dimanche 17 mai 2020

2019 - 2020 "Full screen" drawings and mixted media constructions






               
                                                           2019      Work in progress



2019  previous work in progress finished.    220 x 270 cm    Charcoal on canvas



  2020    185 x 240 cm     Charcoal on canvas


                                           
                                            2019      220 x 270 cm      Charcoal on canvas



2020     37 x 41 cm      Charcoal on canvas
      

2020     35 x 35 cm      Charcoal on canvas


                                             
                                                  2020     50 x 60 cm      Charcoal on canvas



2020     50  x 60 cm      Charcoal on canvas



2020     50  x 60 cm      Charcoal on canvas




                                               2020    22 x 17 x 16 cm       Clay, paper, ink


2019    24 x 23 x 23 cm       Paper, primer


2019    24 x 23 x 23 cm       Paper, primer
                                      
                                 

                                            2020    50 x 35 x 19 cm       Clay, paper, ink





   Drawings photos Raphael Chipault      copyright OSDEETE Athens/ ADAGP France

lundi 9 mars 2020

"Full screen" big scale drawings 2013 - 2018







   2013    Charcoal on canvas   230 x 300 cm 



                                               2016 - 2018    Charcoal on canvas   220x 270 cm


  
      2013       220 x 270 cm   Charcoal on canvas 



                                                    2013       220 x 270 cm   Charcoal on canvas 

                                         
                                            
                                        2009-2016       220 x 260 cm   Charcoal on canvas



    2014       220 x 270 cm   Charcoal on canvas



   2014       220 x 270 cm   Charcoal on canvas



2015


   2018   Charcoal on canvas   220x 270 cm   



  2016   Charcoal on canvas   220x 270 cm  



     2018   Charcoal on canvas   220x 270 cm   



                                         2019   Charcoal on canvas   220x 270 cm   





Η έρευνα μου επιχειρεί τη διευρευνηση ενός κόσμου άγνωστου όπως μου αποκαλύπτεται από την καλλιτεχνική διεργασία, ασταθών, ταραχωδών σχέσεων μεταξύ της φιγούρας και του περιβάλλοντος. Η φιγούρα πάιρνει μορφή καθώς δημιουργείται μαζί με το περιβάλλον, άλλοτε αποσπάται από αυτό άλλοτε μετατρέπεται σε αναπόσπαστο δομικό στοιχείο του, σε μία σχέση συνεχούς αλληλοεπίδρασης. Τα έργα στηρίζονται στη δημιουργία ενός οικείου-ανοίκειου χώρου, συνδυάζοντας στοιχεία που αντιτίθενται, προστίθενται το ένα πάνω στο άλλο επικαλυπτόμενα, ή στο τέλος συνγχωνεύονται.

   Προσπαθώ να φέρω στην επιφάνεια μία αίσθηση ταλάντευσης και αβεβαιότητας για το πού πραγματικά βρισκόμαστε, μέσα από ένα διάλογο διαφορετικών επιπέδων αναπαράστασης. Οι φόρμες συνδέονται μεταξύ τους με μία ελεγχόμενα απρόβλεπτη ανάπτυξη, αφού η διαδικασία δόμησης του έργου-πρωταρχικής σημασίας για μένα-, γίνεται με τρόπο συνειρμικό και με διαδοχικές στρώσεις μέχρι να εμφανιστεί η εικόνα. Αυτός ο τρόπος κτισίματος επιτρέπει την δημιουργία ενός διαύλου μεταξύ συνειδητού και υποσυνείδητου.
                                                                                                                                 
                                                                                                       Κατερίνα Χρηστίδη 2019





copyright  OSDEETE Athens/ ADAGP Paris

lundi 3 février 2020

Images from exhibitions 2013 - 2019




                               2016   " The day when his shadow was perhaps at its darkest"



2016 "The day when his shadow was perhaps at its darkest " Contemporary Art Center Ileana  Tounta, Athens


  2016   " The day when his shadow was perhaps at its darkest "



 2016   " The day when his shadow was perhaps at its darkest "



 2016   " The day when his shadow was perhaps at its darkest "


 

Richard Armstrong director of Guggenheim museum NY and Nancy Spector visiting "Integral 1" show at Contemporary Art Center Ileana Tounta, Athens


2013 "Le corps, les songes" with Diana Quinby, gallery Dix 291(photo Bernard Crespin)




