CHRISTODOULOS PANAYIOTOU

Dossier plastique - Portfolio 2018 BIOGRAPHIE / BIOGRAPHY

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CHRISTODOULOS PANAYIOTOU Born in 1979 in Limassol, . Lives and works between Limassol and Paris.

SOLO SHOWS

2018 Sectile, 2016, Permanent installation of a work, Centre Georges Pompidou 2017 Dying on stage, lecture-performance, Centre Pompidou, Paris, . “Mármol Rosa”, Estancia Femsa - Casa Luis Barragán, City, Mexico. “I write, erase, rewrite, erase again, and then a poppy blooms”, CCA Kitakyushu, . 2016 “Pragmática contra o Luxo”, Lumiar Cité, Lisbon, . “False Form”, Rodeo Gallery, London, England. “Theories of harm”, kamel mennour, Paris, France. 2015 “Two Days After Forever”, curated by Omar Khoelif, Cyprus Pavilion, Biennial, Venice, . “Stories From The Lives of My Friends”, curated by Andre Zivanari, Point Center for , Nicosia, Nicosia, Cyprus. (upcoming) “Theories Of Harm”, curated by Marie Muracciole, Beirut Arts Center, Beirut, Lebanon. (upcoming) 2014 “The Permeability Of Certain Matters”, (with Philip Wiegard), Spring, Hong Kong, . “NGC 1277”, curated by Milovan Ferronato, Kaleidoscope Project Space, Milan, Italy. “35/22/35/36D”, Galerie Nordenhake, Stockholm, . 2013 “Days And Ages”, curated by Matilda Olof-Ors, Moderna Museet, Stockholm, Sweden. “And”, curated by Kevin Muhlen Casino , Luxembourg City, Luxembourg. “In The Light Of The Day The Fireflies Are Like Any Other Insect”, curated by Akiko Miyake, CCA Kitakyushu, Kitakyushu, Japan. “The Invention Of Antiquity”, curated by Reinhard Braun & Maren Lübbke-Tidow, Camera , Graz, Austria. 2012 “Tenuto, Rodeo”, , . “The Price Of Copper / To Bring Back The World To The Wold , curated by Pierre Bal Blanc, Centre d’art contemporain de Brétigny, Brétigny Sur Orge, France. “One Thousand And One Days, curated by Dominic Molon”, Museum of Contemporary Art St. Louis, St. Louis, USA. 2011 “Christodoulos Panayiotou”, curated by Ilina Koralova, Museum of Contemporary Art Leipzig, The Future of Europe Prize, Leipzig, . “Christodoulos Panayiotou”, curated by Mats Stjernstedt, Norrlands Operan, Vita Kuben, Umea, Sweden. 2010 “Christodoulos Panayiotou”, curated by Beatrix Ruff, Kunsthalle Zürich , Zürich, . “Christodoulos Panayiotou”, curated by Micelle Cotton, Cubitt, London, UK. 2009 “The End”, Künstlerhaus Bethanien, Berlin, Germany. “Never Land”, Rodeo, Istanbul, Turkey. 2008 “Act I: The Departure”, curated by Denis Pernet, 1m3, Lausanne, Switzerland. “If tomorrow never comes”, Freymond-Guth & Co. Fine Arts, Zürich, Switzerland. “Christodoulos Panayiotou”, curated by Vasif Kortun, Arco Madrid – Selected Solo Project, Madrid, . 2006 “Prologue: Quoting Absence”, curated by Suzanne Cotter, Museum Of Oxford, Arrivals, Oxford, UK. “Christodoulos Panayiotou - Video Works”, curated by Christina Petrinou, National Gallery of (Umjetnicka Galerija) - XXII International Festival Sarajevo (Sarajevo Winter 2006), Sarajevo, Bosnia and Herzegovina. 2004 “Forever is gonna start tonight”, Medieval Castle of Limassol, Limassol, Cyprus. 2003 “You make me feel brand new”, Archimede Staffolini Gallery, Nicosia, Cyprus.

