My research in images—“studying” and “writing”—started in France after I was already 25 years previous. A late analysis of an “sickness” that I appear to have developed younger. There should be many that suffer from the identical illness: being photographers with out understanding it, tormented for a lifetime by a delicate eye left unhappy, all as a result of they by no means chanced to take a digital camera of their palms and acquire consciousness of the ability that hides behind their gaze. This sort of factor isn’t unusual in Greece, the place the language of images is merely mumbled—we are able to’t actually say that it’s articulated. I needed to discover myself in Paris to study to learn and write photographically!

—George Tourkovasilis, excerpt from his textual content “Self-Presentation,” printed in Zygos, Could–June 1980 [There are joules, jewels, Julys].

Wherever you set a comma in a room, that’s its heart. There are commas separating these pictures—like scorching neurons or the fast change in feeling if you move by way of a slice of shade. Punctuation is extra liquid than you assume. A stroll is one sentence. The photographer locations commas as she proceeds, the one she’s capturing pays consideration or under no circumstances; the sentence construction of their stroll imitates the glowing fog of sunshine it’s in; the commas dilate and develop into tiny heirs of this pictured friendship, its sleepy conduction by way of the road. One comma and she or he is nuanced—nubes, Latin for clouds—yet another comma and she or he is a numen of sunshine that tends for sleep, one other comma and arms, legs, and bellies dissolve both from warmth or an extremity of glow.

—Penelope Ioannou, excerpt from her textual content accompanying “Our Misfortune,” Marietta Mavrokordatou’s exhibition at A Thousand Julys, Nicosia, 15 September–18 November 2022.

Am I fully derailed or did the nameless one-sentence point out of Rapson’s present in New York journal simply flip right into a poem? There’s something contagious about these moments when Rapson begins enhancing references to not inflate their which means and expose their arbitrariness however to droop notion of the current, when this tiny two-dimensional world begins spinning to transgress right into a comfortable, semi-hallucination carrying you some other place, I’m considering whereas listening to Drake melting his baritone vary with the acoustic guitar, reaching out to us one final time earlier than his overdose from antidepressants: “You recognize that I really like you/You recognize that I don’t care/ You recognize that I see you/You recognize I’m not there.”

—Pujan Karambeigi, excerpt from “Poets and Artfans,” his evaluation of Sarah Rapson’s 2019 solo exhibition “Promote the Home” at Essex Avenue, New York, printed within the December 2019 situation of Texte zur Kunst.

His portray, for instance, orbits conventional genres (the male nude, the portrait, the still-life) on the similar time that it gravitates in direction of sometimes homoerotic themes (the person in uniform, the satyr, the erectile phallus). These he approaches with a robust curiosity within the historical past of artwork, particularly portray, and with regards to the “greats” of the western canon of his acquired artwork training. It’s a lesson he has since decentred by rigorously turning to girls artists (to Marlene Dumas and Rosemary Trockel repeatedly), and to examples of artists from the supposed periphery—to the Greek painter Yannis Tsarouchis (particularly), to the Cypriot painter Andreas Karayian (obsessively)—within the seek for aesthetic articulations of (queer) need.

[ . . . ]I consider the sensuous washes of his brushwork as emulation of the murkiness of the technologically produced floor on the canvas, though I’m conscious that the liquid layers of paint are a metaphorical reference to bodily fluids—spit, sweat, sperm, tears—and a part of his aware try to debunk the importance of talent in portray and deviate from the demand for a extremely completed consequence.

—Elena Parpa, excerpt from her textual content “Notes on And leaned shoulder in opposition to the window,” printed on the event of Polys Peslikas’ solo exhibition at Radio Athènes, Could–July 2023.

Taking part artists:
Marietta Mavrokordatou, Polys Peslikas, Sarah Rapson, George Tourkovasilis

at FELIX GAUDLITZ, Vienna
till October 14, 2023

Supply hyperlink