2013 "Le corps, les songes" with Diana Quinby, gallery Dix 291(photo Bernard Crespin)

DIX291www.dix291.fr/



2014  "Figures et paysages " Domaine de Kerguehennec

Domaine de Kerguéhennec | art - architecture - paysagehttps://www.kerguehennec.fr/


2014 "French paradox" Storefront ten Eyck gallery ,Brooklyn NY ,with Philippe Richard, Frederique Lucien, Christophe Robe

storefrontteneyck.com


2014 "French paradox" Storefront ten Eyck gallery ,Brooklyn NY ,with Philippe Richard, Frederique Lucien, Christophe Robe


2019    "Coffins of black, coffins of luck"   curated by Galini Lazani " Contemporary Art Center Ileana  Tounta, Athens. Photos Dimitris Foutris



2019    "Coffins of black, coffins of luck"   curated by Galini Lazani " Contemporary Art Center Ileana  Tounta, Athens.  Photos Dimitris Foutris 


2019    "Coffins of black, coffins of luck"   curated by Galini Lazani " Contemporary Art Center Ileana  Tounta, Athens. Sculpture Yiannis Sinioroglou .  Photos Dimitris Foutris 



"From the surface that was still forming"  Old school of Triantaros . Tinos festival 2019



"From the surface that was still forming"  Old school of Triantaros . Tinos festival 2019




"From the surface that was still forming"  Old school of Triantaros . Tinos festival 2019








OSDEETE Athens/ ADAGP Paris

lundi 25 novembre 2019

Short CV


I was born in Greece. I live and work in Paris.



Exhibitions (selection)


2020 : Quarantine exhibition Space52 , Athens . Open letters The laboratory for the Urban Commons, Athens .  Le mauvais oeil  FRAC  Auvergne  2019 : At the surface the was still forming Tinos Festival, Old school of Triantaros, Tinos, Greece  2018 : The laughter in the garden, Old school of Triantaros, Tinos, Greece  2017 : See if you can fit it on the paper Gallery UFAP, Athens  2016 : The day when his shadow was perhaps at it’s darkest  Ileana Tounta Contemporary Art Center, Athens 2015: Kenophobia, Can gallery, Athens. A Corps perdus, Galerie de l’artothèque de Vitré, France  2014 : Figures et paysages, Domaine de Kerguhennec, Brittany, France.  A main levée La Couleuvre, St.Ouen, France.   French Paradox, Storefront Ten Eyck Gallery, New York  2013 : , 4th Athens Biennial, Athens.  Tinos Cultural Center, Greece.   Le corps, les songes Dix291 Gallery, Paris. On était au milieu de nulle part mais où précisment je ne saurais pas le dire Hôtel Gallery Elysées Mermoz, Paris  2012 : Atmosphère de transformation 3 Friville Editions, Paris.  Le leurre du seuil Moments artistiques, Paris.   777-6 Residence and exhibition, Château de Kerpaul, Brittany, France 2011 : Polyglossia Onassis Cultural Center, Athens .  Incarnations Le19 Contemporary Art Center, Montbéliard, France.   Les quotidiens, figures de l’humain Ecole d’art Gérard Jacot, Belfort, France.  Remap 3 2nd Athens Biennial – off exhibition, Athens  2010 50-1 Gallery, Limassol, Cyprus.   Piétinés comme du raisin regonflés par le destin  Pavillon, Pantin, France.   Belle vue Ileana Tounta Contemporary Art Center, Athens  2009 : And now ? State Museum of Contemporary Art, Thessaloniki, Greece.   Transexperiences 798 Art Center, Beijing, China  2008 : Charcoal Overload Ileana Tounta Contemporary Art Center, Athens . In present tense National Museum of Contemporary Art, Athens. Traversée d’Art  Château de Saint-Ouen, France  2007 : Keine Zeichnung, keine Zeichner , Kunstverein Rûgen, Putbus, Rûgen, Germany  2006 : Drawing screen Museum of cinema ,Thessaloniki, Greece . What Remains is Future Old Arsakeion School, Cultural Capital of Europe, Patras, Greece.

