Non-Still Life : A Mosaic Portrait of Dimitris Papaioannou
Part of : Γράμμα : περιοδικό θεωρίας και κριτικής ; Vol.22, No.2, 2014, pages 217-230
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217-230
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Review Essays
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He has been labelled "a blue-collar worker of the art studio," "an artist of delicate gestures," even Greece's "national artist"1; he has been described as a visual artist, dancer, performer, choreographer, and director: most of those who have attributed to him his many designations would concur that Dimitris Papaioannou is a man of many faces and an artist of many talents. Aspects of these appear over the years in his works more and more skillfully and with an increasingly emphatic existentialist twist. On the occasion of the world tour of his acclaimed work Still Life, which began in September 2015 in Piraeus, Greece (Piraeus Municipal Theatre), and will conclude in Belgrade, Serbia, on March 31,2016, this paper offers a mosaic portrait of Papaioannou made up of tesserae—highlights of his thirty-year-old career in the visual and the performing arts—that, much like the artist himself, won't stay still. As I hope to show, often, elements of one work spill over into others where they are reworked, or elements of one work integrate/conjugate with elements of others to produce new effects. In every case, as the light of reappraisal plays on their surface, it reveals their multifacetedness and their broadening of horizons—qualities of Papaioannou's work rarely given the credit they deserve by the contemporary local (performing) art criticism.
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References (1):
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