HΑRΑLΑBΟS ΚΑΤSΑΤSΙDIS no concept / no ideology
Concept and ideology: Two terms so often used to relate an object with art, have muddle the waters and blocked the development of art itself. What is the role of these terms for the indroduction of a piece of art in a certain system of art ideas is an open and a valid question.
As far as the question of having an Idea or conceiving one is central ( disegno interno ), is very interesting if it can function as a three party /Artist, Spectator, Artwork/ independent beyond canalized ideological lines of organized preconceived ideas. This means that is possible for a work of art to have an equal value for the artist and the spectator without any outlooking ideologies and dependencies.
Τhe up to day solutions or answers have been unequal and of different weight: Under formalism and it’s dominance of form/ the material, the lines, the volumes, the color, the shapes/ and their balances, come to ignore the
importance of the whatisabout of the work.
These aspects and the works that have been produced are about the artist himself as well as his tools and the various processes he employs leaving out the spectator in a no easy to grasp what’sgoingon space. In the best way the spectator is invited to a public or private space unable to cross over the underlying processes between artwork and creator. He is present to a field unable to function as a spectator without accepting preoccupied ideas that at the end of the day maybe does not concern him/her.
On the other hand the approach of the subject/idea or concept becomes possible but also curiously enough not able to be art as a material or not object. Here what happens is that the immediate meaning comes from a clever change of basic opposites. It is a metathesis of basic intellectual terms like /eternal, instant/ accidental, intentional/ etc and leads unfortunately to the obvious result of having no basic boundaries of where these are happening.
(1) For a short historical use of the terms Concetto/ Idea in the history of arts see Μ. Pepe, L. Grassi, Dizionario della Critica d’arte, utet, Torino, 1978. See also concept art, conceptual art etc.It should be noted that the terms aquire different meanings in their translation to other languages and their correct use remains an interesting topic.
Any thought can be a limitless instrument that can produce art without any question of whataboutart and why we need art. The result follows easy of what is known as advertisement/propaganda or as an applied repetitive work. In a simple word it is called cuisine. Let’s now look to a different approach with deeper results. This case is when the process of art making is perceivable and consciously present to the spectator giving him/her a minimum of an illusion and an understanding of how it’s done. Here the whole preoccupations and canalized ideas as we put it before collapse.
In this case the artist opens himself in an honest and truthful way as he knows the limits of what is done. He/she understands the weaknesses as a creator and recognizes the part of the spectator as a perceiver and aesthetically active person. At the same moment when the artist shows the way the work is done also gives to the spectator the understanding of the function between him/her and the artwork. At the end the whole true meaning of the work of art is fully understood even if not absolutely.
This is what the artist H.Katsatsidis tries and achieves in his works.
In an analytical way first of all he refers to the painter- the maestro. Gives him the form of a shadow theatre figure, he respects him when recognizes the mastery of the illusionistic selfportrait of Parmigianino, shows him in his studio, changes him to a woman energized by love and also spits on him when like a marionette represents him holding a cat.
Another painting represents him nude by the sea side under the sun painting on a sheet of transparent cloth. On a second level he analyses the illusion itself and how it is made on a flat surface.
The artist consciously avoids to “mimic nature” and to “serve beauty”. He employs an Ionian of origin approach and continuous to analyze the mechanics of painting. He makes visible the drawing tools like brushes, compass, rule and stereoscope and the away they have been used and are used on a painting..
He also employs a more complex element: the color itself that materializes the vibrated forms and figures.
The transparent surfaces are combined with the lines and the almost running liquid colors to give meaning and to communicate eyes, hands, tongues and gestures.
The painter and the painting, illusion and communication manage to co-exist with the painterly surface on an almost flat canvas: It is a mechanism of a matured and able human.
Analysis of a work by H.Katsatsidis
On an almost epic work (the noble, 2005-2006) he unites the transparent poetics of the illusion and the whatisabout with painterly means.
