Faces that form networks - networks that form faces. Eleanna Martinou in her most recent work, approaches the function of the mask as a social facade by presenting two installations: One of watercolors and a sculptural, three dimensional one. Drawing her portraiture from facebook, the artist creates a wider grid for each of the masks. The transparent nature of the watercolor reveals the camouflage and this way the interpersonal relationships and the online friendships are depicted as a network full of empty spaces and flaws. On the points of connection, the color reflects the rhythm and the emotion, always in the poetic idiom that characterizes her work. The Eyewitnesses are constructed by malleable connections, connections on the verge of fragility and they seem to be fluid just like their gaze.
Eleanna Martinou this time too continues to explore the concepts of network and rhythm, as in her previous solo shows.


Junction / Disjunction

Junction / Disjunction: On one side, globalization and the perception of the generation born and raised in Greece in the 1980ies; on the other one, the story hidden behind a sealed wooden door of some home in the country where our parents grew – one remaining hermetically closed. A pair of terms in perpetual subversion.

Contemporary technology and social media bring together all those remaining faithful to humanitarian values and the exchange of ideas. The new constellation of geographic centers of reference calls for the restructuring of space, sentiment and priorities.

Imaginary Metropolises | Φαντασιακές Μητροπόλεις

Imaginary Metropolises | Φαντασιακές Μητροπόλεις

The thematic unit Imaginary Metropolises explores the hybridisation of individual and social identities in contemporary cities.

I am interested in illustrating the construction sprawl across the planet, a mesh of itineraries, a different aspect of the face, individual choices of different destinations on a path of unknown beginning or end. I attempt an artistic mapping of chaos.
The body of works depicts the random drift in the big city, on traces branching out like streets on a map.
I feel the importance of the metropolitan network, its energy, its trajectories, as well as the networks of human assembly, its people.
I work upon overlapping surfaces, fragmenting the initial image, adding  layers of various characters which constitute a community. Through unraveling and reshuffling those characters I constitute a body, a new city-network, inside which are buried the fragments of characters waiting to be revealed, as in ruins.
My preoccupation is the space within space, and the city is a representation of such a chaotic meshing. In general, I would say I am preoccupied with the mesh.
I am not interested in the instrumental depiction of an image but in its recreation, beyond the everyday activity of human life; an image that changes, violates reality, by accelerating or reducing its speed.
I would say that technology assists painting. The difference between making something with one's own hands and using technology is that, in the latter case, one's body does not participate so much in the creative act. Technology helps, but people are their bodies.
Saying that art forms have attained their non plus ultra is different than saying that art has reached a dead end. What has definitely changed is the need for a form of expression. The boundaries between the arts are open-ended, we cannot define them.
There is a need for a network of people who will come together and make exchanges and collaborations.

