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.
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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

4. 5.

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.

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(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».

December–March, 2006-7
Dr Denis-Chloe Alevizou
WWW.KATSATSIDIS.COM

Images:
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.

Education:

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.

Awards:    

Greek State Scholarship, for three years to study abroad, 1983.
Kefallinos Scholarship Foundation, for one year, 1984.

 

 

 

 

 

 

Solo shows:

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.

 

 

 

 

 

 

 

 

Group shows:

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

Educational Activities:

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.

 

 

 

 

 

 

 

 

 

Lectures:

‘‘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.

 

 

 

 

 

 

 

 

 

Video Art:

‘‘ACTION I’’, 10` minutes, 1984.