On the left side of the picture we see the noble sited man. Next to his both sides an ionic column and an obelisk reference to the relation of the Ancient Greek Ionians with Ancient Egypt. On the top of the column we see a golden statue of Hermes and above him an air music instrument vibrating the whole top of the picture. On the scene we see the actual act and of stage and down the photographer fully equipped to grasp the running moment. The Painting closes with a broken column down and right.
The drawing relates to the painting as a map for the measured surfaces and objects while on the final painting we comprehend the not visible structure of the whole picture.
_______________________________________________________________________________________________________________(2) Implied here is the term artificioso crucial in many ways in the deeper understanding of artistic painting practices and central in the history of the literature of art theory and criticism.
The key to the presentation here is naturally the sited male figure. He is the noble one from the painting by Piero Della Francesca “The dream of St. Jerome” or “The Flagellation”.
I end this text quoting a sentence from his 2004 catalogue where he writes:
«Fair well, to the ones that are interested to the art of painting and not just of painting».
Dr Denis-Chloe Alevizou
1. ” Clone”, 2000-2006 ,400 x 400 cm, Oil on Canvas.
2. Drawing for "Paralia"
3. "Painting on the Beach" 200 x 200 cm, Oil on Canvas
4. Drawing for the “Noble”.
5.”Noble”, 2005-2006, 200 X 200 cm, Oil on Canvas
Born Athens, Greece, 1959.
Master of Arts Royal College of Art, three years, London UK, 1987.
Diplôme d’Etudes Approfondues Philosophie -Aesthetics, Sorbonne, Paris I France, 1984.
Painting Diploma with Distinction, School of Fine Arts, Athens Greece, 1977-1982.
Greek State Scholarship, for three years to study abroad, 1983.
Kefallinos Scholarship Foundation, for one year, 1984.
TITANIUM YIAYIANNOS Gallery, ‘no concept/no ideology ’, Athens,2007.
ARTBASE Gallery, no concept/no ideology’, Βruxelles, 2007.
TITANIUM YIAYIANNOS Gallery, Painting, Athens, 2004.
TITANIUM YIAYIANNOS Gallery, ‘‘One,The Painting’’,Athens, 2002.
Kreonidis Gallery, ‘‘Painting’’, Athens, 1998.
Batagianni Gallery, ‘‘Painting Spaces’’, Athens, 2001.
Ομάδα Τέχνης 4+ , ‘‘Studies’’, Athens, 1983.
ΑD Gallery, ‘‘Αdytum’’, Athens, 1989.
Gallery Desmos - Doma, ‘‘Small Painting Works’’, Athens, 1991.
Lineart, ARTBASE Gallery, Gent, Belgium, 2006
‘‘In the Beginning, Fire’’, TITANIUM YIAYIANNOS Gallery, Athens, 2004
‘‘Passion’’, Byzantine Museum, Athens, 2003 EU Program
‘‘Art Quake 2000’’, Major Hellenic Foundation, Athens
‘‘Art Quake 1999’’, Benaki Museum, Athens.
‘‘ Shell ’’, Cultural Centre, Athens, 1997.
‘‘Εvi-Evan’’, Patras, 1999.
‘‘Paths of History’’, ‘‘Crypt’’, Ζakynthos, 2002.
‘‘After the Modern’’, Cultural Centre , Athens, 1997.
‘‘Cinema Inspires the Visual Artists’’, Τechnopolis, Athens, 2000.
‘‘Non Stop Art’’, Hilton, Athens, 1998.
Fine Art Summer Exhibition , Norwich, U.K., 1990.
Music Hall of Athens, 1981.
Gallery 7, Athens, 1990.
Contemporary Artgroup Show,1986:
Aspex Gallery, Portsmouth, November,
Andrew Grant Gallery, Edinburgh College of Art, July.
Ferens Art Gallery, Hull, Μay.
Milton Keynes Gallery, March.
‘‘Tradition and Innovation’’, Yorkshire, 1986.
Barbican Centre, Concourse Gallery, ‘‘Tradition and Innovation’’, London, 1986.
Fine Art Summer Exhibition, Bishopsgate Institute, London, 1989.
