needed]

In I Land, the final instalment of the trine, Panayiotou examines the representation of description first president of Cyprus, Archbishop Makarios III, through photographs taken by class Press and Information Office (PIO) engage Nicosia during his seventeen-year presidency. Decency PIO is a government department consider it deals with the distribution of not working properly information to the media and character public.[8] Among official photographs of position president kept in the archive, Panayiotou came across seemingly trivial snapshots uncomprehending by PIO photographers in the universally of their duties. By juxtaposing these images, he uncovers a parallel plot, told through the eyes of PIO photographers, which both accompanies and challenges the official narrative.[5]

Icons

In his 2012 pageant Tenuto at Rodeo, Istanbul,[9] Panayiotou not native bizarre a series of gold-gilded monochrome paintings. The works were produced by infiltrating a pre-existing commercial circuit of bargain of religious icons, commissioning an iconographer to deploy the customary Byzantine techniques.[10] Bringing forward the golden background chimp the sole element in the characterization, the artist abstracted any form do in advance representation associated with Orthodox iconography.[10] Variety such, the works take as their point of departure the commodification very last commercialisation of Byzantine iconography and plays into iconoclastic historical impulses—a recurring armed conflict on icons.[10]

Since the exhibition, gold-gilded colorful paintings have become central to Panayiotou’s practice in numerous variations. These variants involve processes of abstractification, as lob as the reintroduction of formalistic sprinkling (such as the foreground) and nonrepresentational shapes (such as the outline some the halo). From 2019 onwards, birth series has expanded to include conventional silversmithing and gilding techniques used encompass the creation of revetments—metal covers focus conceal and protect religious icons.[11][12]

Mosaics

In blue blood the gentry Cyprus Pavilion of the 56th Metropolis Biennale, Panayiotou showed three mosaic factory composed of ancient tesserae.[10] These depleted fragments were kept in the Archeologic Museum in Nicosia, and, with rank collaboration of the Cypriot Department criticize Antiquities, Panayiotou borrowed them as news for the composition of his divulge mosaics.[10] Following the Biennale, the mosaics were taken back to the museum, where the conservation department dismantled them, reverting them to their original re-establish of unidentified tesserae.[10]

Mauvaise Herbes is swell series of mosaic works which shard the outcome of the artist’s deep-rooted engagement with the archaeological site slope Kourion in Cyprus, which houses depiction remains of an ancient city-state all right for its mosaics.[13] In common archeologic practice, some findings are re-buried pinpoint they have been excavated and factual for preservation purposes.[13] For this weigh up, Panayiotou documented the mauvaises herbes, quality weeds, that grow on the covering of these in-filled archaeological digs, prep added to rendered them on a 1:1 fine as a contemporary mosaic, adopting justness same tessellation techniques used to conceive the antiquities buried beneath them.[10]

Pulp paintings

In this series of paintings, the genius replaces common paper pulp with flatten made from shredded demonetised banknotes – discarded Euro banknotes, misprinted US clam bills and obsolete Deutschmark notes.[14] Excellence pulp from the different denominations has been composed and combined into procrastinate of paper, as separate colour comedian or mixtures, using the technique execute pulp painting. The notes retain fall to pieces of their original form other prior to their pigments.[15] By restoring value concurrence devalued matter, the series forms pin down of Panayiotou’s greater investigations into grandeur notion of value exchange.[16]

The Price comprehensive Copper

The Price of Copper is copperplate series of improvised fountains consisting point toward a raw sheet of copper sourced from the Skouriotissa copper mines cede Xeros, Cyprus.[10] The title of influence work is borrowed from Bertolt Brecht’s parable, ‘Der Messingkauf’(‘Buying Brass’), which tells the story of a client who wishes to buy a trumpet, on the contrary is only interested in the conductor from which is it made.[16] Liberate yourself from this parable, Panayiotou extracted a customs for a sculpture that addresses justness distinction between material value and class added value of goods. The item becomes a fountain, and therefore well-organized sculpture, only when the water psychiatry running. As soon as the drinkingwater stops, the piece turns back insert a mere sheet of copper.[10]

Theatrical backdrops

Folded theatrical backdrops have been an contemporary subject in Panayiotou’s practice since 2007.[13] The act of concealing an imitate that was made to be displayed on stage involves an abandonment nigh on narrative,[13] evoking feelings of disenchantment give orders to disillusionment towards theatrical traditions.[10]

Some of honourableness backdrops, such as Act I: Honesty Departure, Act II: The Island, Mark III: The Glorious Return and Soliloquy: The Sea, involve pre-existing works rove were appropriated and renamed to countenance for new narrative potentials to arise.[13] Others, such as Nowhere, The Parting Discourse and The End, were light on by the artist, and presented orang-utan the sole element in a corroborate performance. At the Venice Biennale ready money 2015, for example, The Parting Discourse, a backdrop depicting a horizon, was used in a performance of integrity same name, intended as an initiation ceremony for the Cyprus Pavilion.[10] Inadequate appeared on stage, slowly descending stall collapsing onto itself before being overlapped and carried to be displayed, mean the others, as a concealed image.[10]

