{"id":20207,"date":"2019-01-22T15:28:39","date_gmt":"2019-01-22T13:28:39","guid":{"rendered":"https:\/\/ikastikos-kiklos.com\/painters\/papaioannou-christina\/"},"modified":"2022-11-22T19:54:03","modified_gmt":"2022-11-22T17:54:03","slug":"papaioannou-christina","status":"publish","type":"page","link":"https:\/\/ikastikos-kiklos.com\/en\/painters\/papaioannou-christina\/","title":{"rendered":"Papaioannou Christina"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Christina Papaioannou<\/strong><\/pre>\n
Christina Papaioannou is a young upcoming painter<\/strong> from Thessaloniki, Greece. She has an Integrated Master\u2019s degree from Athens School of Fine Arts, graduating from Triantafyllos Partaskidis\u2019s and George Harvalias\u2019s painting studio in 2014. Her work is in private collections and has been exhibited across Greece, Cyprus and in London. In 2019 she won the MATAROA prize for upcoming artists at 4th Art Thessaloniki International Contemporary Art Fair. In 2017 her work was published in International ArtMaze Magazine, Late Summer Issue #4. She collaborates with Ikastikos Kiklos Sianti Gallery, Athens.<\/strong><\/p>\n
\n
\"\u03c7\u03c1\u03b9\u03c3\u03c4\u03af\u03bd\u03b1-\u03c0\u03b1\u03c0\u03b1\u03b9\u03c9\u03ac\u03bd\u03bd\u03bf\u03c5\"<\/p>\n
EXHIBITIONS<\/span><\/p>\n
2022     “Remedy”, Cream Athens, TAF \/ The Art Foundation, Athens<\/p>\n
2022     6th Art Thessaloniki International Contemporary Art Fair, LOS Simi \u2013 Art Yacht Club<\/p>\n
2022     Platforms Project, participation with Dogma Athens, Athens<\/p>\n
2022     Art Athina, participation with Sianti Gallery, Zappeion Mansion, Athens<\/p>\n
2022     “Summerish”, E Art Gallery, Paros Island<\/p>\n
2022     “Art Your Pet”<\/a>, curated by Manos Stefanidis, Sianti Gallery, Athens<\/p>\n
2021     Art Athina Virtual, Sianti Gallery, Athens<\/p>\n
2021     “Summer is back”, E Art Gallery, Paros island<\/p>\n
2021     “Layers”, two-person exhibition, Marina Keas Gallery, Kea Island<\/p>\n
2021     “Cycle-pursued\u2026”<\/a>, curated by Manos Stefanidis, Sianti Gallery, Athens<\/p>\n
2021     “50 x 50 Less is More”<\/a>, Sianti Gallery, Athens<\/p>\n
2021     Platforms Project 2021, “Is the History of Art a history of violence?”, installation by Dipola Art Platform<\/p>\n
2021     ROOMS2021, Kappatos Gallery, curated by Faye Tzanetoulakou, Athens<\/p>\n<\/div>\n
2020 “Perfect Eros”<\/a> group exhibition, Ikastikos Kiklos Sianti, Athens<\/div>\n
\n
2020     Small paintings exhibition, Sianti Gallery, Athens<\/p>\n
2020     Art Athina Viewing Rooms, virtual exhibition, Sianti Gallery, Athens<\/p>\n
2020     “Tondo”<\/a>, curated by Manos Stefanidis, Sianti Gallery, Athens<\/p>\n
2020     “Blue after dark”<\/a>, Sianti Gallery, Athens<\/p>\n
2020     “I shall be your Eve”, four person exhibition, The Blender Gallery, Athens<\/p>\n
2020     \u201cL’art n\u2019a pas de frontieres\u201d, French Institute of Thessaloniki<\/p>\n
2020     \u201cBallance in two dimensions\u201d, Sianti Gallery, Athens<\/p>\n
2020     \u201cToday at GNA \/ # Hospital Art\u201d, GNA 251, Athens<\/p>\n
2020     \u201cLush Art in Austere Times\u201d, Is Not Gallery, Nicosia, Cyprus<\/p>\n<\/div>\n
 <\/div>\n
2019 “Small Paintings”<\/a> group exhibition, Ikastikos Kiklos Sianti, Athens<\/div>\n
2019 “Art Thessaloniki”<\/a> Contemporary Art Fair, Ikastikos Kiklos Sianti, Thessaloniki<\/div>\n
2019 “A beach in the city”<\/a> group exhibition, Ikastikos Kiklos Sianti, Athens<\/div>\n
\n
2019     “Anorioton – Object of the Imagination”, two person exhibition, J\/M Gallery, Notting Hill, London<\/p>\n
2019     Group exhibition, presented by Varvara Roza Galleries, La Galleria Pal Mal, Mayfair, London<\/p>\n
2019     \u201cGenerations\u201d, Contemporary Art Exhibition, DIPOLA Art Platform in collaboration with Lola Nikolaou Gallery, Municipal Art Gallery of Malevizi, Crete, Greece<\/p>\n
2019     \u201cTraces of a lifetime\u201d, Contemporary Art Exhibition, House of Culture, Rethimno, Crete, Greece<\/p>\n
2019     \u201cCulturaHER2019\u201d, Cultural Center of Heraklion, Crete<\/p>\n
2019     \u201cAffordable Art\u201d, Lola Nikolaou Gallery, Thessaloniki<\/p>\n
2019     \u201cA beach in the city\u201d, Sianti Gallery, Athens<\/p>\n
2019     \u201cInternal Body\u201d, two person exhibition, Museum of Visual Arts of Heraklion, Crete<\/p>\n
2019     \u201cLush Art in Austere Times\u201d, Is Not Gallery, Nicosia, Cyprus<\/p>\n
2018 \u201cSmall Paintings\u201d<\/a> group exhibition, Ikastikos Kiklos Sianti, Athens<\/p>\n<\/div>\n
2018 Art Thessaloniki Contemporary Art Fair, Ikastikos Kiklos Sianti, Thessaloniki<\/div>\n
2018 – \u201cArt 19\u201d, group exhibition, Technochoros Gallery, Ioannina<\/div>\n
