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Notes on a monument to unintentional profoundness 2018

Giorgos Papadatos , Everything saved must be lost , (Memorial on accidental profoundness) , wood ,fabric , photo , folders , dim variable , 2018

Giorgos Papadatos, Everything saved must be lost , installation, wood,  textile, alluminium, dimensions variable, 2018 detail
















 

Notes on an outcast monument 2017


The main conceptual axis in the artistic practice of Giorgos Papadatos is the exploration of the human condition and the ways it is determined by the mix of social and historical institutions.

Papadatos makes a caustic comment on the arbitrary, often contradictory logic behind the concepts of authority, economy, functionality and productivity. Using various media, the artist builds ephemeral structures, undermining and ultimately deconstructing the notion of monumentality and by extension that of authority.

Eschewing all manner of lyrical approach, the form of his installations tends towards rationalism. He does not seek to charge the viewer emotionally. His installations often work as a grid in which space not only interacts but becomes part of the in-situ artistic intervention. In this way his works act as an arbitrary, non-functional and non-habitable platform, demonstrating and censuring the conventions of the concepts under scrutiny, reorganising their forms or creating ecosystems with the potential for intermediary or transitional experiences, social spaces and historical intermissions.

His Transitional monuments series is a project in progress since 2012, consistent in its conceptual field and method of production.

The final form of the artist’s installations often remains negotiable until their final viewing. They have been shown in different versions and thematic approaches that constitute chapters in the same story and adapt themselves to the in-situ circumstances. The comprise photographs, drawings, small sculptures, fragments and adaptable wood structures that operate in a modular way. Texts and aphorisms often convey an ironic, metaphorical mood in the works of Papadatos and are directly linked to historical events by way of critiquing what transpired. A typical example from the series is the Notes for a banished monument, in which the phrases written on shards from vessels make a clear reference to the practice of ostracism in ancient Greece. The work traces the oxymoron in the fact that while contemporary society needs and extols critical thinking as a narrative, at the same time it neutralises and ostracises it as a practical possibility.

The works in the Transitional monuments series act as latter-day, ephemeral ‘popular’ monuments without the ‘heavy’, ‘fixed’ form of historical monuments that are symbols of institutional leadership. Clearly referencing Zygmunt Bauman (Liquid Modernity, 2000), these fragile structures criticise and subvert the monumental expressions of power in an attempt to explore the intermediary, transitional space.
Artemis Potamianou, Theorimata, Deductive and Axiomatic systems, AICA - EMST 2018
Translation from Greek Tony Moser
Giorgos Papadatos, Notes on an outcast monument 2017






































Transitional monument for the future (Repubblica di Napoli in grayscale) 



Giorgos Papadatos, “ Transitional monument for the future (Repubblica di Napoli in grayscale), 2016


The work is an altar-monument (altarino) dedicated to a city-circumstance in which I happened to traverse one of my three youths and to which I have no wish to return.

The monument is aesthetically optimized. Without the baroque realisms which this city deserves (grey is perennially safe and never ludicrous).

And naturally is is transitional and ephemeral like all honest monuments.

It moves between two basic principles.  The text by Paolo Virno The horror of homelands and part of the film Youth by Paolo Sorentino, who is the same age as me, where the double appears of the retired Diego Maradona, a monument of himself, doing soccer practice with time's ball and answering that he belongs not to youth but to the future.

So, then, using as tools the concepts of monument-youth-horror of homelands, with the aid of the deified Diego Maradona and with the help of the small oxymorons which make up our present, the work aspires to function subversively, even ironically, in relation to the concepts of return-memory-homeland- pubescence etc and think of the future which is the homeland of us all.
Giorgos Papadatos, Nice Athens, Feb 2016


Giorgos Papadatos, “ Transitional monument for the future (Repubblica di Napoli in grayscale), 2016
Giorgos Papadatos, “ Transitional monument for the future (Repubblica di Napoli in grayscale), 2016
   







Radical Resort L.t.d


Giorgos Papadatos, Radical Resort L.t.d, 2014





Five square meters for all

Giorgos Papadatos, five square meters for all, 2014


Giorgos Papadatos, five square meters for all, 2014





Giorgos Papadatos, five square meters for all, 2014



Notes on a transitional monument


Giorgos Papadatos, notes on a transitional monument, photocopied portrait of Jürgen Habermas ,wood,cord,photocopy, 30x25x20, 2013

 

Giorgos Papadatos, notes on a transitional monument, photocopied portraits of Noam Chomsky,wood,rock,tend etc 2012






Giorgos Papadatos, notes on a transitional monument, photocopied portraits of Ranciere,Chomsky,
notes on Iridanos river, 2013








Notes on trapping





Giorgos Papadatos,notes on trapping, (Balibar with bow trap),32x15x5,2011






















Notes on trapping, 2009,
cyclopedia Iovani 1979 pages, print,
dim 20x20

 Notes on trapping 1B, 2010
 35X50 cm
 marker on paper

Thinking system with mouse trap, 2010
Dim 70X30X15 cm
wood, print, metal mouse trap


Noam Chomsky – David Barsamian, Propaganda and the public mind, 2001
Cornell Capa, Old prospector with bear trap used for trapping, 1947


Bear trap, primitive deadfall instructions


Siberian bow trap





vietnamese human traps







































































































































































The houses of the guards of water, air, fields etc
( a mausoleum for illuminism )



The house of guards of the flights (after Dennis Oppenheim),
marker on paper,
dim 50X70 cm, 2011




The house of the guard of water, 2009
Wood, print, roofmate
Dim 90x80x35 cm

Houses of guards, 2009
Marker and pencil on paper
Dim 50x70 each



Marcel Raval: CLAUDE-NICOLAS LEDOUX: ARCHITECTE DU ROI 1736-1806. Paris: Arts et
Metiers Graphiques, 1945. First edition.
Plan of the ideal town of Chaux, surrounding the royal saltworks of Arc-et-Senans


Yona Friedman, Spatial City, 1960
Frank Lloyd Wright, Sketches for Boadacre City, 1932
Paul Maymont, Ville Flottante, 1960