GROUP SHOWS

2017 “Mondes Flottants”, 14th de Lyon, Lyon, France “Anarchéologie”, Centre Pompidou, Paris, France. “Medusa: Bijoux et Tabous”, Musée d’art moderne de la ville de Paris, Paris, France. Sharjah Biennial 13, Sharjah, Emirates. “Deste prize: An Anniversay Exhibition 1999-2017”, Museum of Cycladic Art, Athens, . “Medusa: Bijoux et Tabous”, Musée d’art moderne de la ville de Paris, Paris, France. “Planètes”, Old Powerhouse, Paphos, Cyprus. “Landscapes, selections from the State Collection”, Evagoras Lanitis Centre, Limassol, Cyprus. 2016 “Special projects”, kamel mennour, Paris, France. “Completely something else”, Point Centre for Contemporary Art, Nicosia, Cyprus. “Jump”, CAC Brétigny, Brétigny-sur-Orge, France “D’une méditerranée, l’autre”, curated by , Emanuela Mazzoni, Pascal Neveux and Ricardo Vazquez, FRAC Provence Alpes Côte d'Azur, Marseille, France. “Preserves and presences”, IMMA Summer Party, Curated by Anna Gritz and Cillian Murphy, Irish Museum of Modern Art, Dublin, Ireland. Rencontres d’Arles, Discovery Prize, selected by Stephanie Moisdon, Arles, France. Dying on stage, in “Danse, Danse, Danse Part One: Exhibition and Repetition”, Atelier des Ballets de Monaco, Nouveau Musée National de Monaco, Monaco. “Terra Mediterranea: in Action”, Halle 14, Leipzig, Germany. “Prediction”, curated by Milovan Farronato, Mendes Wood DM, , . “Tension Economy”, Curated by Émile Ouroumov and Catherine Pavlovic, Parc Saint Léger, Centre d’Art Contemporain, Pougues-les-Eaux, Bourgogne, France. Dying on stage, lecture-performance, Alt Bomonti, Istanbul, Turkey. Dying on stage, lecture-performance , Onassis Cultural Centre, Athens, Greece. Hypnos Project, Onassis Cultural Centre, Athens, Greece. SP-ARTE, Bienal Pavilion, curated by Jacopo Crivelli Visconti, Parque Ibirapuera, São Paulo, Brazil. “CHER(E)S AMI(E)S”, curated by Christine Macel, Centre Pompidou, Paris, France. “The natural order of things”, Museo Jumex, Mexico City, Mexico. Dying on stage, lecture-performance, Lab’Bel, CND, Paris, France. “Nine to five” (with Philip Wiegard), Curated by Simone Neuenschwander, Kunstverein Nürnberg, Nürnberg, Germany. “Happy endings”, curated by Florence Derieux, FRAC Champagne-Ardenne, Reims, France. 2015 “In Favour of a Total Eclipse”, Fiorucci Art Trust, Stromboli, Italy. “Ametria”, Deste Fondation at Benaki Museum, Athens, Greece. “Dirty Linen”, Deste Fondation at Benaki Museum, Athens, Greece. “Every Inclusion is an Exclusion of other Possibilities”, SALT, Istanbul, Turkey. “The Chicken and the Egg, the Chicken”, Rodeo, Istanbul, Turkey. “The Fall”, Rodeo, Istanbul, Turkey. “The Parliament fo Things”, First Site, Colchester, UK. “Symphonic Node”, Paleomylos Village, Troodos, Cyprus. “Stories from the Lives of my Friends”, Point Center for Contemporay Art, Nicosia, Cyprus. “Cherchez le garçon”, Mac/Val, Musée d’art contemporain du Val de Marne, Vitry-sur-Seine, France. “Elsewhere. Observations of Islands”, Franz Josefs Kai 3, Vienna, Austria. 2014 “Treasure Island”, curated by Yiannis Toumazis, Louli Michaelidou, Anber Onar, Despo Pasia, Kyriakos Pachoulides and Elena Stylianou, Nicosia Municipal Arts Center, Nicosia, Cyprus. “Soleil Politique”, The Museum Between Light And Shadow, curated by Pierre Bal-Blanc, Museion, Bolzano, Italy. “On The Devolution Of Culture”, Rob Tufnell Gallery, London, UK. “The Center For Dying On Stage #1”, curated by Kate Strain, Project Arts Center, Dublin, Ireland. “30/60 Opere Della Collezione Del Frac Champagne-Ardenne”, curated by Leonardo Bigazzi and Florence Derieux, Museo , Florence, Italy. 8, curated by Juan A. Gaitán, Haus Am Waldsee, Berlin, Germany. “Touch Me Not - Byzantine Analogies”, curated by Nadia Anaxagorou, The Church of The Holy Cross, Pelendri, Cyprus. “Invisible Violence”, curated by Zoran Erić, Blanca de la Torre and Seamus Kealy, Museum of Contemporary Art, Belgrade, . “Hey I'M Mr Poetic”, curated by Cathy Noble, Wysing Arts Center, Wysing, UK. “Sacre 101, An Exhibition Vased On The Rite Of Spring”, curated by Raphael Gygax, Migros Museum, Zürich, Switzerland. “Skeptical Thoughts On Love”, curated by Adnan Yildiz, Künstlerhaus Stuttgart, Stuttgart, Germany. 2013 “Une Odyssée: 30 Ans du FRAC Champagne-Ardenne, Experience Pommery #11”, curated by Florence Derieux, Domaine Pommery, Reims, France. “Some Issues About History”, Château d’Agathenburg, Agathenburg, Germany. “One Day Will Come When The Day Will Not Come”, curated by Milovan Ferronato, Future Center for Contemporary Art, Prague, . “At The Outset”, Circus, Berlin, Germany. “A Trip To The Moon”, curated by Fabiola Iza Proyectos Monclova, Mexico. “If Not Always Permanently, Memorably”, curated by James Richards, Spike Island, Bristol, UK. “Do It”, curated by Hans-Ulrich Obrist, Manchester Art Gallery, Manchester,UK. “The Sea Is My Land”, curated by Francesco Bonami and Emanuela Mazzoni, Maxxi, Roma, Italy. “L'Image Pensée”, curated by Donatien Grau, Galerie Kamel Mennour, Paris, France. “Being An Island”, commissairs: Kasha Bittner and Catalina Lozano Daadgalerie, Berlin, Germany. “The Magic Of State”, Beirut, Cairo, . “The Magic Of State”, curated by Silvia Sgualdini, Lisson Gallery, London, UK. “P&CO.”, Curated by Aram Moshayedi, Carter Mull and Jesse Willenbring, Thomas Duncan Gallery, Los Angeles, USA. 2012 “All That Shines Ain't No Gold”, Rodeo, Istanbul, Turkey. “Kann Es Liebe Sein?”, curated by Nora Mayr and Gilles Neiens, Grim Museum, Berlin, Germany. Liverpool Biennale (The Unexpected Guest), curated by Lorenzo Fusi, Liverpool, UK. “When Attitudes Become Form Become Attitudes”, curated by Jens Hoffmann, CCA Wattis Institute for Contemporary Arts, San Francisco, USA. Echigo Tsumari Triennale, curated by Fram Kitagawa, Niigata, Japan. “Contarlo Todo Sin Saber Cómo”, curated by Martí Manen, CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid, Madrid, Spain. “ (13)”, curated by Carolyn Christov-Bakargiev, Kassel, Germany. “DIE (IV)”, curated by Christian Kobald, COCO Vienna, Austria. “Utopia”, curated by Elena Parpa and Maria Stathi, Evagoras Lanitis Centre, Limassol, Cyprus. “Maison Opera”, curated by Denis Pernet, Le Commun, Bac - Bâtiment d'art contemporain, Geneva, Switzerland. “You Are Not Alone”, curated by Hilde Teerlinck and Irène Aristizabal, Bangkok Art and Culture Centre, Bangkok, . “The Land Seen From The Sea”, curated by Martha Kirzenbaum, Galeria Stereo, Poznan, . “Danser Sa Vie. Prospectif Cinema”, curated by Christine Macel and Emma Lavigne, Centre Pompidou, Paris, France. “Demonstations. Making Normative Orders”, curated by Fanti Baum, Britta Peters and Dr Sabine Witt, Frankfurter Kunstverein, Frankfurt, Germany. 2011 “Constallation”, Rodeo Gallery, Istanbul, Turkey. “You Have Been There”, curated by Marie Muracciole, Marian Goodman Gallery, New York, USA. “You Have Been There”, curated by Ziba Ardalan, Parasol Unit, London, UK. “The Night Life Guide”, curated by Ausstellungsgruppe der Uni Bonn, University of Bonn, Bonn, Germany. “You Are Not Alone”, curated by Hilde Teerlinck and Irène Aristizabal, MARCO, Vigo, Spain. “Incongru. Quand L'Art Fait Rire”, curated by Bernard Fibicher, Marco Costantini and Federica Martini, Musée Cantonal des Beaux-Art, Lausanne, Lausanne, Switzerland. “Beyond”, curated by Adam Budak, KUMU Art Museum of , Talin, Estonia. “The Hand, The Eye & The Heart”, curated by José Da Silva, Queensland Gallery of Modern Art, Queensland, . “Revisiting Time”, curated by Irène Aristizabal, La Plate-Forme - FRAC Nord-Pas de Calais, Dunkerque, France. “Emotional Blackmail”, curated by Chen Tamir and Markús Thór Andrésson, Southern Alberta Art Gallery, Lethbridge, . “You Are Not Alone”, curated by Hilde Teerlinck and Irène Aristizabal, Joan Miro Foundation, Barcelona, Spain. “Snail Fever”, curated by Sara Mameni, Third Lina Gallery, Dubai, UAE. “Based In Berlin”, curated by Angelique Campens, Fredi Fischli, Magdalena Magiera, Jakob Schillinger and Scott Cameron Weaver, Neuer Berliner