beroutsos

Beroutsos Athanasios

2011

The Works

Erysichthon (2010)

On the occasion of the Night and Day of the Museums, the Network of Museums and Cultural

Institutions of the Athens Historical Center organizes its first major joint action.

The Network recommends art walks in the venues of its members, which host parts of the

exhibition:

Organisation

Hellenic Folklore Research Centre of the Academy of Athens Scientific Supervisor:

Aikaterini Polymerou-Kamilaki, Director of the Hellenic Folklore Research Centre

Exhibition Coordinator:

Louisa Karapidaki, art historian, permanent associate of the Hellenic Folklore Research

Centre

With the support of the Network of Museums and cultural Institutions of the Athens Historical

Centre and the Goulandris Natural History Museum

The story of the exhibition

People often say that “nature avenges itself”. Nature, however, does not have sentiments to

allow her to get angry and vengeful. What appears to us as a punishment is the result of our

own actions, when they disturb the balance of the natural environment. Human intervention,

when directed by avarice, voraciousness, and imprudence, can prove extremely dangerous,

whether it leads to the destruction of forests and thickets or to the pollution of the atmosphere

and the contamination of rivers and seas.

The primitive man, confronted with the elements of nature, attributed magical and divine

powers to them and worshipped them in order to appease them. As his knowledge of the

natural environment increased, he discovered the delicate balance that ruled it, and realized

the need to protect it, in order to live in peace with it. This attempt for protection often led to

the demonization of the natural elements and forces, usually out of respect or fear. Hence,

forests and thickets were dedicated to deities, the trees acquired protector spirits (Dryads,

Hamadryads, Dendrites deities); the springs, rivers, and lakes had their own fairies, nymphs,

and Lamia, and all of them were intended to discourage every enemy eager to exploit the

natural resources, thus undermining the future of following generations.

The ancient myth of King Erysichthon of Thessaly, as preserved by the Greek poet

Callimachus in his hymn to Demeter, proves that our ancestors had realized nature should be

treated with respect and total admiration; failure to do so would have severe repercussions for

mankind. King Erysichthon was a greedy, sacrilegious and disrespectful person. His decision

to cut down the holy tree of Demeter, in spite of the pleas and warnings of the nymph residing

inside it, led to his punishment by insatiable hunger. After he consumed everything that

belonged to him and his family, he ate his own body parts and finally died, without ever

managing to satisfy his hunger.

The myth symbolically alludes to avarice and to the thoughtless exploitation of natural

resources, caused by human beings, who consume insatiably and beyond their basic needs.

Dimensions: 85 x 32 x 30 cm Materials: wire, plexiglass.

River Memorial - Salvation (2010)

Installation at the Hospital Salvation (SOTIRIA) in the exhibition "The Plan of Salvation –

Memory and illness in visual discourse. Curator, Panagiotis S. Papadopoulos.

The story of the exhibition

The art in the hospital is one of the most interesting application programs in the visual arts in public places. Especially in Europe the art, in various ways, been taken into hospital. But the report to the hospital "The Salvation" is not just a visual presentation of the sensitive areas of the hospital. The area of the hospital's salvation is a historically charged setting in which many stories unfolded. It is the first Greek folk sanatorium (1903) created as a result of the philanthropic culture of the 19th century. It will work for half a century as a space-confinement-voluntarily or involuntarily for tuberculosis patients. There was a typical case of a heterotopic,in a space where society isolate a specific group of people was, in it-in a crisis situation. During the occupation Salvation is-again-with the history of executions in the combatants and prisoners escape. This space is both museum and social space that has a practical purpose even today, after working as a general hospital. The audience of this report is not only art lovers but also the patients themselves and the hospital staff. The art project is on the premises of the hospital "Salvation." Organized by the Athens School of Fine Arts, management and unions and cared of the hospital. This is a thematic exhibition, focusing on the history of the hospital, including painting, sculpture-video art and structures which will be presented outdoors at the hospital in the auditorium and in a neoclassical building of 1915 has given him the purpose. It is one of the few times that an art event opened with so much tension in society and even in a sensitive area such as this one hospital. The "Memory River" is an installation at the river previously existed at the Hospital. The red figures emerging from the river belong to four people who contributed to the history of this area. This is Sophia Schliemann, the woman who founded the "salvation" that "conversation " with the doctor and director of Mr. Metallinos, who made the transition to the hospital from the ghettos of tuberculosis in the modern hospital. On the other side of the bridge can see the conversation between writers and poets in their writing, we learned about the disease and the events of the Hospital. There are G. Ritsos and M. Polydouri.

Dimensions: 4 frames 150 x 50 cm

Materials: Stainless steel, acrylic sheet.

By thinking in Olive (2010)

This section starts from the 2008 report "with the thought of olive, give motion to a wheel

traveled our" organized by the Cultural Foundation "The Routes of the Olive Tree and the

Chamber of Messinia, in collaboration with the Gallery" Psycharis 36.

Throughout the module negotiate its relationship with humans olive whether it comes

from Greek mythology or everyday use.

Eve (2010)

Dimensions: 63 x 20 x 11,5 cm

Materials: wire, plexiglass.

Rolling the Olive (2008)

Dimensions: 90 x 64 x 23 cm

Materials: Copper wire, plexiglass

Labor (2010)


Materials: wire, plexiglass.

TRUE – FALSE (2008)

The importance of the binary system in the digital world of computing lies in the fact that it

describes systems that have only two modes: open - closed, true - false, Male - Female, 0-1.

