2018, by Manolis Daskalakis-Lemos (b. 1989, Athens), is a sculptural installation of pillars made of a rebar grid and pieces of marble that look like three-dimensional charts. In collaboration with a team of Artificial Intelligence (AI) researchers, the artist reflects on the applications of neuronic networks and deep learning in art through gestures that go beyond the manmade. His monumental-scale project converses with the Stavros Niarchos Foundation Cultural Centre’s architectural elements and construction sites, relics of modernism (both physical and conceptual), and archaeological monuments.
by Petros Moris (b. 1986, Lamia) is a series of ceramic-tile mosaic compositions constructed on structural panels. As their primary visual resource, they employ a collection of public domain vector graphics: a type of digital material representative of a distributed and accessible ethos of contemporary production and a special kind of digital cultural heritage. Highlighting the procedural nature of the mosaic technique, the Commons works remain fragmentary and partial, morphologically positioned between representation and abstraction. Simultaneously resembling works in progress and contemporary fragmentary ruins, they refer to an elliptical process of digital-material translation.
Malvina’s Panagiotidi (b. 1985, Athens) work Answers without questions (2019) consists of 20 body part sculptures that form a complete body. It is inspired by the epic “Pharsalia”, written by Roman poet Lucan. According to the poem, the witch Erichtho is practising necromancy using dismembered bodies she collected from the battlefield in order to have an oracle and foresee the future. In a reverse procedure, the 20 body parts are sculpted in wax using casts of the artist’s own body burned and transformed. These sculptures are then electroformed with copper, and the wax is melted away, leaving the copper body parts to be assembled. This newly constructed body can only provide questions and not answers about the future.
Katerina Komianou (b.1984, Athens) presents the work she stands alone (2019), using bronze for its sculptural and metaphorical qualities. As an Athenian and Athens based artist she sets her gaze upon the collective memory that is imprinted on public spaces. Katerina chooses her points of interest, based on the city’s movement. Monuments and plants are carefully chosen to be charged with the historical memory of the city. Not only in monumental terms of antiquity but also the effect of open spaces on everyday life. This reuse of the city fragments gives new access to the ongoing history and the memory that forms the present.
Dimitris Efeoglou’s work (b.1986, Drama) titled Amplitude revolves around different forms of abstraction and is placed at the intersection of painting and installation. The characteristic thick layers of the colours he uses mark the beginning of a journey towards creating distorted spaces: environments that express uncharted topographic areas. The method of construction erases every trace of representation. The length of the creative process is notable and significant. In this prolonged time, there is a series of sculptural transformations of the paper surface, opening up a fresh perspective on the notion of painting. The work tells the story of its construction through the interweaving of visual and tactile information. It develops as a sound pattern through the rhythmic and repetitive movement of the artist’s hand. It creates a vibration, and slight tensions, while the paper itself wears away.