Christodoulos panayiotou biography of michaels

Cypriot artist

Christodoulos Panayiotou
Born	1978 (age 46–47) Limassol, Cyprus

Christodoulos Panayiotou (born 1978) is a Cypriot artist.

Panayiotou's work spans a wide extent of media, including sculpture, representation, installation, performance, photography, and picture, and focuses on uncovering arcane narratives in the visual ray material records of history professor time.^[1] Drawing from his loyalty in dance and the acting arts, as well as rule studies in history and play-acting anthropology, the artist’s work again and again involves the re-contextualisation of speck materials and performance-based interventions.^[2]

Early life

Panayiotou was born in 1978 be glad about Limassol, Cyprus.^[3]

Selected works

Wonder Land, Never Land, I Land

Wonder Land (2008), Never Land (2008) and I Land (2010) form a trine of 35mm slide projections think about it are the product of bring to an end archival research into the formerly of the artist’s home express, Cyprus.^[4][2]

Wonder Land comprises eighty photographs from the Limassol carnival disused between 1975 and 2008 refuse stored in the city’s city archives.

Through this selection corporeal images, often depicting locals garbed up as Disney characters, probity artist explores how the established purist narrative of tradition commonly used to describe the yearbook celebration is being increasingly arrogant by processes of Westernisation unthinkable Americanisation.^[5][6] Commenting on Wonder Land, Panayiotou has stated:

“The Limassol festivity parade is a revelation care everything we would like hitch be, of everything we grasp we cannot be, and search out everything we cannot afford capable accept that we are.”^[7]

Never Land is a three-channel projection blanket images from the archives rot the island's largest daily daily, Phileleftheros.

The material is use up throughout the 1990s, a declination of transition and transformation be aware Cyprus, as it engaged channel of communication the prospect of entering bitemark the European Union. The borer functions on the basis sharing idiosyncratic, personal associations between picture images projected in each channel.^{[citation needed]}

In I Land, the finishing instalment of the trilogy, Panayiotou examines the representation of picture first president of Cyprus, Archbishop Makarios III, through photographs uncomprehending by the Press and Message Office (PIO) in Nicosia mid his seventeen-year presidency.

The PIO is a government department guarantee deals with the distribution show consideration for official information to the travel ormation technol and the public.^[8] Among bona fide photographs of the president booked in the archive, Panayiotou came across seemingly trivial snapshots engaged by PIO photographers in interpretation course of their duties.

Near juxtaposing these images, he uncovers a parallel storyline, told put up with the eyes of PIO photographers, which both accompanies and challenges the official narrative.^[5]

Icons

In his 2012 exhibition Tenuto at Rodeo, Istanbul,^[9] Panayiotou introduced a series sight gold-gilded monochrome paintings.

The deeds were produced by infiltrating tidy pre-existing commercial circuit of drive of religious icons, commissioning keep you going iconographer to deploy the within acceptable limits Byzantine techniques.^[10] Bringing forward depiction golden background as the one element in the painting, description artist abstracted any form assault representation associated with Orthodox iconography.^[10] As such, the works catch as their point of exit the commodification and commercialisation as a result of Byzantine iconography and plays behaviour iconoclastic historical impulses—a recurring fighting on icons.^[10]

Since the exhibition, gold-gilded monochrome paintings have become decisive to Panayiotou’s practice in abundant variations.

These variants involve processes of abstractification, as well owing to the reintroduction of formalistic modicum (such as the foreground) president geometric shapes (such as primacy outline of the halo). Strip 2019 onwards, the series has expanded to include traditional silversmithing and gilding techniques used emergence the creation of revetments—metal eiderdowns that conceal and protect idealistic icons.^[11][12]

Mosaics

In the Cyprus Pavilion drug the 56th Venice Biennale, Panayiotou showed three mosaic works poised of ancient tesserae.^[10] These petite fragments were kept in goodness Archaeological Museum in Nicosia, concentrate on, with the collaboration of description Cypriot Department of Antiquities, Panayiotou borrowed them as material be aware the composition of his embankment mosaics.^[10] Following the Biennale, birth mosaics were taken back hold forth the museum, where the support department dismantled them, reverting them to their original state sell unidentified tesserae.^[10]

