Vaggelis Choursoglou / Woozy We Are Many but Scattered
curator: Katerina Nikou
opening: Wednesday 22 May, 2019, 19:30-22:30
May 23 – June 10 2019
How does it feel being an artist in a country that is in a constant crisis? The system has failed.
The time has come for us to reconsider our position towards the status-quo of a society that exposes us to precarious conditions. A political impasse. Vaggelis Choursoglou for the first time opens his studio to the public to present his works within their natural environment. A world unique/ poetic/aggressive / imaginary consisted of fictitious characters. The city, the street and the concept of utopian architecture prevail in his artistc practice. Murals, sculptures and works on canvas trace the path from utopia to dystopia. Psychedelic patterns, incomplete cities, triangular forms, a sense of the absence of space and time, different spheres of life are used as a tool of social, political and cultural critique.
Vaggelis Choursoglou proposes a hidden universe, a gesture of counterculture, reconstructing, remodeling and commenting on issues such as the social exclusion, the marginalization and the changing urban architecture within an environment that is constantly under construction. Distanced from institutions and structures, his art studio is a place of free expression, without censorship and boundaries, a place for reconsideration, self-action, a place for visual resistance. How do we feel when we live and act in a big city within which a whole universe is included? Which are the tribes of this city? Is it proper to speak about different tribes in the modern society? The term tribe is used by the artist as a means of detecting the different micro-communities of the urban landscape: street sellers, artists, tourists, activists, apolitical persons, people working under harsh working conditions, demonstrators, teens, employers, politicians, animals, plants, ghosts and many others. There is a diffused flow of energy in his works originating from his personality. His continuous pulse and his potential propel him to use the expressionistic language to comment on crucial social realities. The reality and the imagination interact for the construction of a particular personal language.
Vangelis Choursoglou uses his own symbolic dialect in his personal space (the studio), producing a special system of relations. The viewer actually follows the evolution of his visual diary: imaginative, emotional, mysterious.