Kunstverein, Berlin, Germany. “The End Of Money”, curated by Juan Gaitan, Witte de With Center for Contemporary Art, Rotterdam, . “Lenikus Collection - Studio 9”, curated by Eva Maria Stadler, Bauernmarkt, Vienna, Austria. “Kaleidoscope Aren”, curated by Kaleidoscope Magazine, Roma - The Roda to Contemporary Art, Roma, Italy. “I Know Something About Love”, curated by Ziba Ardalan, Parasol Unit, London, UK. 2010 “End Note”, curated by Robert Okuda Fitzpatrick, Tanya Leigton and Archive Kabinett, Berlin, Germany. “The Marathon Marathon”, curated by , Acropolis Museum, Athens, Greece. “Let’s Dance”, curated by Frank Lamy, MAC/VAL, Musée d’Art Contemporain du Val-De-Marne, Vitry-sur-Seine, France. “Scene Shifts”, curated by Sara Arrhenius, Bonniers Konsthall, Stockholm, Sweden. “Hydarchy: Power and Resistance at sea”, curated by Anna Collin and Mia Jankowicz, Gasworks, London, UK. “Live Cinema / In the round”, curated by November Paynter, Philadelphia Museum of Art, Phladelphia, USA. “Actual Fears”, curated by Marie Villemin and Marie Léa Zwahlen, Centre d'Art Neuchâtel, Neuchâtel, Switzerland. “Dancing Machine”, curated by Charles Carcopino, Gare Saint Sauver, Lille, France. “Everything Is Out There”, curated by Rosa Lleo and Zaida Trallero, La Casa Ensendiada, Madrid, Spain. “The Living Currency”, curated by Pierre Bal-Blanc, 6th Berlin Biennale - Hebbel am Ufer (HAU1), Berlin, Germany. “Morality (Act VI: Remember Humanity)”, curated by Juan A. Gaitan and Nicolaus Schafhausen, Witte de With Center for Contemporary, Rotterdam, Netherlands. “Emporte-Moi/Sweep Me Off My Feet”, curated by Nathalie de Blois and Frank Lamy, Musée d’art contemporain du Val-de-Marne (MAC/VAL), Vitry-sur-Seine, France. “Time's Arrow”, curated by Ben Loveless, Galerie Nordenhake, Stockholm, Sweden. “Rethinking Location”, curated by Johannes Fricke Waldthausen, Sprueth Magers Berlin, Berlin, Germany. “Catastrophe, commissaire”: Sylvie Fortin, The Quebec City Biennial, Quebec, Canada. “Home Works 5”, curated by Ashkal Alwan, Ashkal Alwan for Contemporary Arts, Beirut, Lebanon. “Something Left Undone”, curated by Scot Surdez, Galerie Bertrand et Gruner, Geneva, Switzerland. “New Beginnings”, curated by Sinziana Ravini , IASPIS, Stockholm, Sweden. “Dancing Machine”, curated by Charles Carcopino, Maison des Arts de Créteil, Créteil, France. “Fantasy & Island”, curated by Celenk Bafra, Adnan Yildiz and Anne Alessandri, FRAC Corse, Corte, Corsica. “Arrivals & Departures”, curated by Andrea Bruciati and Walter Gasperoni, Mole Vanvitelliana, Ancona, Italy. “Duet For Cannibals”, curated by Inti Guerrero, Theater of the Royal Tropical Institute, Amsterdam, Netherlands. 2009 “Poetry Marathon”, curated by Hans Ulrich Obrist, Serpentine Gallery, London, UK. “Morality”, curated by Juan A. Gaitan and Nicolaus Schafhausen, Witte de With Center for Contemporary, Rotterdam, Netherlands. “Insiders”, curated by Yann Poissay, CAPC Musée d'art contemporain, Bordeaux, France. “Emport-Moi / Sweep Me Off My Feet”, curated by Nathalie de Blois and Frank Lamy, Musée national des beaux-arts du Québec, Musée d’art contemporain du Val-de-Marne (MAC/VAL) Quebec, Canada / Vitry-sur-Seine, France. “From the Gathering”, curated by Andrew Bonacina and Anne Low, Helen Pit Gallery, Vancouver, Canada. “Generosity is the New Political”, curated by Lotte Juul Petersen, Wysing Art Center, Cambridge, UK. “Total Erinnerung”, curated by vvork, 3.Fotofestival - Mannheim Ludwigshafen Heidelberg, Germany. “A Last Flare-Up of Heroism Before Decadence”, curated by Jean-Claude Freymond-Guth and Burkhard Meltzer, The John Institute, Pavilion - Platzpitz Park, Zurich, Switzerland. “Lyst”, curated by Mathias Kryget Hansen and Tomas Lagermand Lundme Overgarden Institute of Contemporary Art, Copenhagen, . “Tower – Tower”, curated by , Bazeos Tower, Naxos, Greece. “The Columns Held Us Up”, curated by Vasig Kortun and November Paynter, Artist Space, New York, USA. “2nd Athens Biennale”, curated by Cay Sophie Rabinowitz, Athens, Greece. “Convention”, curated by Ruba Katrib, MoCA Miami, Miami, USA. “Just in the Dark”, curated by Cecilia Canziani and Andrea Viliani, Mercati di Traiano, Rome, Italy. “Bridge over the Mediterenean”, curated by Marina Fokides, Fondazione Mertz, Torino, Italy. 2008 “Open Studios”, Kunstlerhaus Bethanien, Berlin, Germany. “Rudi Sela & Maya Amir / Dafne Boggeru, Christodoulos Panayiotou”, curated by Denis Pernet and Pauline Poudry, Circuit, Lausanne, Switzerland. “E-flux video rentals – Every time again and again” curated by Adnan Yildinz, The Building, Berlin, Germany. “Once Upon a time”, curated by Jean Barberis and Chen Tamir, Ise Foundation, New York, USA. “If tomorrow never comes”, Rodeo, Istanbul, Turkey. “The Salon of Revolition”, curated by vana Bago and Antonia Majaca, House of Croatian Association of Visual Artists, Zagreb, . “Horror Vacui”, curated by Andreas Duscha, Layr Wuestenhagen Gallery, Vienna, Austria. “Letters from the front”, curated by Lydia Chatziakovou and Stepahnie Bertrand, Thessaloniki, Greece. “Taipei Biennial”, curated by Vasif Kortun and Manray Hsu, Taipei, . “Busan Biennial”, curated by Tom Morton, Nancy Takacho and Michael Cohen, Busan, South . “We’ve seen it all”, curated by Ozge Ersoy, Townhouse – Rawabet Theater, Cairo, Egypt. “L’art contemporain en Europe (experience Pommery #5)”, curated by Fabrice Bousteau and Barbara Soyer, Dommaine Pommery, Reims, France “A principle of assumptions”, curated by Krist Gruijthuijsen and Sylvia Kouvali, Rodeo Gallery, Istanbul, Turkey. “Where do we go from here?”, curated by Nikos Pattichis, Nicosia Municipal Arts Center, Nicosia, Cyprus. “Expecting your news (works by Cypriot artists)”, curated by Androula Michael, Gounaropoulos Museum, Athens, Greece. “M12”, curated by Konstantinos Dagritzikos, B.I.G, Athens, Greece. “Art Athina”, Parallel Plan, curated by Marina Fokidis, Athens, Greece. “The Unfait Fair”, curated by Cecilia Canziani and Vincent Honoré 1:1, Rome, Italy. 2007 “In Present tense”, curated by Daphni Vitali, Tina Pandi and Stamatis Schizakis, National Museum of Contemporary Art, Athens, Greece. “Yours”, curated by Francesca Boenzi and Luigi Govinazzo, Exposito, Naples, Italy. “Big Family Project”, curated by Andonis Bogadakis, Istanbul, Turkey. “This Then That”, Rodeo, Istanbul, Turkey. “Disco Corporation”, curated by Maria-Thalia Carras and Sophia Tournikiotis, Locus Athens, Athens, Greece. “Reality Crossing”, curated by Christoph Tannert, Manheim – Ludwigshagen – Heidelberg, Germany. “Mediterranean Dialogues”, curated by Susanne Van Hagen, Citadel, St. Tropez, France “LISTE 07- Performance” curated by Monika Kastli, Basel, Switzerland. “Space.Gaze.Desire”, curated by Sanne Kofod Olsen, Den Frie, Copenhagen, Denmark. “Shoebox”, curated by Huseyin Sami, Bell Street Project Space, Vienna, Austria. “The nightly news”, Luxe Gallery, New York, USA “Crossings”, curated by Yiannis Toumazis and Androula Michael, Espace Camille Claudel, Amiens, France 2006 “Everybody Dance Now”, curated by Kathleen Goncharov, EFA Center, New York, USA. “Radio Gallery / Radio Time Capsule” curated by Ryan Gander and Francesco Manacorda, Resonance FM, London, UK. “While we were sleeping”, curated by Vasif Kortun, Platform-Garanti, Istanbul, Turkey. “The Collection-Nikos Alexiou”, curated by Nikos Alexiou, Mac Gallery, XXII International Festival Sarajevo, Sarajevo, , Bosnia-and-Herzegovina. 2005 “The Gesture. A Video Library in Progress”, curated by Daphne VItali, Marina Fokidis and Sergio Risaliti, Quarter, Centro Produzione Arte, Florence, Italy. “DESTE Prize”, DESTE Foundation for Contemporary Art, Athens, Greece. “Accidental Meetings”, curated by Yiannis Toumazis, The Nicosia Municipal Arts Center, Nicosia, Cyprus. 2004 “HyperLinks”, curated by Efi Strouza, Evagoras & Kathleen Lanitis Foundation, Limassol, Cyprus. 2003 “20 Rooms (St. George Lycabettus Hotel)”, curated by Yiannis Toumazis, Kappatos Gallery, Athens, Greece.

