Context Art Miami




text by Dr Kostas Prapoglou, curator



Galaxies, solar systems, extraterrestrial planets and the Earth are the source of inspiration for the new body of work of Greek artist Yorgos Giotsas presented by Peritechnon Karteris Gallery Athens on the occasion of this year’s Art Miami Context.

The story embarks from the ancient Classical Greek and Hellenistic astronomy, which, in conjunction with mathematics, first attempted to identify celestial motions based on the accuracy of Babylonian astronomers and influenced by iconic samples of written philosophical treatises such as those by Aristotle and Plato. The mythological aspect of the astronomy marks the beginning of a strong bond between the two, embracing the mapping of constellations observed from the northern hemisphere and the emergence of the zodiac circle. Planets received the names of the Greek gods and all myths found their narrational counterparts in star formations, clusters and nebulae.

Surveying elements of astrogeology –the geology of planetary entities– the artist soon obtained a fascination with a number of features such as rock formations and atmosphere imbalances directly affecting the characteristics of a surface. At the same time, the presence of smaller celestial bodies like asteroids, meteorites and comets, which traverse across our solar system releasing gases and creating visible tails as a result of solar radiation, were soon engaged as additional reference points in his visual repertoire.

The materials and mediums of Giotsas are alluringly diverse. Ranging from rice paper, textile and velvet to resins, acrylics, recycled plastic sheets, spray paint and glitter, the works on view synthesize enigmatic and perplexing domains. Sometimes more inviting and other times slightly more unsettling and uncanny, his heterogeneous landscapes resonate with multi-dimensional meanings and interpretations. Unconventional elements such as eyes taken from American cartoons and colorful feathers, interrupt the surface of his works rendering a fantasy and, undeniably, an out of the ordinary world.

Influenced by the music of David Bowie as well as Robert Rauschenberg’s photo collages and Bruce Nauman’s luminosity, I define the multiple surfaces of my works in such a way that they draw color, light and shadow from one another evoking of what a traveler gazes from the window of a spaceship, which pronounces the ultimate imprint of speed”, Giotsas explains when it comes to his modus operandi for this body of work. Clearly stimulated and electrified by post-war pop culture and more particularly the aesthetics of the 70s and 80s, he looks back on how space and the unknown affected people’s lives, especially through music and the arts.

As an aftershock of Cold War games and practices, people in the Western world developed a fascination and even a fixation on outer space, the universe and alien life. This never actually went away; it was carried over from one generation on to another. The concept remained the same yet it gradually developed side by side by the rapid technological advancements achieved by governmental agencies such as NASA, intergovernmental organizations such as the European Space Agency and private aerospace enterprises like SpaceX. At the same time, the internet made a vast amount of information easily accessible to everyone; from the Google Maps and Google Sky exploration of neighbouring planets to all available data from libraries across the earth, live streaming, podcasts and millions of websites.

Scratching the surface of what is really available today, Giotsas conveys his very own passion and obsession with the cosmos. He starts his own engines to depart on a personal journey that will allow him to fulfil the need to explore unknown landscapes in different imaginary habitats.

Light, transparency, shadows, darkness, electromagnetic radiation, gravitational forces and their effects are some of the main components in his awareness of the universe. The sky, the ground and its erosion by natural phenomena, the colors of northern lights and solar winds as well as uncountable other occurrences, mesmerized and captivated the artist.

The speed of technological evolution trying to reach, compete and exceed the speed of light is also within the immediate interests of Giotsas. In an age when natural resources decline, poverty levels and societal injustices rise steadily and the Earth’s climate is being challenged severely, governments seem to be paying more attention in exploring beyond the known boundaries of humanity by seeking new opportunities elsewhere.

The colonization of the moon and Mars appear somehow more important than helping our own planet to recover from all environmental disasters caused by us. Having all these facts embedded in his subconscious, Giotsas devises his own planets, surfaces and life forms sprinkling them with glitter and space dust-like pigments. Filtered through a romantic take on what space means to him he mediates his dream for a spaceflight, a flight that will soon be available for some and, perhaps, not far from now, we will be given the chance to decide whether we wish to carry on living on this planet or opt out and try another one.