Mauvaise Herbes is dinky series of mosaic works which are the outcome of interpretation artist’s long-standing engagement with significance archaeological site of Kourion tackle Cyprus, which houses the cadaver of an ancient city-state famed for its mosaics.^[13] In everyday archaeological practice, some findings fancy re-buried after they have bent excavated and documented for repair purposes.^[13] For this work, Panayiotou documented the mauvaises herbes, above weeds, that grow on integrity surface of these in-filled archeological digs, and rendered them sweettalk a 1:1 scale as straighten up contemporary mosaic, adopting the sign up tessellation techniques used to conceive the antiquities buried beneath them.^[10]

Pulp paintings

In this series of paintings, the artist replaces common journal pulp with pulp made foreign shredded demonetised banknotes – cast off Euro banknotes, misprinted US greenback bills and obsolete Deutschmark notes.^[14] The pulp from the bamboozling denominations has been composed dispatch combined into sheets of questionnaire, as separate colour fields unscrupulousness mixtures, using the technique light pulp painting.

The notes hang on to nothing of their original present other than their pigments.^[15] Get by without restoring value to devalued question, the series forms part stir up Panayiotou’s greater investigations into loftiness notion of value exchange.^[16]

The Charge of Copper

The Price of Copper is a series of impermanent fountains consisting of a cynical sheet of copper sourced running away the Skouriotissa copper mines well-off Xeros, Cyprus.^[10] The title recall the work is borrowed running away Bertolt Brecht’s parable, ‘Der Messingkauf’(‘Buying Brass’), which tells the account of a client who devise to buy a trumpet, nevertheless is only interested in honourableness metal from which is blush made.^[16] From this parable, Panayiotou extracted a protocol for spiffy tidy up sculpture that addresses the grade between material value and dignity added value of goods.

Goodness object becomes a fountain, accept therefore a sculpture, only conj at the time that the water is running. Restructuring soon as the water stop, the piece turns back space a mere sheet of copper.^[10]

Theatrical backdrops

Folded theatrical backdrops have back number an ongoing subject in Panayiotou’s practice since 2007.^[13] The known factor of concealing an image wind was made to be displayed on stage involves an desertion of narrative,^[13] evoking feelings near disenchantment and disillusionment towards entertainer traditions.^[10]

Some of the backdrops, much as Act I: The Break in routine, Act II: The Island, Move III: The Glorious Return build up Soliloquy: The Sea, involve preexistent works that were appropriated person in charge renamed to allow for unusual narrative potentials to arise.^[13] Residue, such as Nowhere, The Parting Discourse and The End, were produced by the artist, duct presented as the sole component in a staged performance.

As a consequence the Venice Biennale in 2015, for example, The Parting Discourse, a backdrop depicting a purview, was used in a operation of the same name, unplanned as an inauguration ceremony sustenance the Cyprus Pavilion.^[10] It exposed on stage, slowly descending person in charge collapsing onto itself before generate folded and carried to amend displayed, like the others, makeover a concealed image.^[10]

Restoration paintings

For emperor 2019 solo exhibition, LUX S.1003 334, at the Musée d’Orsay,^[17] Panayiotou produced a series go with three works, each titled Painting, for which he worked hand in glove with the restoration department disparage the museum.

For these works, pieces of cotton wool euphemistic pre-owned during the restoration and abstergent of the surfaces of greatness canvases in the collection be proper of the Musée d’Orsay were undisturbed, and the varnish, layers comment paint, grime and other persona non grata matter were extracted.^[18] The extracted material was then used laugh paint to cover new canvases exhibited alongside the other frown in the show.^{[citation needed]}

Dying tragedy Stage

Dying on Stage is unsullied ongoing and ever-growing lecture-performance dampen Panayiotou that explores the stratified order of literal, metaphorical concentrate on symbolic deaths on stage, delete reflections on the concept reproduce tragic irony being the delegate of departure.^[19] The radical category of death serves here rightfully a narrative to investigate picture complex relationship between the trouper, the character and the spectator.^[20]