RESIDENCIES

2017 Cirva - Centre international de recherche sur le verre et les arts plastiques, Marseille, France 2011 CAPACETE, Rio de Janeiro, Brasil 2009 IASPIS, Stockholm, Sweden 2008 Künstlerhaus Bethanien, Berlin, Germany. 2006 Platform-Garanti Center of Contemporary Art, Istanbul, Turkey.

AWARDS

2011 The Future Of Europe Prize, Museum of Contemporary Art, Leipzig, Germany. 2005 DESTE Prize, DESTE Foundation for Contemporary Art, Athens, Greece. 2003 Platform of Contemporary Dance Prize for the performance Evergreen (in collaboration with Lia Haraki), Nicosia, Cyprus.

BIBLIOGRAPHY

Hans Ulrich Obrist, “Christodoulos Panayiotou – Wonder Land, Never Land, I Land,” Defining Contemporary Art: 25 Years in 200 Pivotal Artworks, Phaidon, 2011 “Christodoulos Panayiotou par Aram Moshayedi”, Artforum International, January 2012, p. 204/207

ŒUVRES / WORKS

13 Sectile

Christodoulos Panayiotou Sectile, 2016 Quartzite et granit / Quartzite and granite Dimensions variables / Variable dimensions View at the Centre Georges Pompidou, 2018 © Christodoulos Panayiotou Photo. archives kamel mennour Courtesy the artist, Centre Georges Pompidou, and kamel mennour, Paris/London

14 Christodoulos Panayiotou Sectile, 2016 Quartzite et granit / Quartzite and granite Dimensions variables / Variable dimensions View at the Centre Georges Pompidou, 2018 © Christodoulos Panayiotou Photo. archives kamel mennour Courtesy the artist, Centre Georges Pompidou, and kamel mennour, Paris/London

1515 Christodoulos Panayiotou Sectile, 2016 Quartzite et granit / Quartzite and granite Dimensions variables / Variable dimensions View at the Centre Georges Pompidou, 2018 © Christodoulos Panayiotou Photo. archives kamel mennour Courtesy the artist, Centre Georges Pompidou, and kamel mennour, Paris/London

16 Christodoulos Panayiotou Sectile, 2016 Quartzite et granit / Quartzite and granite Dimensions variables / Variable dimensions View at the Centre Georges Pompidou, 2018 © Christodoulos Panayiotou Photo. archives kamel mennour Courtesy the artist, Centre Georges Pompidou, and kamel mennour, Paris/London

1717 Common Denominator

Christodoulos PANAYIOTOU Untitled , 2016 Biennale de Lyon 2017 : «Mondes flottants» Le Musée d’Art Contemporain 2 Ensemble de 7 pulp paintings sur toile monté sur châssis aluminium et encadré / Set of 7 pulp paintings mounted on canvas on an aluminium stretcher and framed 280 x 180 cm chaque / each Courtesy de l’artiste, de la Biennale de Lyon 2017, and kamel mennour , Paris / Londres, Collection Nicoletta Fiorucci, London Copyright : ©Blaise Adilon

1818 1919 2020 2121 2222 Marmol Rosa

Mexico City, May 16th, 2017.- From June 4th to August 27th, 2017, Estancia FEMSA – Casa Luis Barragán will present the exhibition “Mármol Rosa” by Cypriot artist Christodoulos Panayiotou, that re-contextualizes and re-signifies personal and domestic elements that evoke Luis Barragan’s spirituality, sensibility and inspiration sources, at the time that are connected to a broader political, social and anthropological discourse.

The architect Luis Barragán nurtured his creativity by inhabiting and studying the cultures of Northern Africa, the Viceroyal Americas, and the native groups that inhabited Mexico during the pre-Columbian period. This spectrum of references produced a highly unique fusion, materializing his works through solid and closed constructions, but also through the paths of his wild and airy gardens.

The artist Christodolous Panayiotou has developed a significant part of his artistic production as a critical reflection on the hegemonic historiographies and dominant narratives of his home country, Cyprus. Recasting objects and revisiting traditions within a contemporary framework and using elements such as copper, mosaic, and coats of gold leaf, Panayiotou focuses on identifying and uncovering hidden narratives in the visual records of history and time. With a sensibility and wonder akin to that in Luis Barragán’s constructions, Panayiotou arranges and devises installations to contain the energy that emanates from each object. Working with colors, materials, and lighting, Panayiotou successfully creates a subtle and critical atmosphere within the more charged surroundings of Casa Luis Barragán.