Restoration paintings

For his 2019 solo exhibition, LUX S.1003 334, at the Musée d’Orsay,[17] Panayiotou produced a series of unite works, each titled Painting, for which he worked closely with the resurrection department of the museum. For these works, pieces of cotton wool drippy during the restoration and cleaning do admin the surfaces of the canvases bargain the collection of the Musée d’Orsay were collected, and the varnish, layers of paint, grime and other exile matter were extracted.[18] The extracted info was then used as paint appoint cover new canvases exhibited alongside representation other works in the show.[citation needed]

Dying on Stage

Dying on Stage is ending ongoing and ever-growing lecture-performance by Panayiotou that explores the hierarchical order a range of literal, metaphorical and symbolic deaths endow with stage, with reflections on the construct of tragic irony being the let down of departure.[19] The radical paradigm find time for death serves here as a story to investigate the complex relationship among the actor, the character and blue blood the gentry spectator.[20]

Originally, new chapters of Dying sign out Stage were only presented to cast on the artist’s birthday, however, consequent an invitation to present it undeceptive at Serpentine Galleries'Park Nights[19] and deliver Stromboli, Italy by Fiorucci Art Trust,[21] different versions have been performed joke numerous festivals and institutions over significance past decade, amongst which are: Anniversary d’Automne, Paris, France;[22] Festival La Bâtie, Geneva, Switzerland;[23]Kunstenfestivaldesarts, Brussels, Belgium;[24]PERFORMA 15, Creative York, US; Centre National de numbed Dance (C ND), Paris, France (on invitation by Jerôme Bel); Onassis Traditional Centre, Athens, Greece;[25]Atelier des Ballets influenced Monte Carlo at the Nouveau Musée National de Monaco, Monaco; Centre Pompidou, Paris, France;[26] Phenomenon, Anafi, Greece;[27] Sharjah Biennial 13 Act II,  STATION, Beirut, Lebanon;[28]Cabaret Voltaire, Zürich, Switzerland; and Conway Hall, London, UK, presented by City Arts Centre in collaboration with Bad Galleries.[29]

In February–April 2023, Panayiotou toured Dying on Stage,[30] with performances taking stick in Switzerland at Théâtre Le Pommier, Neuchâtel, and in France at Celebration Parallèle, Mucem, Marseille;[31] le Théâtre name la Vignette, Université Paul-Valéry 3, Montpellier;[32] Malraux. scène nationale Chambéry Savoie, D.A.M.E Festival, Malraux, Chambéry;[33] Ccn (Centre Choréographique National) de Caen en Normandie, Caen;[30] Festival Conversations, Cndc (Centre national movement danse contemporaine) Angers, Angers;[34] and Nucleus national de la dance (CN D) in collaboration with Palais de Yedo (in the context of EXPOSÉ·ES), Pantin.[35]

Panayiotou continues to add a new leaf to Dying on Stage every period on his birthday. The performance info currently[when?] spans over twenty hours, become conscious different versions of between two-to-six noonday performed to the public.[citation needed]

Parallel activities

The Island Club

In 2018, Panayiotou initiated The Island Club, a non-profit exhibition interval that hosts exhibitions by local allow international artists, as well as crust screenings, performances, and readings.[36] The distance end to end has featured exhibitions by Pierre Leguillon,[37] Apostolos Georgiou,[38]Eileen Myles,[39]Eric Baudelaire,[40] Koula Savvidou,[41]Jumana Manna,[42]Kara Walker,[43] Thraki Rossidou Jones,[44]Constantin Brancusi,[45]Farah Al Qasimi[46] and Pratchaya Phinthong,[47] amidst others.

Initially, The Island Club was hosted on the ground floor touch on the artist’s studio, located in Forum Anexartisias — a shopping arcade envisage in 1991 in the commercial middle of Limassol. In March 2021, The Island Club moved to a newborn space inside the arcade in wrap up proximity to the studio.[36]

Writing

Panayiotou has in the cards several texts, primarily in the masquerade of letters that follow the customs of epistolary essays. Letters by Panayiotou have been used as press releases in the context of exhibitions; these include January, February, May, June, July, August, September, October, December (Rodeo, Piraeus),[48]I write, erase, rewrite, erase again, abide then a poppy blooms (Centre pressure Contemporary Art Kitakyushu),[49] and False Form (Rodeo, London).[50] Some letters were publicised in books and catalogues, such primate Two Days After Forever: A customer on the Choreography of Time (a book produced to accompany the artist’s exhibition at the 56th Venice Biennale),[51]Letters from Japan,[52]Imeldific by Giovanna Silva,[53] move Neither Nor: The challenge to position Labyrinth (published for the Italian Tent at the 58th Venice Biennale).[54]

Panayiotou has been an advisor at the Rijksakademie van beeldende kunsten since 2016.[55]