2018 – \u201cSerendipity\u201d, group exhibition , Piraeus Conference Center, Thessaloniki<\/div>\n
2016 – Group exhibition, Spyral Art Gallery & Mykonos Blu Exclusive Resort, Mykonos<\/div>\n
2015 – “Dare to Dream”, Art Display Windows of \u039f\u03a4\u0395 organization, Thessaloniki<\/div>\n
 <\/div>\n
\n
\"\"\u201cIn essence, the poet has one theme: his living body\u201d<\/em><\/strong>
\nGeorge Seferis, poet<\/em><\/strong><\/p>\n
The work of Christina Papaioannou presents us with such a rare proposition: a kind of painting (or should I dare say \u2018post-painting\u2019?) in which the integration of Digital and Painting aspects creates a newly born form. In my opinion, the fact that the ensuing artistic product does not lean towards either of those two elements, indicates the completeness of the integration itself. Papaioannou\u2019s artistic process works like a blender, grinding together scattered references to Art History (with a prominent love for Durer\u2019s engravings), countless painting styles (the coexistence of which, has long been an insurmountable artistic taboo), various interactive procedures (such as children\u2019s paintings made by the artist\u2019s pupils) and, of course, Pixels, videogames and the digital world. It goes without saying that, if all those obviously contradicting elements where to coexist in a lifeless way, they could easily become a postmodern extravaganza (nothing wrong with that). Yet, this is not the case here. Surging through the interference produced by the transmission of segmented images, the final result seems to have a special balance of its own, as if it preexisted as a form in its own right.<\/p>\n
\"\"<\/p>\n
By chance? I wouldn\u2019t think so\u2026<\/strong><\/p>\n
 <\/strong><\/p>\n
Her composing methods are closely related to the 20th century collage legacy. Yet, in Christina Papaioannnou\u2019s cocktail, the different elements (used in considerable abundance) are being dissolved. In the end, they remain fragments or scarps (detectable only by the acutest eye) of a world shattered through a process that we, as outsiders, cannot decode. I surely can\u2019t, even though I am the one writing these words looking at the very works of the exhibition. I think the source of the enigmatic nature of Christina Papaioannou\u2019s painting is an element of randomness – as I\u2019m tempted to call it, although I very well know that it is not so. In reality, there\u2019s nothing random about it since the artist is in full control of her creative means, from the start to the very end. But there is one element in this planetary collision of forms, shapes and references that does not allow, in my humble opinion, the implementation of any established aesthetic rules. Undoubtedly, the 20th century has already challenged all of them.<\/p>\n
 <\/p>\n
Yet, in my eyes, Christina Papaioannou\u2019s painting has an eerie relation to the art of an alien civilization or, better yet, that of an Artificial Intelligence. What I just wrote may sound strange, but I honestly cannot express it in a better way. If I wasn\u2019t acquainted with her (basically handmade) artistic procedure, I would be talking of Data Visualization in chaotic collision or an Iconic Rorschach Test invoking the viewer\u2019s deepest fantasies or fears. The entire Art History \u2013 especially that of the non-representational art \u2013 could be conceived as a constant Rorschach Test. This psychological test presents the participant with symmetrical, but randomly created images. Most participants identify those shapes with images of their subconscious \u2013 their fears and desires. They usually imagine abstract shapes or forms but most of the times, even though these images are not the product of human intellect, they recognise human figures. This augmented role of the viewer can be applied (if it\u2019s not already being applied) in painting, as well. It rests upon the viewer to interpret a work of art by letting his\/her imagination free. When Jackson Pollock released the Wind- bag of Aeolus, he turned the whole artistic experience into a Rorschach Test, calling upon the viewers to either aesthetically admire an abstract work of art, or try to interpret and explain it. The most recent effort of stretching this notion of randomness, was made by Damien Hirst. In my opinion, Christina Papaioannou\u2019s painting takes the viewer\u2019s self-psychoanalytic process to an even higher level (as gamers would put it).<\/p>\n
Thanasis Moutsopoulos<\/p>\n<\/div>\n
[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] Christina Papaioannou Christina Papaioannou is a young upcoming painter from Thessaloniki, Greece. 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