South likes: Chryssa Romanos at The Breeder, Athens

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

South likes: Chryssa Romanos at The Breeder, Athens
Chryssa Romanos
The Breeder, Athens, Greece
17 January – 17 February, 2014

Featuring a visual narrative with a strong critical view on western capitalist culture, the work of Chryssa Romanos’ (1931-2006) is presented for the very first time at The Breeder Gallery. The exhibition is divided into two chronological and thematic sections, the collages (1964-66) and the décollages (from 1980 onwards). The resulting display offers a chance to discover the idiosyncratic language that the artist developed within the cultural tendencies and the intellectual atmosphere of Paris, the city where she spent the crucial 1960s and 1970s as part of the group of Greek diaspora artists.
The vocabulary of Pop Art and Nouveau Réalisme distinctively emerges in the collages, where press-cuttings, images of commodity goods and other photographic material engage in a dialectical relationship with handwritten or printed words and comments on mass-culture and consumerism. The works allow a new interpretation of the final image through a fluid, alternating and dynamic interchange of meanings. Like in Labirynth (1965) where the words function as an Ariadne’s thread in a non-exit world of commodities; or in Maps (1965-66), which—following in the footsteps of Guy Debord’s psychogeographical maps—invites us to a poetic and authentic journey composed of the artist’s personal memories, beyond the predictable routes and experiences.
The personal gesture becomes more evident in the décollages section, where the gravity of the artistic act addresses the process of production. By attaching and detaching overlaid paper materials and images on transparent plexiglass, Chryssa Romanos creates multiple visual layers that penetrate one into the other. In pieces like Images (1982) and Map-Labyrinth (1992) the transparency of the final result gives the possibility to the viewer to decipher various references and intimate traces of distinct worlds.
A dérive into the artistic universe of one of the most important representatives of the 1970s or the “years of defiance” is now on view in Athens.

Klea Charitou

http://thebreedersystem.com/exhibition-details/chryssa-romanos/

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

Chryssa Romanos, installation view, The Breeder, 2014.

 

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