23 24 25 Christodoulos Panayiotou Vue de l’exposition «And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

26 Christodoulos Panayiotou Vue de l’exposition s«And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

27 CHRISTODOULOS PANAYIOTOU FEAT. KAMEL MENNOUR

On pourrait, au premier abord, lire les pulp paintings de Christodoulos Panayiotou dans une perspective formaliste : ce serait une subversion de l’esthétique tardo-moderne du monochrome, où il n’y aurait pas d’application de gouache ou de peinture à l’huile, mais où la pulpe même du papier serait la matière de l’oeuvre. Mais ce papier n’est pas simplement de la matière disponible (à l’utilisation artistique) : il s’agit de billets d’euros, pour toutes les sept dénominations, démonétisés lors d’un changement d’iconographie, obtenus de la Banque de France, afin d’en réaliser des peintures ; chacune est à la couleur de sa dénomination, et les teintes dominantes de l’argent s’unifient en une seule couleur ; la représentation politique, symbolique, de la monnaie est oblitérée au profit d’une masse monochrome, dans lesquelles les particularités iconographiques se sont fondues. On voit ainsi s’opérer une métaphore de la perte de valeur, en même temps qu’une rédemption de toute cette matière symbolique de la plus haute valeur, qui ne va pas simplement être laissée de côté, détruite, mais, dans l’effacement de ses images, se transforme en une autre valeur, iconique sans iconographie – celle de l’art. On retrouve là une suite des monochromes d’or réalisés auparavant par l’artiste, avec un iconographe – créateur d’icônes. Dans ces mouvements successifs, on voit s’affirmer une ligne de fuite dans l’oeuvre de l’artiste, qui n’a cessé de mettre en évidence la fragilité substantielle de notre croyance suprême, une de celles qui font tenir notre civilisation par l’échange et le commerce – au point même que le terme grec qui le désigne, nomisma, provient du grec nomos, la « loi » ; l’argent. Ce polyptyque poursuit ainsi une lignée ouverte dans l’oeuvre de Christodoulos Panayiotou en 2008, avec une oeuvre qui porte pour titre l’année, une masse de billets déchiquetés de la livre chypriote désormais démonétisée (2008). Dans cette série de pulp paintings, les dénominations ne sont pas indistinctes – leur usage, aussi, est plus large que celui de la livre chypriote, plus récent, et la dénomination même est encore en usage, à l’exception de celle de cinq cents euros qui sort désormais de la circulation et trouve ici son tombeau. Aussi, chaque oeuvre est présentée comme une peinture, et non comme une masse. S’affirment ici deux traits du développement de l’artiste : tout d’abord, un jeu de va-et-vient dans le motif entre les sphères plus étroites et plus larges ; et un mouvement permanent de basculement entre la mise en jeu du décoratif et la manifestation du geste artistique. On les retrouve notamment dans deux oeuvres qui dramatisent les questions de valeur, d’usage, de transfert et de transformation, d’intimité et de public, de décision et de prise dans la communauté. C’est le cas de The Price of Copper (2014), une fontaine faite d’une plaque de cuivre, matériau au coeur de l’histoire chypriote – s’y trouvait une des plus ancienne mines de cuivre du monde antique -, sur laquelle coule de l’eau ; quand l’eau cesse de couler, la valeur – l’usage – de l’objet se perdent, et ce n’est plus qu’une feuille de cuivre ; et, plus récemment encore, de Bisante Venetory Fides, oeuvre créée dans son projet pour le pavillon chypriote à la biennale de Venise en 2015, où il transforma en pendentif un besant de cuivre, émis par le gouverneur vénitien de Chypre 28 Marcantonio Bragadin à Famagouste, en promesse de victoire à ses soldats, qui auraient pu, de retour à Venise, le changer pour la valeur d’un métal précieux ; Bragadin fut écorché vif par les Ottomans après leur conquête de l’île ; il appartenait à l’artiste d’accomplir la valeur fiduciaire irréalisée de la monnaie, et de l’accroître même au-delà de la valeur de l’or et de l’argent. L’artiste opère une forme de la transsubstantiation des valeurs, dont il nous fait les témoins politiques et esthétiques. En nous rappelant de chercher la substance – pulp – dans des oeuvres qui ont toutes en commun d’être nommées Untitled ; ouvertes au sens ; avec, entre parenthèses, la dénomination dont se déduit leur couleur ; la valeur est mise entre parenthèses, et néanmoins bien visible. Dans cette série, comme dans toute l’oeuvre de Christodoulos Panayiotou, il y a une évidence ; le contraire de la naïveté, le gai savoir acquis et puissant d’une connaissance qui s’assume, et dispose autrement nos valeurs inaccomplies, vers l’univers de l’art.

© Donatien Grau

29 Christodoulos Panayiotou Untitled, 2016 Ensemble de 7 pulp paintings / Set of 7 pulp paintings. 280 x 180 cm chaque / each Vue de l’exposition/View of the exhibition « Special Projects » kamel mennour (47 rue Saint- André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris/London

30 Christodoulos Panayiotou Untitled, 2016 Ensemble de 7 pulp paintings / Set of 7 pulp paintings. 280 x 180 cm chaque / each Vue de l’exposition/View of the exhibition « Special Projects » kamel mennour (47 rue Saint- André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris/London

