past

cover-01-b841e833283f3021658b826fd093542b cover-02-5a960dc6d76e867d68e8e2e3046de7e3 cover-03-b084119ceea6b73c079259d643be0969 cover-04-67e495419307d22def445702d1bec142 cover-05-5fd92993de1d672ce3c7dd8c1be22483 cover-06-d88e46ee56e0162b8f4033fa1d0a8969 cover-07-41b4ad54d97e1836d81a1d7a4a43d6b6 cover-08-531e9c72472b2368c4040f302b14113c cover-09-6e091b25f095d054fd92fab73f29621c cover-10-5763fdb2893a77487167778070776d88 cover-11-0508c4314c72905c7ffcc422ff4d9187 cover-12-d3939c707d89b92fff0e3fdd847fdc1b cover-13-e495316fddee8a1c2f044a74a67498a7 cover-14-b9c88b7f24040df82f8fcfad64f6f67c
cover-01-a3236dd089ca8db5106f99ddf1329e94 cover-02-df2976a6aa7ba0380fad7c89ce4e6b53 cover-03-bb70c7f97eb698cb300cecc3a46e43eb cover-04-af21af7d1ef8cd039933d46ab95dd2a9 cover-05-377fb0308ed8433051a29a3855dcd148 cover-06-afa80e5b5716ab2535ca13c221804db6 cover-07-8ebfe43a1578e96ec64b0decad214535 cover-08-5940f0b9fb7cfeb6dd448f47e8004bb3 cover-09-1f96b61d3d9d8479be4aa7432b3ed671 cover-10-2a725ab4f8428482ff303dbf7e5e4057 cover-11-67f6df64e03313e4e3383338613197d2 cover-12-aac16bb27243d3a57e72ef7f150009d2 cover-13-dbce8b94f4b689592090d26c393558a8 cover-14-56e534a5db4656835755ad84cfaf3de9

Thorn in the Flesh

The George Economou Collection Space

11 SEP. 2014 —
15 APR. 2015

GREECE
Press Release
EN GR

The George Economou Collection is pleased to present the group exhibition Thorn in the Flesh curated by Dieter Buchhart.

Modernism manifests itself as a constant antagonism between abstraction and figuration. The exhibition Thorn in the Flesh is dedicated to exploring these antagonisms and their impact on art from after the Second World War to now. In so doing, postmodern polymorphism finds striking overlaps among concrete, informel, abstract, and figuration, in contrast to a mere insistence on rigid concepts.

The exhibition focuses on three sequential areas: Disruption, Figure, and Flesh.

Disruption refers to the tear in the fabric of modernism. While Jean-Michel Basquiat’s Slingshot depicts a David and Goliath struggle against racism, repression, and social injustice, McCarthy’s Tripod deconstructs the human body using various dimensions for individual body parts, the intactness of which the artist attacks and destroys with abstract shapes. Equally, Rauch’s painting Reich represents a mutual interaction of various forms and layers of reality. A television tower, a pole, and letters remain like thorns in the texture of a landscape seemingly committed to realism.

The second part of the show, Figure, is dedicated to exploring the proportions of the human body. Max Beckmann’s life-sized half portraits and the two pointed shapes in Louise Bourgeois’ Knife Couple reflect human proportions in the interaction of abstraction and figuration. Michelangelo Pistoletto goes a step further, in that the beholder who can see his mirrored reflection alongside the pair of doppelgangers becomes part of the work.

The third thematic focus Flesh is dedicated to the materiality of paint and bodies of paint. For example, Jean Dubuffet’s art brut representation of the human body by way of the haptic experience of the surface reflects human flesh, just as Kazuo Shiraga, using his hands and feet, transfers his own corporeality to his paintings, evoking associations of the destruction of the body in a wild paint slaughter of blood and human flesh. In Brown and Yellow Abstraction George Condo negotiates the still utterly contemporary antagonism between abstraction and figuration that oscillates among the dimensions of the human body, our existence, and an apparently non-figurative abstraction.