Author: dpappas_admin

Written by dpappas_admin

O Διονύσης Παππάς είναι το μέλλον της τέχνης στην Αθήνα

On the corner of Aiolou and Kolokotroni St in downtown Athens, a series of empty shop windows that are part of a University of Athens building have been transformed into a temporary gallery showcasing the work of local artists. Organised by Konstantinos Besios, the showcase is currently hosting works by visual artist Dionisios Pappas inspired by his background in archaeology. Fascinated by how the past is being interpreted in the presence and questioning the hegemony of classical Greek art over every other kind of Greek art (including that of his own time), Pappas is using images of ancient Greek sculptures to create multi-layered works that play with perspective, depth and our perception of beauty.

June 14, 2020
Written by dpappas_admin

Vicky Tsirou, Curator – Art Historian 

The seminal book History of the Art of Antiquity (1764) by Johann Joachim Winckelmann, marked a radical shift in the Western world’s perception on ancient Greek art. Its glorification of Classical antiquity sparked off Neoclassicism and irrevocably redefined our conception of our past. Disregarding the fact that ancient Greek and Roman sculptures were originally painted with bright colors, Winckelmann argued that white marble represents the unblemished beauty and absolute truth, influencing a great number of thinkers. From his book, a very controversial phrase is often requoted: “Since white is the color that reflects the most rays of light, and thus is most easily perceived, a beautiful body will be all the more beautiful the whiter it is”.

Dionisios Pappas, with a background in archaeology, often draws images and symbols of classical sculptures in order to challenge modern preconceptions about identity, single principles and centralized ideals that are deeply rooted in our understanding of Ηistory and, by consequence, our view of ourselves and others. Intentionally using paper in his work, he makes a case for a fragile and shattered view of the material body and the self. Familiar images of a glorious past become the ephemeral, dark ruins of today. Pappas’ sculpture Venus (2017) is made from multiple pictures of the face of the Greek Goddess. He decisively opens holes in the face, disturbing its beauty and allowing the viewer to look through and beyond the multi-layered image. As if an image must be pierced in order to reveal a deeper meaning.

June 14, 2020
Written by dpappas_admin

School of Earthquake Diplomacy, Workshop with Navine G. Khan-Dossos, at Kassandras, Athens, 2018

The School of Earthquake Diplomacy is a project initiated by Navine G. Khan-Dossos for the 4th Istanbul Design Biennial: A School of Schools. In Athens, the The School of Earthquake Diplomacy was hosted by Kassandras and Matthieu Prat in June 2018


May 22, 2020
Written by dpappas_admin

DIONISIOS PAPPAS: MOST RAYS OF LIGHT

The seminal book History of the Art of Antiquity (1764) by Johann Joachim Winckelmann, marked a radical shift in the Western world’s perception on ancient Greek art. Its glorification of Classical antiquity sparked off Neoclassicism and irrevocably redefined our conception of our past. Disregarding the fact that ancient Greek and Roman sculptures were originally painted with bright colors, Winckelmann argued that white marble represents the unblemished beauty and absolute truth, influencing a great number of thinkers. From his book, a very controversial phrase is often requoted: “Since white is the color that reflects the most rays of light, and thus is most easily perceived, a beautiful body will be all the more beautiful the whiter it is”.

Dionisios Pappas, with a background in archaeology, often draws images and symbols of classical sculptures in order to challenge modern preconceptions about identity, single principles and centralized ideals that are deeply rooted in our understanding of Ηistory and, by consequence, our view of ourselves and others. Intentionally using paper in his work, he makes a case for a fragile and shattered view of the material body and the self. Familiar images of a glorious past become the ephemeral, dark ruins of today. Pappas’ sculpture Venus (2017) is made from multiple pictures of the face of the Greek Goddess. He decisively opens holes in the face, disturbing its beauty and allowing the viewer to look through and beyond the multi-layered image. As if an image must be pierced in order to reveal a deeper meaning.

May 22, 2020
Written by dpappas_admin

Dionisios Pappas Takes an Irreverent Look on Classical Greek Beauty

On the corner of Aiolou and Kolokotroni St in downtown Athens, a series of empty shop windows that are part of a University of Athens building have been transformed into a temporary gallery showcasing the work of local artists. Organised by Konstantinos Besios, the showcase is currently hosting works by visual artist Dionisios Pappas inspired by his background in archaeology. Fascinated by how the past is being interpreted in the presence and questioning the hegemony of classical Greek art over every other kind of Greek art (including that of his own time), Pappas is using images of ancient Greek sculptures to create multi-layered works that play with perspective, depth and our perception of beauty.

May 22, 2020