It would at first be possible to read Christodoulos Panayiotou’s pulp paintings within a formalist perspective, as the subversion of a late-modern monochrome aesthetic, with paper itself, pulped, taking the place of gouache or oil paint. But this paper is not only available material for the artist. It is the paper of Euro currency, in all seven note values, demonetised for the recent issuing of new notes by the Central European Bank. The demonetised notes have been obtained by the artist from the Bank of France for the purpose of making these paintings. Each painting is of the colour of its bank note, each time the dominant colours of the note blending into one colour. Political and symbolic representation disappears under a monochrome mass, where all iconographic particularities have been washed away. This is a metaphor about the loss of value at work, at the same time as a redemption of all this highly valuable symbolic material, which is not going to be simply abandoned and destroyed but rather, in the effacement of its images, transformed into another value, iconic without iconography: the value of art. We can correlate these paintings with an earlier series of golden monochromes that the artist made together with a craftsman of Byzantine-style icons. With these successive movements, a vanishing point appears in the work of an artist who has never tired of drawing out the substantial fragility of our supreme belief, one of those holding our civilisation together in networks of exchange and commerce, to such a measure that the Greek word for it—nomisma, money/coinage — comes from the Greek nomos, the law. This polyptych pursues a line of inquiry Panayiotou begun in 2008 with an installation bearing the name of the year: a mass of shredded Cypriot pound notes, then replaced by the euro (2008). In the pulp paintings series, the denominations are not indistinct, and their use was more widespread and more recent than that of the Cypriot pound. The euro itself is still in use, except for the 500 euro note which has been removed from circulation and here finds its tombeau. Furthermore, each work is presented as a painting rather than as a mass. Two aspects of the artist’s development appear here. On the one hand, a back-and-forth between narrower and wider spheres. On the other, the deployment of a constantly shifting tipping point between decoration and the manifestation of an artistic gesture. Both aspects can be seen in two works that dramatise questions of value, use, transferal and transformation, intimacy and the public sphere, decision and a take in community. One can see them for instance in The Price of Copper (2014), a fountain made with a sheet of copper, a material at the heart of Cypriot history, home to one of the oldest copper mines in the ancient world. When the water stops flowing onto it, its value—use—is lost, and it returns to being nothing more than a sheet of copper. Bisante Venetory Fides is an even more recent work, a part of Panayiotou’s project for the Cypriot pavilion at Venice in 2015, for which he made a pendant out of a copper disc issued at Famagusta by the Venetian governor of Cyprus, Marco Antonio Bragadin, as a victory promise to his troops, who on returning to Venice were to be able to exchange it at the value of precious metal. Bragadin was skinned alive by the Ottomans after their conquest of the island. It has fallen to the artist to make good the unrealised fiduciary value of the coin, hanging it higher even than the value of gold or silver. Panayiotou enacts a sort of transubstantiation of values, making us into political and aesthetic witnesses to the process. He reminds us to look for the substance—pulp—in works whose uncircumscribed meaning is signalled by the fact that they are all marked Untitled. With the currency value that has given them their colour placed in parentheses, value itself is placed in parentheses all the while remaining visible. In this series, as throughout Christodoulos Panayiotou’s work, there is one obvious value: something opposite to naïveté, a gay science strong with a deliberate knowledge, making different use of our unrealised values, lifting them into the universe of art.31 © Donatien Grau Christodoulos Panayiotou Untitled, 2016 Ensemble de 7 pulp paintings / Set of 7 pulp paintings. 280 x 180 cm chaque / each Vue de l’exposition/View of the exhibition « Special Projects » kamel mennour (47 rue Saint- André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris/London

32 Christodoulos Panayiotou Untitled, 2016 Ensemble de 7 pulp paintings / Set of 7 pulp paintings. 280 x 180 cm chaque / each Vue de l’exposition/View of the exhibition « Special Projects » kamel mennour (47 rue Saint- André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris/London

33 Christodoulos Panayiotou Untitled, 2016 Ensemble de 7 pulp paintings / Set of 7 pulp paintings. 280 x 180 cm chaque / each Vue de l’exposition/View of the exhibition « Special Projects » kamel mennour (47 rue Saint- André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris/London

34 THEORIES OF HARM

Communiqué de presse

Le monde entre en scène : Christodoulos Panayiotou le met en actes comme un théâtre où se jouent, s’édifient, s’éclairent les mythes qui nous unissent, les narrations implicites, les relations affectives et économiques. Pour sa première exposition personnelle à la galerie kamel mennour, « Theories of Harm », l’artiste chypriote construit un dédale d’énigmes qui, paradoxalement, élucident le monde et en révèlent des récits cachés.

L’exposition parisienne s’ouvre sur une fontaine, figure classique de l’histoire de l’art. Celle-ci est une cathode de cuivre, un matériau hautement signifiant pour l’artiste. Le nom de Chypre a donné son nom à ce métal. L’Antiquité le désignait comme « aes cyprus » (bronze de Chypre) puisque l’île en était le centre de production. Le talent de cuivre était alors un numéraire comme la mine d’argent et le statère d’or. Cette étymologie commerciale résonne de la parabole du marchand de cuivre1.

Ce marchand va trouver une fanfare à qui il propose d’acquérir les instruments de musique pour la matière dont ils sont faits. Il souhaite acheter une trompette pour son poids de cuivre, au prix du cuivre en ignorant la valeur ajoutée de l’instrument ; sa fabrication, sa musicalité, son histoire. Entre le matériau brut et la trompette s’étend un univers de désirs, d’élaborations, de savoir-faire que le marchand prétend pouvoir ignorer. Par cette parabole, Bertolt Brecht met en relief l’importance de l’immatériel dans ce qui est pris pour « l’évidence de la réalité pure et simple ». Dans l’œuvre L’Achat du cuivre, le flux symbolique se manifeste par l’eau. Lorsque l’eau est coupée, la fontaine redevient cuivre. Son identité se déconstruit. Elle perd ses liens avec la notion même de fontaine pour se réduire à sa matérialité brute.

Plus loin, un sol de marbre. Il laisse apparaître ce qui, habituellement, est effacé : les indications écrites par les carriers concernant le poids, la provenance, la qualité et la destination. Ces inscriptions sont les signes de la transformation du matériau brut en matière noble. Elles rendent possible la sculpture, la construction, le décor mais elles sont toujours gommées. Le matériau se trouve vierge de tous les actes dont il est pourtant la résultante. Aussi la matière finale se trouve-t-elle idéalisée et fétichisée. Christodoulos Panayiotou démystifie son aura de puissance en plaçant à l’avant-plan les étapes du travail humain qui ont rendu possible son usage.

Michel-Ange avait peut-être déjà eu cette intuition artistique en posant à même le sol, sous les fenêtres du pape Jules II à Rome, les gigantesques blocs de marbre brut transportés depuis les montagnes de Carrare. La population romaine venait s’émerveiller de la roche inentamée, 35 qui allait devenir un chef-d’œuvre : Le Tombeau de Jules II. Ce sol de marbre rappelle aussi le Magnesium Copper Plain (1967) de Carl Andre. Le geste du minimaliste américain est fondateur de la sculpture comme lieu d’où penser le monde.

Les pièces réunies pour « Theories of Harm » sont une invitation à décrypter et démythifier les canaux de l’émotion. Les mosaïques dessinent des rythmes contemporains. Les tesselles proviennent de copies d’œuvres antiques. L’artiste les a acquises en Syrie avant le début de la guerre. Elles sont décomposées, réappropriées et recréées. De même l’imposante roche calcaire se joue de l’histoire et du réel. Le vrai et le faux s’y rencontrent. Elle est en effet la reproduction par Christodoulos Panayiotou d’un détail d’une œuvre des collections du Metropolitan Museum, Bearded Head Wearing a Conicol Helmet, taillée dans une authentique matière archéologique. Une œuvre est cachée au regard. Chaque visiteur peut solliciter l’accueil de la galerie pour la voir. Elle est un pendentif à la mémoire d’un héros vénitien et chypriote, Marcantonio Bragadin. Il s’agit d’une promesse en or faite, en 1570, lors du siège de Famagouste, à Chypre…

Le vitrail, quant à lui, rejoue l’histoire du drapeau arc-en-ciel, connu sous le nom de « Rainbow Flag ». Cette bannière a été conçue par Gilbert Baker, graphiste et militant politique, pour la première LGBT Pride de San Francisco, en 1978. Le drapeau rencontra alors un succès fulgurant. La production s’affole au point de mettre le tissu de la bande rose en rupture de stock. Exit le rose, restent sept couleurs. Gilbert Baker, soucieux de conserver un nombre pair, retire deux couleurs le turquoise et l’indigo qu’il mélange pour créer un bleu royal. Pour Baker, le rose représente la sexualité (il donnera son nom au « Pink Dollar ») et le turquoise, la magie et l’art. Des couleurs que Christodoulos Panayiotou réhabilite et réagence dans son vitrail. Ce dernier est produit par la manufacture historique de Saint-Just, spécialisée, depuis le XIXe siècle, dans les vitraux de châteaux et de cathédrales ; le vitrail est ensuite réalisé par les Ateliers Duchemin. L’artiste remet en lumière des couleurs qui s’illuminent ou se ternissent en fonction des variations du soleil.