‘‘Contemporary Greek Art, Cyprus, 1988.
Blenheim Open, London Λονδίνο, 1990.
Soviet Artists Cultural Union, ‘‘Greek Painting’’, Moscow, 1988.
House of Cyprus, Athens, 1991.
Gallery Desmos - Doma, Athens, 1990.
National Gallery, Athens, 1988.
Square Gallery, ‘‘Artists of the Royal College of Art’’, London, 1987.
Royal College of Art, ‘‘Works in Progress’’, London, 1987.
Μuseum of Modern Art, ‘‘Artists of Valands Konsthogskola’’, Lund, Sweden, 1987.
Concourse Gallery, London, 1987.
Barbican Centre, ‘150 years of the Royal College of Art’, London, 1987
Visiting Lecturer, Portsmouth Polytechnic, U.K., 1989.
Visiting Lecturer, Academy of Fine Arts, Oslo, Νοrway, 1991.
Visiting Lecturer, Falmouth School of Art, Cornwall, 1986.
Three month exchange Program, Valands Konsthogskola, Goteborg, Sweden, 1987.
Visiting Lecturer School of Fine Arts, Athens, 1988&1989.
Visiting Lecturer, Aristotelian University of Thessalonici - Fine Art Dpt., 1988&1990.
‘‘Hidden Structures’’, Aristotelian University of Thessalonici - Fine Art Dpt., 1988&1990.
‘‘Constructions on Three Proposals’’, School of Fine Arts, Athens, 1989.
‘‘ Τype and Artistic Object’’, House of Cyprus, Athens, 1989.
Two Day Seminar‘‘Towards A Meta-Language of Criticism’’, ‘‘Criteria and Criticism’’, ‘‘Criteria According to The Medium’’,
House of Cyprus, Athens, 1992.
‘‘ACTION I’’, 10` minutes, 1984.
SELECTED PRESS AND MAGAZINE PUBLICATIONS
E 21 Magazine, April-June 2002, Athens GR.
UTOPIA, Bimonthly Review of Theory and Culture, May-June 2003, Athens GR.
KATHIMERINI, Newspaper 18 March 1998, Nikos Xidakis, GR.
KATHIMERINI, Newspaper 23 February 2000, Dimitris Rigopoulos, GR.
THE SUNDAY ELEYTHEROTIPIA, Newspaper 20 February 2000, ARTS Pari Spinou, GR.
ATYPON Magazine, November 1995, GR.
EPENDITIS, Newspaper 10 NOVEMBER 2002, Vivi Vasilacopoulou, GR.
RADIOTV Magazine, 10 April 2004, GR.
ELEYTHEROTIPIA, Newspaper 30 March 2004, ARTS, GR.
THE SUNDAY ELEYTHEROTIPIA, Newspaper 19 March 2000, Monde Diplomatique, GR.
AVGI, Newspaper 15 March 1991, GR.
EPSILON Magazine, 31 May1998, GR.
ANTI Magazine, 27 March 1998, Manos Stefanidis, GR.
KATHIMERINI, Newspaper 11 March 1998, Olga Sella, GR.
Art Critics that collaborate and have presented the Works of Mr H.Katsatsidis:
“..conscience of History”. Manos Stefanidis, ex curator of the National Gallery Athens-Greece now at the Department of Art History in Philosophy, University of Athens.
“..Contemporary Painting Tractate”. Dr Denis-Chloe Alevizou, MAh Kings College London U.K.
“..multiple levels of painterly meanings”. Mpia Papadopoulou, MAh Berkeley University California U.S.A.
Dr Ourania Kouvou, MPh PhD Linacre College, University of Oxford U.K.
“..painting per se”. Regina Argyraki, Head of the Aesthetics-Philosophy Department, Aristotelian University of Thessaloniki School of Fine Arts, Greece
“..artistic narration of elevated criticism”.Dr Anastassios Kutsuris, Professor, Art Critic and Conservator
“..real and no real painting surface”.Daphe Vitali, Art Historian, MA Goldsmith´s College of Art, University of London
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