- Venue
- The Muse at 269 Gallery | Studio
- Starts
- Thursday, September 21, 2017
- Ends
- Sunday, October 8, 2017
- Address
- 269 Portobello Road, W11 1LR
- Location
- London
- Organiser
- The Muse at 269 Gallery | Studio
The Muse Gallery proudly presents
Is Art Lonely? – solo show by Filippos Tsitsopoulos
21.09 – 08.10.2017
Opening Night 21.09, 6.30-9.00pm
‘What! art thou, like the adder, waxen deaf? Be poisonous too and kill
thy forlorn queen’.
Queen’s Margaret Monologue, second act, scene III, Henry VI, W. Shakespeare
Concept
Art can be poisonous form its own past?
Which past in Art we now venerate? How to reveal the secrets of this past ? Secrets about a an object considered as Art?
How do we deal with it?
Under which condition and which conceptual approach we develop a dialogue with it?
By opposing it at Time, as the sublime catalyst of altering any meaning by juxtaposing it with any kind of identities and their relations to Art history?
The ‘object of Art’ treated as an instrument of research on the way to perceive art through Its own past.
Filippos Tsitsopoulos, is a multimedia artist and performer based in London for his recent project
to be presented at the Grote Post Theatre of Ostende, in Autumn, as part of ART IS (NOT)
LONELY, a curatorial project by Jan Fabre and Joanna Devos.
He will create a show of video installation constructed by performative filming where the artist wearing organic masks, will establish dialogues with the sculptures and being filmed. This performative filming will serve as the staging of his acting. Afterwards, the five channel video installation will remain at the theatre during the exhibition, open to a large number of visitors.
Inventing an imaginary reality between himself and the objects surrounding him, Tsitsopoulos questions the very nature of the objects that surround us. What if an object could talk, or breath or see? What if they could talk-what would they say and what should we say to them?
His subject at the British Museum would be wearing a mask, coming into the Galleries as a normal visitor, being recorded. Then, he will stop at the gallery 50, to talk to the object of the British Museum collection with fragments of theatrical plays. The filming would take about one hour and a half, and the chance to repeat it another day if something goes wrong. A photographer and three cameraman will be filming and documenting the action. The interaction of the masquerade present symbolized by the figure of the performer actor who is wearing the mask
compared with an ‘’unmasquerade’’, silent and peaceful apparently past, is the aim of the project.
Similar envisions as the ones at the Tate Modern and the Serpentine Galleries that the artist did for my former project.
By accommodating this request we would have witnessed what would really could be the reason to make artists, to involve and compere themselves with the past ?. To see themselves through it.
To deal with secrets and whispers and open metaphorically, the embalmed snake and its dark bowels.
From Shakespeare to Brecht till the ‘song of the Serpent’ at the Circle Caucasian Chalk, we have an idea of how theatre and its contemporary history, would respond to a forensic surgery of an object, the past treated as an object.
Should we dare to contrast the past into the present?
What happen to an object who mutate into art?
The personal belongings of a person exhibited in a museum how many conversations we should have with them? Torments of the soul in a sculpture of the human well?
How can we express, imaging and reconfigure the symbol at Queen’s Margaret monologue, the time of Shakespeare and nowadays? Snake’s embalmed rigidity would not be a dagger rather than a snake ?
Is it possible that when we talk of a petrified inner poison, we are talking about a ‘loyal’ poison that never abandons us ? One that never leaves the body of the Art. The one who never leaves our side ever?.
Can we digest results and experiment with theatre and performance in the fragile and contemporary glass body of today’s leading art ?
Inventing an imaginary reality between himself and the objects surrounding him, Tsitsopoulos questions the very nature of the objects that surround us. What if an object could talk, or breath or see? What if they could talk-what would they say and what should we say to them? Using Theatre as an interlocutor this ongoing performative work becomes a metaphor for social and emotional struggle and the ability to overcome.
Isn’t resulting to be damaging to our eyes looking the layers of the past and what supposed it was this Art, at the past, a mere vacuum relief of todays life?
Filippos Tsitsopoulos is acting wearing his own “faces” imitating an ‘ embalmed snake waxen and deaf. His multiply faces and soul are dissected as well, in the words of Shakespeare. He builds a face with fruits, vegetables, fish, meat, skin, and the most unexpected elements that one can imagine. And covers himself up everywhere, body and “skin. Some other times his own face is his mask. He is not wearing anything and though he’s still wearing a mask.
” One can feel at stage the subconscious by recognizing it through the senses. This action is elementary. And if previously you have experienced the same feeling in life, a great mystery will be created on stage as Peter Brook said once. For example feel ‘the’ joy and that will make feel fulfil by acting it, feeling angry, live anger, pain are establishing connection with the subconscious
that serves to unbalance the questions, factors and archetypes of Drama. Act on equal status, drill the sentiment in real time with the performance ”.
All questions that help us off to balance from reality, becomes archetypes and factors in Drama.
Facebook Event: http://bit.ly/2wiqdSc