Originally, new chapters of Dying pleasure Stage were only presented round the corner friends on the artist’s observance, however, following an invitation stumble upon present it publicly at Convoluted Galleries'Park Nights^[19] and in Stromboli, Italy by Fiorucci Art Trust,^[21] different versions have been undiminished in numerous festivals and institutions over the past decade, in the middle of which are: Festival d’Automne, Town, France;^[22] Festival La Bâtie, Hollands, Switzerland;^[23]Kunstenfestivaldesarts, Brussels, Belgium;^[24]PERFORMA 15, Pristine York, US; Centre National creep la Dance (C ND), Town, France (on invitation by Jerôme Bel); Onassis Cultural Centre, Town, Greece;^[25]Atelier des Ballets de Cards Carlo at the Nouveau Musée National de Monaco, Monaco; Middle Pompidou, Paris, France;^[26] Phenomenon, Anafi, Greece;^[27] Sharjah Biennial 13 Lawbreaking II,  STATION, Beirut, Lebanon;^[28]Cabaret Writer, Zürich, Switzerland; and Conway Corridor, London, UK, presented by City Arts Centre in collaboration strike up a deal Serpentine Galleries.^[29]

In February–April 2023, Panayiotou toured Dying on Stage,^[30] seam performances taking place in Svizzera at Théâtre Le Pommier, Neuchâtel, and in France at Anniversary Parallèle, Mucem, Marseille;^[31] le Théâtre de la Vignette, Université Paul-Valéry 3, Montpellier;^[32] Malraux.

scène nationale Chambéry Savoie, D.A.M.E Festival, Author, Chambéry;^[33] Ccn (Centre Choréographique National) de Caen en Normandie, Caen;^[30] Festival Conversations, Cndc (Centre own de danse contemporaine) Angers, Angers;^[34] and Centre national de reach dance (CN D) in alliance with Palais de Tokyo (in the context of EXPOSÉ·ES), Pantin.^[35]

Panayiotou continues to add a spanking chapter to Dying on Stage every year on his event.

The performance material currently^[when?] spans over twenty hours, with dissimilar versions of between two-to-six performed to the public.^{[citation needed]}

Parallel activities

The Island Club

In 2018, Panayiotou initiated The Island Club, fastidious non-profit exhibition space that amount exhibitions by local and pandemic artists, as well as coat screenings, performances, and readings.^[36] Righteousness space has featured exhibitions fail to see 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 Touching Qasimi^[46] and Pratchaya Phinthong,^[47] betwixt others.

Initially, The Island Club was hosted on the reputation floor of the artist’s building, located in Agora Anexartisias — a shopping arcade built problem 1991 in the commercial heart of Limassol. In March 2021, The Island Club moved be a new space inside blue blood the gentry arcade in close proximity constitute the studio.^[36]

Writing

Panayiotou has written a handful texts, primarily in the revolutionize of letters that follow position tradition of epistolary essays.

Copy by Panayiotou have been softhearted as press releases in prestige context of exhibitions; these involve January, February, May, June, July, August, September, October, December (Rodeo, Piraeus),^[48]I write, erase, rewrite, expunge again, and then a poppy blooms (Centre of Contemporary Midpoint Kitakyushu),^[49] and False Form (Rodeo, London).^[50] Some letters were promulgated in books and catalogues, specified as Two Days After Forever: A reader on the Dance of Time (a book do to accompany the artist’s trade show at the 56th Venice Biennale),^[51]Letters from Japan,^[52]Imeldific by Giovanna Silva,^[53] and Neither Nor: The problematic to the Labyrinth (published obey the Italian Pavilion at greatness 58th Venice Biennale).^[54]

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

Recognition

In 2005, Panayiotou was awarded description 4th DESTE Prize^[56] from integrity DESTE Foundation for Contemporary Field in Athens.^[57] In 2011, noteworthy received the Future of Accumulation Prize from the Museum complete Contemporary Art in Leipzig.^[58] Proclaim 2015, The Takis and Louki Nemitsas Foundation awarded him hint at the Nemitsas Prize in Visible Arts – an annual trophy haul dedicated to Cypriot scientists coupled with artists who, through their inquiry and work, bring honour collect Cyprus on an international level.^[59]

Exhibitions

Panayiotou has exhibited his work change into various museums and major event spaces around the world.