Les photographies botaniques signent un autre voyage sémantique. Vers le centre mondial de production de fleurs artificielles en Chine : Guangzhou. Ces fleurs représentaient jadis des objets de valeur ; Marie Antoinette les collectionnait. Produites en masse aujourd’hui, elles sont devenues des emblèmes de la mondialisation. « La valeur ne porte pas écrit sur le front ce qu’elle est. Elle fait bien plutôt de chaque produit du travail un hiéroglyphe. […] La transformation des objets utiles en valeurs est un produit de la société, tout aussi bien que le langage », a écrit Karl Marx2.

36 À son arrivée à Guangzhou, Christodoulos Panayiotou se rend compte que les fleurs artificielles de qualité sont toutes destinées au marché nord-américain : ne restent en Chine que les rebuts. Pour accéder directement aux fabriques, l’artiste chypriote se fait donc passer pour un commis voyageur occidental : « J’ai cueilli des fleurs dans les usines, comme si j’allais dans les champs. » La superposition de la photographie du vrai et du faux souligne l’hiatus entre la nature et sa transposition en marchandise. Cet écart contient en soi toute la question de la création de valeurs et ses dérives possibles. Ces dernières donnent à voir les méandres en circulation dans le langage et leurs effets réels. L’artiste entend le monde à la manière de Roland Barthes : « L’écoute dérive en scopie : du langage je me sens visionnaire et voyeur. »3 En transformant ses intuitions en dispositifs artistiques, Christodoulos Panayiotou ouvre des énigmes qui recèlent des libertés, précieuses comme des trésors enfouis.

Annabelle Gugnon

_ 1. BRECHT Bertolt, L’Achat du cuivre, L’Arche, Paris, France, 2008. 2. MARX Karl, Le Capital. Livre I, Flammarion, Paris, France, 2008. 3. BARTHES Roland, Roland Barthes, par Roland Barthes, Seuil, Paris, France, 2015.

37 Christodoulos Panayiotou - Untitled, 2013, mosaïque murale, 60,5 x 50,5 cm - Price of Copper, 2016, cathode, pompe, jets d’eau et tuyau, 110 x 110 x 0,5 cm - Untitled, 2014, c-print - 74.51.2857 (Bearded head wearing a conical helmet), 2014, pierre calcaire, 35 x 46 x 40 cm Vue de l’exposition « Theories of Harm » kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Fabrice Seixas Courtesy the artist and kamel mennour, Paris

38 Christodoulos Panayiotou - Untitled, 2014, c-print - Untitled, 2013, mosaïque murale, 118,5 x 118,5 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

39 Christodoulos Panayiotou - Untitled, 2013, mosaïque murale, 118,5 x 118,5 cm - Untitled, 2016, vitrail, 114 x 106 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

40 Christodoulos Panayiotou - Untitled, 2016, vitrail, 114 x 106 cm - Sectile, 2016, quartzite et granite, dimensions variables - Untitled, 2013, mosaïque murale, 90,5 x 80,5 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

41 Christodoulos Panayiotou Venetory Fides Inviolabilis Bisante, 2014 Médaillon, besant de Cypre, or, dimensions variables Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

42 Christodoulos Panayiotou Untitled, 2013, mosaïque murale 60,5 x 50,5 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Fabrice Seixas & archives kamel mennour Courtesy the artist and kamel mennour, Paris

43 Christodoulos Panayiotou Price of Copper, 2016 cuivre cathode, pompe, jet d’eau et tuyau d’arrosage 110 x 110 x 0.5cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Fabrice Seixas & archives kamel mennour Courtesy the artist and kamel mennour, Paris

44 Christodoulos Panayiotou Untitled, 2014, c-print Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Fabrice Seixas & archives kamel mennour Courtesy the artist and kamel mennour, Paris

45 Christodoulos Panayiotou 74.51.2857 (Bearded head wearing a conical helmet), 2014 pierre calcaire 35 x 46 x 40 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

46 Christodoulos Panayiotou Untitled, 2013 mosaïque murale 118,5 x 118,5 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

47 Christodoulos Panayiotou Untitled, 2016, vitrail 114 x 106 cm Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

48 Christodoulos Panayiotou Untitled, 2013, mosaïque murale 90,5 x 80,5 cm Vue de l’exposition « Theories of Harm» , kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

49 Christodoulos Panayiotou Untitled, 2014, c-print Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

50 Christodoulos Panayiotou Sectile, 2016, quartzite et granit, dimensions variables Vue de l’exposition « Theories of Harm », kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

51 Christodoulos Panayiotou - Sectile, 2016 détail, quartzite et granit, dimensions variables Vue de l’exposition “Theories of Harm”, kamel mennour (47, rue Saint-André des arts), Paris, 2016 © Christodoulos Panayiotou Photo. Julie Joubert & archives kamel mennour Courtesy the artist and kamel mennour, Paris

52 Two days after forever

“Two Days After Forever is a solo presentation by artist Christodoulos Panayiotou, taking as one of its starting points the invention of archaeology and its instrumental role in forging the master narrative of history. It is a discursive proposal that considers an open-ended cartography for art and its territory. The exhibition considers how the formal structure of antiquity can be fundamentally interrogated, enabling new spaces of imagination to emerge. Adopting a diversity of strategies, Panayiotou questions how tradition is formed and authorship and authenticity are governed. Through an act of meticulous staging, the artist critiques modernity’s hyperbolic and aspirational fabric and its inconsistent notion of progress. Adopting a multi-disciplinary approach, and returning to central ideas of his research, Panayiotou’s work will manifest in a number of forms: as architecture—floors and walls, as choreographies— of movement and stillness, and as text that is both revealed and concealed. These are not definitive proposals, but open-ended topographies that seek to question the individual’s relationship to the constantly fluctuating act of making history. Memory and memorialisation, historical fragmentation and completion, are in turn central points of exploration within this project. Panayiotou considers the transformative potential of the human in relation to the rarefied object, and critically explores the role of the readymade in contemporary practice through acts of creation and de-creation. Thus, the structures of economy are explored, materials are activated and their symbolic value is questioned. Two Days After Forever is an exhibition that adopts different modes—it sleeps and awakens and embodies different temporalities. The project as such manifests as an anthropology of movement in the pavilion, where histories of illusion and disenchantment, dramaturgy and the Romantic ballet are revisited. These themes will be evidenced through ongoing performances that merge biography with historical imaginaries. Two performances, The Parting Discourse and Levant U-Turn will take place during the opening days of the Art Biennale 2015. The former will occur between the stage of Teatro Goldoni and the Cyprus Pavilion on 6th May, while the latter will see participants delve into the Mediterranean on 8th May. These will be the first of a series of activations, further details of which will be announced in the summer. ”