Looks like a fight between groups, a fight without a real winner, as the question of truth or lies,

is timeless, and hangs in all societies, often changing roles and redefining situations.

In recent years my involvement with computers, it made me discover a world behind the

screens, games consoles and even our mobile phones. A world created by the flow of

electrons in the transistor chip and optical fiber cables and copper. So translating information

materials, my thoughts led me to create three-dimensional images in space, back to

sculpture.

Thus, through a variety of trips on screen, the human figures are converted to copper grids,

which arise dimensional endless renderings outside their natural environment, next to us.

In recent years more and more use of words such as Cyberspace, Digital, etc… The Gibson book in the "Neuromancer” 1984, gave the definition of Cyberspace. A consensual hallucination of living every day millions of legitimate operators in every country, children learn mathematical concepts ... A graphic representation of data from across all computers in the world. Unthinkable, complexity. Lines of light across the no space of the mind, clusters and constellations of data. As the city lights flicker. On this run in the Internet superhighway, carrying information in the form of tens of thousands of 0 and 1 second, and their operators to convert to digital and those recipients. The virtual or digital world is so close and the transformation of man into a digital entity and the entity on digital human being negotiated by this section.

«Hacker» (2007) The term hacker comes from this very un-space area, but has begun to spread in our world in

almost every area of creative thinking, strengthening the unique resistance ...inventiveness.


Materials: Copper wire, clothing, shoes

Always On (2008)

The figure physical dimensions of this project is the counterpart of the figure of the Hacker.

We have to do with modern humans, who routinely use the Internet. It is largely dependent

on it, or the space of our lives makes us depend more and more, so we almost always and

everywhere an on line connection.

If we observe the rapid growth of wireless services and notebooks, as well as the technology

of mobile phones that provide our growing internet technologies, we understand how close we

are in our time Gipson describes in his book.

People today are so constantly on line and data via laptop computer to run "... like the city

lights flicker.


Materials: Copper wire, paper, clothing, led.

Digital Offer (2007)

This project is the visualization in real space of infinite utopian Internet - Digital offers any

kind inundate us daily, creating our virtual needs. Stationary Suppliants we are try in to

defend ourselves in our digital consumerism persecute us.


Materials: Wood, copper wire, acrylic sheet, led

ASCII – KID (2006)

(ASCII: American Standard Code for Information Interchange).

Worldwide there is a movement called ASCII - Art. This artwork made from elements of

letters or numbers, in fact the continuation of telex art and the art of typewriter.

This project is a 5 minute video that shows a toddler wandering in a cyber-space. Thechild is

created from the unique information "understands" the PC, which is nothing other than 0 and

1.

ATHANASIOS BEROUTSOS

www.beroutsos.gr/

[email protected]

Address: Aristofanous 4, 111 46 Galatsi Athens Greece

Tel.: +30 210 29 12 388

CURRICULUM VITAE

1969 born in Baden, Switzerland.

1987 – 1990 Diploma of Radio and Television Electronic.

1991 – 1999 studied Sculpture at the Athens School of Fine Arts (ASFA), Athens.

2000 – 2003 Master in Digital Arts (ASFA)

2007 – 2011 Visitor teacher at the Department of Plastic Arts and Sciences of Art of the

University of Ioannina.

Solo Exhibitions

2008 “True – False”, Eos Gallery, Athens.

2008 “20th Century” Morfes Gallery, Rethymnon.

2001 “Civilization”, Eos Gallery, Athens.

2000 Bosch Gallery, Athens

Group Exhibitions

2011 BAZAART “EXCLUSIVE” , Technopolis, Athens.

2011 A month for “BAD FELLOWSHIPS” At Michael Cacoyannis Foundation, Athens

2010 “Erysichthon” Reading the Modern Myth, Cultural Center of the City of Eleusis "Leo.

Kanellopoulos, Eleusis

2010 Oli - Vie - R, Tribute and olive oil, Meknes, Morocco

2010 “The Plan of Salvation” Memory and disease in artistic discourse. Athens

2010 “Erysichthon” Reading the Modern Myth, Museum of Greek Folk Instruments Moysikon

Anogeianakis F., Athens.

2010 Petalouda Art Gallery, Naxos

2009 "The Human Form in Art", Technopolis, Athens.

2008 "90 Years KKE" Report visual arts in honor of 90 years of the Communist Party,

Technopolis, Athens.

http://www.beroutsos.gr/

2008 "In the preamble to the olive, give motion to a wheel, we traveled," Report on the visual

arts Rally FIM 2008, Psycharis Gallery 36, Athens.

2007 "Pots of Life" Exhibition of plastic arts at the Motel Xenios Zeus, International Festival of

Ancient Olympia 2007, Ancient Olympia.

2004 "1st Group Exhibition of Fine Artists for the local" Cultural Center of Galatsi, Athens.

2003 "11" Psycharis Gallery 36, Athens.

2002 "Visual Route" Psycharis Gallery 36, Athens.

2001 "With a common starting point" Sculpture, Art Tower "Erato", Athens.

2001 Gallery "Bosch", Athens.

2000 “Calendar 2001" Gallery Eos, Athens.

1999 “Graduating Class 99” Athens School of Fine Arts "Factory", Athens.

1996 National Bank of Greece, Athens.

1993 "2 &1 " Alba, Athens.

Participations

2003 Look Out, Athens

2003 "InteractivA 03" Biennale for New Media Art (Yucatan / Mexico) [Remembering] -

[Repressing] - [Forgetting] – Festival (curator: Anna Hatziyiannaki).

2003 Light Image, Aegina.

beroutsos

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