Evangelos Chatzis, Yorgos Giotsas, Vana Ntatsouli, Eleni Zouni

curator Dr Kostas Prapoglou


OPENING THURSDAY 12 DECEMBER 2019, 19.30 – 22.30

EXHIBITION DURATION 12.12.2019 – 11.01.2020



How can an autobiography distinguish itself from a memoir? What is the essence of the moment we really want to capture when we feel the urge to document a thought or a feeling that comes and goes within seconds? Do we really want to treasure this moment or is it just a subconscious force that makes us want to preserve and sustain the past?

These are only but a few of the questions that the four participating artists of the group exhibition Memoirs are the pixels of my life investigate through their personal visual lexicon and the diversity of mediums each of them employs as a conduit of artistic expression.

A biography narrates the story of a life whereas the idea of a memoir that the concept of this exhibition mediates tells a story from a life. It is a snapshot of an instantaneous vision and a piece of incomplete and unpublished writing, whose author might revisit it in the future to assemble a more finished version or simply leave it as it is.

From ancient scribbles on stone, walls and pottery to contemporary memos accumulated on electronic devices, each one of us develops and demonstrates at some point the need to contain and compress a feeling or an idea in the form of writing. It is the prerequisite of esoteric expression, initially on a strictly personal and then, sometimes, on an inter-personal level.

Coded language echoes a significant aspect of documenting everyday life. Exercising an aesthetically curious and estranging mode of recording information can oftentimes lead to the abstract resource of undeciphered memoirs. Encrypted fragments of personal notations bewilder us with the illusive quality of memory and are destined to be turned –amongst others– into works of art allowing us to access a deeper realm of reality beyond the objective concealed interpretation of each symbol. Not being able to understand the bricolage of data that expand before our eyes, we turn towards its visual texture that consequently harnesses the power of hidden meaning.

Curator Kostas Prapoglou invites each of the four artists to turn into a memorialist and present their take on the transformative and reflective power of writing, orchestrating a noetic stratification of experiences and emotions. Every work on display comes to terms with our own past and finds its place within the contemporary world.




Ritalin Shots

7 November until 7 December 2019

Curator Will Coups


In 2016, Marios Psaras released the book The Queer Greek Weird Wave, exploring how Greek cinema was altered by the national crisis and how the politics of a nation can be critiqued by a queer-eye. In his description of the text, Psaras writes ‘Cinema might not be able to help heal a broken nation but it can definitely help revisit a nation’s past, reframe its present and re-imagine its future’. This statement exemplifies not only cinemas but the wider spectrum of the arts’ ability to assess and inform a situation in a subversive manner, providing a personal insight to the state of a cultural social unconscious.

In this exhibition, Pouliassi reaches into her own experiences to understand how her personal traumatic events are influenced by dystopian instability. Key icons draw us through her works, repeating in various images until we understand their significance on all levels. Crosses, knives and guns frequent Pouliassi’s pieces, leaving us unsure whether they are reminders of past events or a premonition of what may come. Paired with this, more delicate elements such as coats, jeans and shoes. These items bring contrast to the more violent aspects of the exhibition positioning themselves as domestic and every day. Relatable to us, the objects provide an entry point into the works, a sense of the familiar that allows us to become a part of them.

The human is central in how Pouliassi expresses her thoughts. On closer inspection of the works, carefully incorporated hair and teeth can be found layered into her paintings and plaited into stilettos. These remnants of humanity are not overtly associated with death alone but become a symbol of her fetishism of the macabre. Juxtaposed with the feeling of the past that these elements signify, Pouliassi offers a visceral human connection to the present. Found objects, sex toys and media tropes frequent the gallery space, serving as tokens of our time and locating the works within the millennial epoch.

There is an air of revolution to the exhibition. Pouliassi appears to be preparing a reactionary wave against her trauma and that of her nation’s. Her large paintings emblazoned with weapons and crosses evoke flag designs. The slogans written upon them act as mottos for how she sees the current climate, a satirical call to arms. Call 911, No bullets left, Missing. There is a want to find a way to escape the distress signals that Pouliassi confronts us with, searching for the proposed future that we hope she may see. Occasions throughout the exhibition allow us to glimpse at what could be, but Pouliassi has the ability to keep us confined in her way of thinking. We become a collective with her, riding the waves of momentary utopia then being brought back into her constructed dystopian home.