Publications (selection)

2020 : Interpide amour, drawings for the Katherine Mansfield’s novel. Chemin de fer editions, Paris (forthcoming)  2016 : Les escaliers sont en papier catalogue, editions Friville, Paris  2015 : The Drawer Vertigo, Volume 3 , Paris  2014 Semaine  no 363 Revue pour l’art contemporaine  2013 : Agora, 4th Athens Biennale, Guidebook  2012 : Le Salon Revue du Centre de recherche I.D.E. Ecole supérieure d’Art de Lorraine, France  2011 : Polyglossia, Onassis Cultural Center, catalogue, Athens. Visionaire special edition 2010 , New York  2008 : In present tense National Museum of Contemporary Art, catalogue , Athens  2009: C’est pas angoissant artist‘s book, Nieves editions, Zurich   2007 : Flash Art International Focus Greece, issue 256  2002 : Mes amours . Éditions Thierry Magnier, Paris

Residencies, scholarships

 2012 : Residency 777 Château de Kerpaul , Loctudy , Britany  1997 : Prix Charles Oulmont . Fondation de Franc 1996-98 : Residency at the Cité internationale des Arts , Paris

Publics collections

Fonds d’art municipal de Pantin.  Artothèque de Limousin.  Arthothèque de Vitré, Bretagne.  FRAC Auvergne






mercredi 25 mai 2016

"Full screen" drawings 2008-2012






2009       183 x 207 cm       Charcoal on canvas




      183 x 207 cm       Charcoal on canvas



2009     View of the studio

2008        183 x 207 cm       Charcoal on canvas

2012- 2016    210 x 250 cm    Charcoal on canvas


2011  "Belle vue"  Ileana Tounta contemporary art center. Athens


2008   " Charcoal overload"   Ileana Tounta contemporary art center



2012         216 x 260 cm     Charcoal on canvas



2007-2012     220 x 280 cm      Charcoal on canvas


And the stairs are made of paper

The shadow 
There once was a man whose shadow was blacker than others.  As a child, this singled him out from his entourage.  One beautiful spring day everyone was out dancing in the sun's warm rays. Suddenly, like a beam crossing the area where they were romping about, his darker shadow caused them to stumble.  Needless to say, he felt this stroke very strongly.  As an adult he could no longer do without this distinction.  As soon as the slightest ray of sun came out from behind the clouds, he walked head held high through the streets enjoying the effect he caused.  One day, when the shadow was perhaps at its darkest, blacker that ever, he caught fire.  And that is all that we know of his story. 

The flesh 
The attraction of drawing, says Jean Luc Nancy, is the line formed when two lips touch.  Where there is drawing, there is no longer speech.  Drawing silences.  There are several ways to confront it.  You can follow the lines.  Look for rhizomic sense in the branches and admire the white sky that lies behind.  Or you can drown in the blackness of the line.  Widening out instead of drawing further on.  Opening up.  And then, while waiting for a cry or song that might come out of the gap's deep darkness, air touches us.  Air that is inseparable from the flesh of the drawing. 

The surface
"Water has no beams" is a German expression.  The surface of water doesn't support someone who cannot swim.  However, depending on the speed with which a body meets the surface, it solidifies, becomes impenetrable, hits us.  To the eye, this surface is also solid, structured by waves, shadows, reflections.  It's as if the eye rubs the surface and rubbing against it causes images to appear.  The water is then, in fact, a support.  Until the moment when you slip in and realise that, of course, all these beams do not bear weight.  They call. 

The body of black – epilogue 
Katerina Christidi works with black.  She uses the tools of a painter to make drawings on large canvases stretched directly on the wall.  They are not abstract.  They're a figuration of the body and the body of the drawing.  She uses charcoal to make the black, attested to by the traces of black dust in her atelier.  Her method is to connect ends to ends.  She draws, takes notes on bits of paper, finds other images, other notes.  Joins them together.  And then gets to work on a large drawing.  Here we have some of her recipes for drawing.  And the texts are a way to get closer to those drawings, to experience them.  They create a visual effect, of course.  And also a narrative experience in the recognition of oddly familiar images.  Then there is still another element.  One the artist produces through the physical, narrative, mythical dimensions of the drawings.  The sense of touch.   Her drawings touch this body of black.  They embody the touch.  This body, so fragile that if you insist too much, you will break the tip of your nose.  Nevertheless, reach out your hand – be touched. 

May 2015, Paris
J. Emil Sennewald


Translation: Timothy Perkins




                                                       Copyright OSDEETE Athens/  ADAGP  Paris

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