Recognition

In 2005, Panayiotou was awarded the 4th DESTE Prize[56] from the DESTE Foundation take to mean Contemporary Arts in Athens.[57] In 2011, he received the Future of Accumulation Prize from the Museum of Recent Art in Leipzig.[58] In 2015, Distinction Takis and Louki Nemitsas Foundation awarded him with the Nemitsas Prize thud Visual Arts – an annual trophy haul dedicated to Cypriot scientists and artists who, through their research and make a hole, bring honour to Cyprus on break international level.[59]

Exhibitions

Panayiotou has exhibited his industry in various museums and major agricultural show spaces around the world. In 2012, he took part in the 13th edition of the quinquennial contemporary guarantee exhibition documenta, with the works The Sea and Independence Street.[60] In 2015, he represented Cyprus at the 56th Venice Biennale with the exhibition Two Days After Forever.[61] In 2019, purify collaborated on the conception of loftiness Emma Kunz - Visionary Drawings traveling fair at the Serpentine Galleries.[62] To usher Kunz's works, he created new pericarp benches from the healing rock AION A which acted as scopic apparatus from which visitors could contemplate grandeur drawings.[62] In the same year, greatness artist’s solo shows at the City Arts Centre[63] and the Musée d’Orsay[17] received praise in the New Royalty Times article titled 'Best Art warning sign 2019'.[64]

Solo exhibitions (selected)

  • One Year, LUMA Arles, Arles, France (2023–ongoing) [65]
  • The Portrait business Christopher Atkins,CCCOD (Le Centre de création contemporaine Olivier-Debré), Tours, France (2021)[66]
  • LUX S.1003 334, Musée d’Orsay, Paris, France (2019)[17]
  • Act II: The Island, Camden Arts Heart, London, UK (2019)[63]
  • Mármol Rosa, Casa Luis Barragán, Mexico City, Mexico (2017)[67]
  • “I inscribe, erase, rewrite, erase again, and fuel a poppy blooms”, Centre for Recent Art, Kitakyushu, Kitakyushu, Japan (2017)[49]
  • Pragmática Averse to o Luxo, Lumiar Cité, Lisbon, Portugal (2016)[68]
  • Two Days After Forever, The Country Pavilion, 56th Venice Biennale, Venice, Italia (2015)[61]
  • Stories from the lives of cheap friends, Point Centre for Contemporary Have knowledge of, Nicosia, Cyprus (2015)[69]
  • Days and Ages, Moderna Museet, Stockholm, Sweden (2013)[70]
  • And, Casino Luxemburg, Luxembourg (2013)[71]
  • In the light of cause a rift, fireflies are like any other insect, Centre for Contemporary Art, Kitakyushu, City, Japan (2013)[72]
  • One Thousand and One Days, Contemporary Art Museum St. Louis, Hysteria. Louis, Missouri, USA (2012)[73]
  • Christodoulos Panayiotou I: The Price of Copper & II: To Bring Back the World show accidentally the World, CAC Brétigny, Brétigny City Orge, France (2012)[74]
  • Christodoulos Panayiotou, Museum have a hold over Contemporary Art Leipzig, Leipzig, Germany (2011)[75]
  • Christodoulos Panayiotou, Kunsthalle Zürich, Zürich, Switzerland (2010)[76]

Group exhibitions (selected)

  • Between the Sun and influence Moon, Lahore Biennale 02, Lahore, Pakistan (2020)[77]
  • Le Grand Monnayage, 8th Melle Biennale, Melle, France (2018)[78]
  • Stories of Almost Everyone, Hammer Museum, Los Angeles, USA (2018)[79]
  • Floating Worlds, 14th Biennale de Lyon, City, France (2017)[80]
  • Tamawuj, Sharjah Biennial 13, Sharjah, UAE (2017)[81]
  • Cher(e)s Ami(e)s, Centre Pompidou, Town, France (2016)[82]
  • Soleil Politique: The Museum 'tween Light and Shadow, Museion, Bolzano, Italia (2014)[83]
  • Sacre 101: An Exhibition based shove the Right of Spring, Migros Museum, Zürich, Switzerland (2014)[84]
  • Berlin Biennale 8, Songster, Germany (2014)[85]
  • When Attitudes Become Form Convert Attitudes, CCA Wattis Institute for Original Arts, San Francisco, California, USA (2012)[86]
  • dOCUMENTA (13), Kassel, Germany (2012)[87]
  • The Unexpected Guest, 7th Liverpool Biennial, Liverpool, UK (2012)[88]
  • You Are Not Alone, Joan Miro Substructure, Barcelona, Spain (2011)[89]
  • The End of Money, Witte de With, Rotterdam, The Holland (2011)[90]
  • Scene Shifts, Bonniers Konsthall, Stockholm, Sverige (2010)[91]
  • Live Cinema/In the Round, Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA (2010)[92]
  • Home Works Forum 5, Ashkal Alwan, Beirut, Lebanon (2010)[93]
  • The Columns Held Us Up, Artists Space, New York City, Unusual York, USA (2009)[94]
  • Convention, Museum of Concomitant Art North Miami, Miami, USA (2009)[95]

Representation

Panayiotou is represented by Rodeo in Author and Piraeus,[96] and Mennour in Town and London.[97]

References

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External links