PRESS & PUBLICATIONS
Galleries from around the world have reported strong sales during the first few hours of this year’s edition of the Art Dubai art fair, which is currently taking place at Madinat Jumeirah until March 18 with a lineup of 94 galleries from 43 countries.
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Well, we’re here. With 2016 finally coming to a close, the art world has landed in Miami for another Art Basel bacchanal. But along with the carefree glamour of the galas and the private parties, trepidation hangs in the air—whether it’s acknowledged or not. With rising tides, both symbolic and real, increasingly threatening the art world’s private paradise, we are caught between anxiety and blissful disbelief, ruefully letting the champagne flow every December, until, one year, we might be waiting on Collins Avenue for our Ubers in waist-high water. Here is some art to see in Miami that reflects our anxious times, and the promise that we may overcome them.
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Art Basel today announced the gallery list for its 2016 show in Miami Beach, comprising 269 leading international galleries, drawn from 29 countries across North and South America, Europe, Asia and Africa.
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Despite talk of an art market slump and concerns over Zika virus, the show will go on.
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There is something promising, something desirable about the Swedish model, especially in times of global economic crisis when the Swedish economy seem
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Born 1968, lives and works in Athens.
Kostis Velonis’s sculptures have some of the qualities of a manifesto. They are all built to a clear architectural plan, and their structures and materials create a sense of being derived from other objects and from previous works. It is as Velonis has developed his own reading of the history of sculpture, a sort of private dictionary that he has re-assembled again in every work of art. From Russian Constructivism to the Bauhaus and the radical movements of 1968, Velonis takes up the grand narratives and edifices of ideas, carrying them over into sub -narratives of personal struggles, passion and solitude. Literary figures like Don Quixote serve as models for melancholy heroes amidst lost dreams of revolution.
His pieces appear humble and serene, but display an uncanny calmness marked by the many practices from which they emerge, such as his own art historical interpretations and his fascination with certain literary classics. His sculptural work involves a process of infinite translation. No single mind is involved for the definite form of a piece; it is the result of collision of many interpretations of an inherited past which coexists with the here and now. The flow of different sculptural languages in the work creates an awareness of the lack of correspondence between the sources and the result, between the choice of materials and their meaning or the role they play.
An Excerpt from Chus Martinez’s “Private Dictionary”, Creamier (London: Phaidon, 2010).
Velonis’s recent exhibitions include Newtopia: The State of Human Rights, Kazerne Dossin Museum and Documentation Centre of the Holocaust and of Human Rights, Mechelen, Belgium (2012); The promise of Happiness, Signal Center for Contemporary Art, IASPIS Artist in Residence, Malmo, Sweden (2011); Building the Stage, Omikron Gallery, Nicosia, Cyprus (2011); Melanchotopia, Witte de With Contemporary Art Center, Rotterdam, Netherlands (2011); A Rock and a Hard Place, 3rd Thessaloniki Biennale of Contemporary Art, State Museum of Contemporary Art, Thessaloniki, Greece (2011); Pastoral Dreams in the Days of Bankruptcy, Dana Charkasi Gallery, Vienna, Austria (2010); Loneliness on Common Ground: How Can Society Do What Each Person Dreams, National Museum of Contemporary Art, Athens, Greece (2010); The Marathon Marathon Project, Acropolis Museum, Athens, Greece (2010); Politics of Art, National Museum of Contemporary Art, Athens, Greece (2010).
Kostis Velonis's blog: www.kostisvelonis.blogspot.com
For additional information about this artist, visit Mutual Art
