OPEN 13
International Exhibition of Sculpture and Installation
1 September - 3 October 2010
OPEN presents art works installed in public spaces in various locations around Lido. Over the years, the list of participants has come to include a series of established international artists and curators such as, Lois Weinberger, Louise Bourgeois, Niki De Saint Phalle, Richard Long, Marc Quinn, Marisa Merz, Sandro Chia, Yoko Ono, Keith Haring, Pierre Restany, Achille Bonito Oliva, Lorand Hegyi, Beral Madra, Alanna Heiss, as well as Greek artists whose work is also known internationally such as Theodoros, Costas Varotsos and Danae Stratou. Open is organised by Arte Communications and curated by Paolo de Grandis, as a parallel event to the Venice Film Festival.
Aristotelis Deligiannidis had already participated in Open one year before, following invitation by the Greek commissioner, Christos Savvidis (ArtBOX.gr). The art work produced on that occasion was later donated to Lido's Public Library. During Open 2010, while the work is still standing at its original location in anticipation of its transfer, the artist is invited back, to revisit the art work (click on the link below for more details on Open 2009).
Aristotelis Deligiannidis’s cross-shaped plexiglas construction/installation bears traces and graphics in black and white. It is still standing, one year later, at the outdoors location where it was initially installed on the occasion of Open 12.
Before the work’s transportation and installation at its final location (Lido’s new public library), the artist will rework it, adding colour through his intense painterly gesture. The goal is not to fill in the gaps, the surfaces untouched by the artist’s writing on the transparent material; rather, the artist introduces colour as a new layer upon last year’s non-coloured gestures and to soften their somewhat aggressive quality. The audience is thus lead one step further, towards renewed interpretative connotations or diversions which result from the adding of colour, perceived as a changed sensitivity, or as the alteration of the transparent plexiglas surface into areas less penetrable by one’s gaze. This additional or supplementary action through which the artist retouches and reinvestigates the work, seems to be a kind of explicit and ironic reassertion of the art work’s definitely incomplete quality, constantly doubted by the artist himself. This transformed, enriched construction/installation introduces a new conceptual framework; ultimately, a renewed promise for the understanding and awareness of human activity. It seems as though this is a long ago scheduled meeting, which however bears the freshness and dynamic qualities of a random re-discovery that brings new qualities and new life.
Thalea Stefanidou
August 2010
“LAYERS III”
“LAYERS III”
“LAYERS III”
“LAYERS III”
“untitled”
“untitled”
“untitled”
“untitled”