Curated by Omar Kholeif The Cyprus Pavillion 56th International Art Exhibition La Biennale di Venezia

53 Christodoulos Panayiotou Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

54 Christodoulos Panayiotou Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

55 Christodoulos Panayiotou Mauvaises herbes, 2015, mosaïque de sol en pierre naturelle, 250 x 300 cm Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole

56 Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

57 Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

58 Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

59 Christodoulos Panayiotou 2008, 2008, papier déchiqueté (livre chypriote), dimensions variables Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

60 Christodoulos Panayiotou 2008, 2008, papier déchiqueté (livre chypriote), dimensions variables Vue de l’exposition « Two Days After Forever », Pavillon chypriote, 56ème Biennale de Venise, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

61 Christodoulos Panayiotou Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

62 Christodoulos Panayiotou Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, 56th Venice Biennale © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

63 Christodoulos Panayiotou - Untilted, 2015, huit paires de chaussures en similicuir faites mains et boîtes à chaussures, dimensions variables © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

64 Christodoulos Panayiotou Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, 56th Venice Biennale © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

65 Christodoulos Panayiotou Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, 56th Venice Biennale © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

66 Christodoulos Panayiotou - Untitled, 2015 Peinture et dorure sur bois ; 85 x 125 cm - Untitled, 2015 Peinture et dorure sur bois ; 66 x 100 cm Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, 56th Venice Biennale © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

67 Christodoulos Panayiotou Vue de l’exposition “Two Days After Forever”, Cyprus Pavilion, 56th Venice Biennale © Christodoulos Panayiotou © Photo by Aurelien Mole Courtesy the artist; Cyprus Pavilion, Venice; kamel mennour, Paris

68 Christodoulos Panayiotou Vue d’installation / Installation view, 8th Berlin Biennale, 2014 Photo Anders Sune Berg © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

69 Christodoulos Panayiotou - The Price Of Copper, 2014 Vue d’installation 8ème Biennale de Berlin Photo Anders Sune Berg © Christodoulos Panayiotou

70 Days and Ages

The exhibition title Days and Ages paraphrases the archeologist Einar Gjerstad’s Ages and Days in Cyprus (1933), a memoir of the Swedish Cyprus Expedition, which conducted wide-ranging excavations on Cyprus between 1927 and 1931. Under an agreement between the Swedish government and the British colonial administration, half of the unearthed terracotta objects were shipped by boat to Sweden. While a grant holder at Iaspis, Panayiotou researched the photographic archive associated with the Cyprus collection, now part of the collection of Medelhavsmuseet, Stockholm.

“A specific photograph of wooden crates with antiquities ready to leave the port of Kyrenia attracted my attention first. It is a very charged image incorporating several layers of my obsessions, such as the establishment of archeology as a modern foundation of the nation state; colonialism and symbolic domination; materiality and negative presence. Soon after, when going through its records, I realized the precious nature of the material and the role that the archeological excavation had in the construction of a certain image of Cyprus during the early 1920s, but also projecting backwards into antiquity.”

Moderna Museet presents a new large-scale floor piece by Panayiotou – Days and Ages (2013). It is composed of terracotta, a material he explored earlier in The Sea (2012), for Documenta 13. During the manufacture of the ceramic tiles in the artist’s birthplace, Limassol, pumped water was replaced with saltwater from the Mediterranean. The work gains yet another context from the encounter between the museum’s architecture and its materials: birch, oak, and limestone – selected by the building’s Spanish architect as a reflection of what is Nordic.

Extract of the text written by Cecilia Widenheim and Matilda Olof-Ors.

Moderna Museet Museum 30.11 2013 – 27.4 2014 Stockholm curated by Matilda Olof-Ors

71 Christodoulos Panayiotou Vue de l’exposition “Days and Ages”/ View of the exhibition “Days and Ages”, Moderna Museet, Stockholm, 2014. © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

72 Christodoulos Panayiotou Vue de l’exposition “Days and Ages”/ View of the exhibition “Days and Ages”, Moderna Museet, Stockholm, 2014. © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

73 The Permeability Of Certain Matters

“ Spring Workshop is proud to present “The Permeability of Certain Matters” by artists Christodoulos Panayiotou and Philip Wiegard, created during their residency at Spring Workshop in Hong Kong. The exhibition is the culmination of research and workshop programmes hosted at Spring, and features Panayiotou’s new photographic works against the backdrop of Wiegard’s handcrafted wallpaper. During his residency, Panayiotou embarked on a project in China’s Guangdong province, researching what has become home to the world’s largest concentration of artificial flower factories.”

Extract of the press release.

Spring Workshop 2014 Hong Kong China

74 Christodoulos Panayiotou Vue de l’exposition «The Permeability Of Certain Matters» Spring Workshop, Wong Chuk Hang, Hong Kong, 2014 Photo: Kwan Sheung Chi © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

75 Christodoulos Panayiotou Vue de l’exposition «The Permeability Of Certain Matters» Spring Workshop, Wong Chuk Hang, Hong Kong, 2014 Photo: Kwan Sheung Chi © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

76 35/22/35/36D

77 Christodoulos Panayiotou - Operation Serenade Vue de l’exposition « 35/22/35/36D » Nordenhake Gallery, Stockholm, 2014 Photo : Carl Henrik Tillberg © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

78 Christodoulos Panayiotou Operation Serenade Vue de l’exposition « 35/22/35/36D » Nordenhake Gallery, Stockholm, 2014 Photo : Carl Henrik Tillberg © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

79 Christodoulos Panayiotou Operation Serenade Vue de l’exposition « 35/22/35/36D » Nordenhake Gallery, Stockholm, 2014 Photo : Carl Henrik Tillberg © Christodoulos Panayiotou Courtesy the artist and kamel mennour, Paris

80 And

“For this solo show at Casino Luxembourg, his first interest was in the venue’s aura. He was impressed by the various layers of the architectural elements that have marked the building from era to era and he wanted to trigger a confrontation between his work and the original interior of the «Casino bourgeois».

This step, which consists in delving into history, is essential in the work of Panayiotou. In a series of works of art rooted in documentary material and archives, he refers, on the surface, to the island where he was born, Cyprus, but not only that: his investigations, which lean on Cypriot folklore and the public image of politics, and how they are portrayed by the media, also illustrate more general cultural processes of modern society. ”

Casino Luxembourg - Forum d’art contemporain

81 Christodoulos Panayiotou Vue de l’exposition «And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

82 Christodoulos Panayiotou Vue de l’exposition «And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

83 Christodoulos Panayiotou Vue de l’exposition «And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

84 Christodoulos Panayiotou Vue de l’exposition s«And», Casino Luxembourg, 2013 © Christodoulos Panayiotou © Photo. Andres Lejona Courtesy the artist and kamel mennour, Paris

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