Sculpture, 15/04/1991 – 11/05/1991
On Monday, 15 April 1991, the new exhibition of Nakis Tastsioglou opens at the Medusa Art Gallery.
In this exhibition Nakis Tastsioglou presents five sculptural boxes measuring 70x70cm and 2m high, with one open side so that viewers can walk in.
Made entirely of Plexiglas, the boxes carry on one of their walls the geometric patterns formed by transparent tubes which lead from the inside out so as to introduce the external reality into the mythical and safe world that surrounds and encloses the active viewer.
Light falls upon the boxes in ever-changing tones, just like the reflections from the surrounding space. Transparency, clarity and austerity prevail.
Nakis Tastsioglou studied at the School of Fine Arts in Florence under professor C. Severa. He graduated in 1979.
1981 “Environment”, Sculpture , ORA Gallery, Athens
1982 “12th Youth Biennale” Paris, France
1982 “Maison de la Grèce”, Paris, France (curator Emmanuel Mavrommatis)
1983 Jeunes Artistes Grecques, School of Fine Arts, Saint-Etienne, France (curator Emmanuel Mavrommatis)
1983 4th Biennale of Sculpture, Skyronion Museum, Greece
1983 Sculpture, French Institute, Athens, Greece
1985 5th International Biennale of Sculpture, Skyronion Museum, Greece
1985 Sculpture, Parko Eleftherias, Athens Cultural City of Europe
1988 Expo–Arte Gallery Artista, Bari, Italy (curator Giuliano Serafini)
1988 “Gapua direzione sud est”, Museum Provinciale Gampano Gapua, Naples, Italy
1989 “Art without Forntiers”, Ileana Tounta Centre for Contemporary Art, Athens, Greece (curator Manthos Santorineos)
1989 “Sculptural–Plastic Transformations”, Dromena 89, Korai pedestrian zone, Athens (curator Yannis Kolokotronis)
1990 Solo sculpture exhibition, Gallery T. K. G., Trieste, Italy
Duration of the exhibition: 15 April – 11 May 1991
Athinorama – 26/4-2/5/91
Man as the Measure
“Geometry was ‘invented’ to lead emotion to Logic, and therefore to a sense of measure”. We could say that in the new work of Nakis Tastsioglou the concept of measure is more evident than ever before, as the sculptures of this size provide the proper proportions for works which stand as a ‘shell’ for the human body. The small objects of his works from the previous period have ‘grown’ into these structures which claim a different place in space. This may have been the stimulus—I don’t know. I would tend to see in them the utter ‘geometricalisation’ of the human figure, a shell or a case for the human body; a “sign” of the body (I have used this word in its ancient Greek sense before in other cases, but I think that it is particularly apposite here).
Aside of all this, the familiar properties of Plexiglas, combined with a minimalist approach to expression, make up a set of exquisite forms which, in turn, constitute a harmonious installation…
ARTI May – July 1991
(Translation: Andrea Cilbert)
Geometry, as well as expression, have eternally accompanied the work of art. However, in each era, the have occupied different positions in its structure. Whereas for centuries, geometry was the hidden internal component of the work of art, the 20th Century has distinguished geometry as an artistic objective in itself.
Constructivism deified the structure. Malevich΄s Suprematism and Mondrian΄s Neo – Plasticism did likewise for the mysticism and sympolism of geometric figures. The belief in the scientific evolution of modern post – war art, has inspired the development of geometric tendencies which are very often conceptually tied to science: Mathematics, physics, optics and new technologies. American Minimalism states that the geometric figure and the lack of expressive elements aid the industrial propagation of works of art (the famous creation of works of art via the telephone). The spirit of Post – Modernism at the end of the 70΄s and early 80΄s stifled geometry΄s intellectual / rational monopoly on the structure of the work.
Nakis Tastsioglou΄s work (five objects of transparent plexiglass with simultaneously visible and invisible forms), at the Medusa Gallery, belong therefore, to the era in which geometry attempts to cooperate with decorum and expression.
The artist himself refers to the telephone booths which were the initial idea behind this sculpture series. However, the large three – sided boxes (the size of actual telephone booths) have lost all trace of function and usefulness. Various shapes positioned on the inside walls of the
The open side of the construction beckons the viewer inside. However, this opening is somewhat ambiguous, it resembles Wonderland΄s invitation to Alice who found an entirely different world through the looking glass.
Tastioglou΄s sculptures are distinguished by a geometry of decorum, without intellectual of remote constructivist pretensions. They are a projection of the new environmental scene in which we will probably live in the future. It is unfortunate that the white gallery space was not an asset in the presentation of these pieces. Thinned out by the
Medusa Art Gallery,April – May 1991
Five sculptural plexiglass boxes, of large dimensions, are the feature elements of Nakis Tastsioglou΄s one man show at the Medusa art gallery. The idea emanates from every day life, its main inspiration being the ordinary phonebooths one encounters on the streets. These provide the stimulus for an artistic expression of an oneiric and mystical quality. The sculptures only have three sides, thus inviting the viewer to enter them and observe the basic theme: the diaphanous tubes, which create geometric compositions on one of the walls. These motive penetrate the inner siding of the sculpture and invade the outer space.They intertwine the exterior reality with the mythical and safe world of the work of art, which surrounds and encloses the viewer. The sculpture appears both present and absent. The transparency of the plexiglass endows it with an aerial character an provides in with a three dimensional entily, as well as with an immaterial quality, typical of the artist΄s work. The sculpture constantly changes. The viewer΄s sensation in greatly altered, once he enters the work of art an becomes an integral part of the whole. The work is further transformed by the ambient stimuli and the reflection of light. A single movement in space, suffices to diversify the sculpture΄s visual effect. Brittle and sturdy, immaterial and material, non – existent an existent, invisible and visible, the work of Tastsioglou plays with the human senses, visions and dreams, illusions, the mundane and the real, the ever changing cycles of life. Mind an feeling amalgamate as the viewer attempts to reconcile his deeper inner world with society΄s external superficial image.