Η βασική σύλληψη της ενότητας Φαντασιακές Μητροπόλεις αναλύει τον υβριδισμό των ατομικών και κοινωνικών ταυτοτήτων στις σύγχρονες πόλεις.
Με ενδιαφέρει η απεικόνιση του χάους της ανεξέλεγκτης δόμησης του πλανήτη, ένα πλέγμα διαδρομών, μια άλλη όψη του προσώπου, προσωπικές επιλογές διαφορετικών προορισμών σε μια κατεύθυνση που κανείς δεν ξέρει το τέλος της, μα ούτε καν την αρχή της. Επιχειρώ μια εικαστική χαρτογράφηση του χάους.
Η ενότητα των έργων αφορά την τυχαία περιπλάνηση στο χάος της μεγαλούπολης, μέσα από διαδρομές που δημιουργούνται διακλαδούμενες, όπως οι δρόμοι που απεικονίζονται σε έναν χάρτη.
Αισθάνομαι σημαντικό το δίκτυο μιας μητρόπολης, την ενέργειά της, τις διαδρομές της, τους δρόμους της αλλά και το δίκτυο με βάση τις παρέες της, τους ανθρώπους της.
Δουλεύω σε επάλληλες επιφάνειες, κομματιάζοντας την αρχική εικόνα, προσθέτοντας σε στρώματα διάφορους χαρακτήρες που αποτελούν μια κοινότητα. Ανακατεύοντας και αναδιευθετώντας αυτούς τους χαρακτήρες δημιουργώ ένα σώμα, μια νέα πολιτεία-δίκτυο, μέσα στην οποία βρίσκονται θαμμένοι και κατακερματισμένοι χαρακτήρες που περιμένουν να αποκαλυφθούν, όπως στα ερείπια.
Καταπιάνομαι με το χώρο μέσα στο χώρο, και η πόλη αποτελεί αντιπροσωπευτικό παράδειγμα ενός τέτοιου χαοτικού πλέγματος. Γενικότερα, θα έλεγα πως με αφορά το πλέγμα.
Δεν με ενδιαφέρει η χρηστική αποτύπωση μιας εικόνας αλλά η δημιουργία αυτής, πέρα από το τι ζει ο άνθρωπος καθημερινά, μια εικόνα που αλλάζει, που βιάζει την πραγματικότητα, που άλλοτε την επιταχύνει και άλλοτε την επιβραδύνει.
Θα έλεγα πως η τεχνολογία βοηθάει τη ζωγραφική. Η διαφορά του φτιάχνω με τα χέρια μου και της τεχνολογίας είναι ότι κατά τη δεύτερη το σώμα δεν συμμετέχει στη δημιουργία τόσο πολύ. Η τεχνολογία βοηθά, αλλά ο άνθρωπος είναι το σώμα του.
Το να λέμε πως έχει φτάσει στο μη περαιτέρω της μορφής που είχε μέχρι τώρα η τέχνη είναι διαφορετικό από το ότι έφτασε σε αδιέξοδο. Σίγουρα έχει αλλάξει η ανάγκη μορφής έκφρασης. Τα όρια μεταξύ των τεχνών είναι ανοιχτά, δεν μπορούμε να τα καθορίσουμε.
Υπάρχει η ανάγκη για ένα δίκτυο ανθρώπων που θα βρεθούν μεταξύ τους και θα κάνουν ανταλλαγές  και συνεργασίες.


Global Dance

Global Dance

The situationist drift is the structural element behind the construction of images where multiple layers of events create a mesh of intersecting trajectories, whose densities increase or decrease like in music. With the abolition and reconstitution of form evolves the idea of a new global community, without beginning, middle or end.

General Concept:

During the last two decades in Greece, money, as a means of acquiring commodities, has become an end in itself. Albeit, this was never the product of labor or strategic programming, but an immense bubble that was either inflated through global market procedures, or underestimated altogether, without any sense of measure or balance. History is written by everyday people and involves trivial moments, rather than great leaders or the occasional authorities. The network which connects the inner vision and the bodily record constructs a new mechanism from the bottom up, whose temporality is no longer linear. Within that framework, the individual gets connected to the whole and to the market and the new society emerges devoid of supreme principles; the only principle is the market itself. On the one hand, there are stages of emergence of the work of art / network; on the other, images / photographs / documents of the Protagonists. In conjunction with previous works – Imaginary Metropolis and Radar, the Prosopon now creates a Republic through a mesh of trajectories and superimposed layers. This Republic consists of the lines suggestive of the traces and events created by each Prosopon, through its presence and its partaking in the making of history. The Body of the Metropolis is the aggregate of the Prosopa dwelling there, shaping it through the flux of time. It is molded inside the non-linear continuum of time. The nexus of the trajectories, the choices of the Prosopon and the chance encounters between humans, emerges through superimposed layers of documents (photographs, newspaper clippings, film stills). The work integrates dancing gestures. With the abolition and reconstitution of form evolves the idea of a new global community, without beginning, middle or end.

Video: https://vimeo.com/69194445

Vital Space : http://vitalspace.org/awareness/global-dance


Eleanna Martinou