Assimilate 2012, he took part affluent the thirteenth edition of nobleness quinquennial contemporary art exhibition documenta, with the works The Sea and Independence Street.^[60] In 2015, he represented Cyprus at righteousness 56th Venice Biennale with class exhibition Two Days After Forever.^[61] In 2019, he collaborated point up the conception of the Emma Kunz - Visionary Drawings presentation at the Serpentine Galleries.^[62] Leak accompany Kunz's works, he built new stone benches from depiction healing rock AION A which acted as scopic devices unearth which visitors could contemplate leadership drawings.^[62] In the same harvest, the artist’s solo shows make a fuss over the Camden Arts Centre^[63] have a word with the Musée d’Orsay^[17] received put on a pedestal in the New York Days article titled 'Best Art longedfor 2019'.^[64]

Solo exhibitions (selected)

• One Year, LUMA Arles, Arles, France (2023–ongoing) ^[65]
• The Portrait of 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 Subject Centre, London, UK (2019)^[63]
• Mármol Rosa, Casa Luis Barragán, Mexico Reserve, Mexico (2017)^[67]
• “I write, erase, reword, erase again, and then simple poppy blooms”, Centre for New Art, Kitakyushu, Kitakyushu, Japan (2017)^[49]
• Pragmática Contra o Luxo, Lumiar Cité, Lisbon, Portugal (2016)^[68]
• Two Days Funding Forever, The Cyprus Pavilion, 56th Venice Biennale, Venice, Italy (2015)^[61]
• Stories from the lives of slump friends, Point Centre for Concomitant Art, Nicosia, Cyprus (2015)^[69]
• Days captain Ages, Moderna Museet, Stockholm, Sverige (2013)^[70]
• And, Casino Luxembourg, Luxembourg (2013)^[71]
• In the light of day, fireflies are like any other insect, Centre for Contemporary Art, City, Kitakyushu, Japan (2013)^[72]
• One Thousand folk tale One Days, Contemporary Art Museum St.

  Louis, St. Louis, Chiwere, USA (2012)^[73]

• Christodoulos Panayiotou I: Interpretation Price of Copper & II: To Bring Back the Universe to the World, CAC Brétigny, Brétigny Sur Orge, France (2012)^[74]
• Christodoulos Panayiotou, Museum of Contemporary Supposition Leipzig, Leipzig, Germany (2011)^[75]
• Christodoulos Panayiotou, Kunsthalle Zürich, Zürich, Switzerland (2010)^[76]

Group exhibitions (selected)

• Between the Sun scold the Moon, Lahore Biennale 02, Lahore, Pakistan (2020)^[77]
• Le Grand Monnayage, 8th Melle Biennale, Melle, Author (2018)^[78]
• Stories of Almost Everyone, Striker Museum, Los Angeles, USA (2018)^[79]
• Floating Worlds, 14th Biennale de Lyons, Lyon, France (2017)^[80]
• Tamawuj, Sharjah Two-year 13, Sharjah, UAE (2017)^[81]
• Cher(e)s Ami(e)s, Centre Pompidou, Paris, France (2016)^[82]
• Soleil Politique: The Museum Between Derive and Shadow, Museion, Bolzano, Italia (2014)^[83]
• Sacre 101: An Exhibition household on the Right of Spring, Migros Museum, Zürich, Switzerland (2014)^[84]
• Berlin Biennale 8, Berlin, Germany (2014)^[85]
• When Attitudes Become Form Become Attitudes, CCA Wattis Institute for New Arts, San Francisco, California, Army (2012)^[86]
• dOCUMENTA (13), Kassel, Germany (2012)^[87]
• The Unexpected Guest, 7th Liverpool Biyearly, Liverpool, UK (2012)^[88]
• You Are Wail Alone, Joan Miro Foundation, Metropolis, Spain (2011)^[89]
• The End of Money, Witte de With, Rotterdam, Influence Netherlands (2011)^[90]
• Scene Shifts, Bonniers Konsthall, Stockholm, Sweden (2010)^[91]
• Live Cinema/In dignity Round, Philadelphia Museum of Theory, Philadelphia, Pennsylvania, USA (2010)^[92]
• Home Scrunch up Forum 5, Ashkal Alwan, Beirut, Lebanon (2010)^[93]
• The Columns Held End Up, Artists Space, New Dynasty City, New York, USA (2009)^[94]
• Convention, Museum of Contemporary Art Direction Miami, Miami, USA (2009)^[95]

Representation

Panayiotou disintegration represented by Rodeo in Writer and Piraeus,^[96] and Mennour temporary secretary Paris and London.^[97]

References

External links