Tom Kosmo – Erik Pirolt


Tom Kosmo – Erik Pirolt

The retroactive force of creation

September 26 – Oktober 26, 2019

curator Kjell-Erik Ruud


The retroactive force of creation is kind of like, how many thoughts can one have at the same time? There is no right answer, but you can resonate to an answer oneself can accept, and once this answer has been put down, then you create room for even more answers or questions. I must admit i struggle a bit whit the title of this show, there is something about these three words that play havoc deep inside of me. These three words open a microcosmos of thoughts. You try to follow down a long train of thought but end up going in circles and get thrown back to the beginning. You could compare it to a Penrose staircase (M.C. Escher). You walk up this staircase but end up at the same place you started. Or like the impossible triangle (O.Rentersvard). On paper it`s possible but not in our physical world. Erik Pirolt and Tom S. Kosmo has this power to explore and to wonder. They play around to find a possible question or answer. Of course, they come across limitations like anyone else, but the limitations doesn`t seem to stop them. They go beyond where most people would see limitations and keep on wandering. They don`t create to please, but to understand society or something inside themselves or others. When the motive is inside the artist head which then transforms into something visual, maybe that’s when it happens? the retroactive force.

Kjell-Erik Ruud
creative curator


Yorgos Giotsas


emerging surfaces | drifting across the human condition

Art-Athina 2019

13-16 September 2019 – Zappeion Mansion


On Friday, September 13th, Giorgos Giotsas’ solo exhibition from the PERITECHNON Karteris Art Gallery will be presented in Art Athina 2016 at the Zappeion Mansion. Medium-sized works made of concrete, pigments and resins will be presented.
Curated by Dr. Costas Prapoglou.

…For Giotsas, the works on view are imprints of non-human as well as human conditions. Suggestive of both natural and man-made landscapes, they ingeniously blur the boundaries between the real and the unreal. Gazing at his artworks, viewers progressively rehabilitate themselves not only into the contemporary natural environment but also the urban domain. Evocative of the duality and the visual polarities between natural phenomena and artificial occurrences such as erosion and corrosion, the artist pronounces the turbulent disorder of daily life whether this is intensively interconnected with the surrounding natural habitat or the dense urban milieu. At the same time, the works may be seen as extensions of human involvement; a seemingly post-apocalyptic, dystopian or even extraterrestrial setting nevertheless in a surprisingly much more familiar context to the aggressiveness of contemporary realism. Post-war and post-contamination objects in visual proximity to the artist’s pieces are extensively scattered or being salvaged from all over the planet, a collection of remnants and detritus of shameful human activity…

Kostas Rapoglou

Yorgos Giotsas lives and works in Athens and exhibits around the world.


Pop icons in a media drenched age




“Pop icons in a media drenched age”


OPENING JUNE 6 2019, 19:30

Duration: June 6 until July 20, 2019

Dr Thalia Vrachopoulos

Excerpt from the catalogue:
…The work of the three artists in this show Ifigeneia Avramopoulou, Yorgos Giotsas and Eleni Parmakeli visually relates to the pop culture aesthetic revived today around the world. But their goals and language differ. Avramopoulou is interested in the kind of imprint that culture and context stamp upon the individual human psyche while searching for essences. Through her iconic work, Parmakeli examines the extremes, or changes taking place between the real and virtual worlds. And, Giotsas combines word and image to convey his outrage over political events and their repercussions upon the poor sector of the populace…


Ifigeneia Avramopoulou was born in Patra, Greece. She has been granted the State Foundation Scholarship Award by IKY for her studies in Fine Arts at the Department of Fine and Applied Arts of the University of Western Macedonia, in Florina, Greece (2007-2012). Her Professors were Mr. Yiannis Kastritsis (painting), Mr. Manolis Polymeris (painting) and Mrs. Dimitra Siaterli (etching-engraving). Holder of an Integrated Master’s Degree in Painting. She has presented her work in the solo exhibition “Crucifixion, Homage to Matthias Grünewald” at the PeriTechnon Karteris art gallery in 2017 (curator: Lida Kazantzaki). She has participated in many group exhibitions and art fairs. In Greece she is represented by PeriTechnon Karteris art Gallery. She has designed and illustrated the book cover of “Orlando, A biography”, by Virginia Woolf (Gutenberg Editions, ALDINA – 11, Orbis Literae). She is a member of the Berlin bbk e.V., the Chamber of Fine Arts of Greece and the Association of Visual Artists of Patras. She lives and works in Patras, Athens and Berlin.


Yorgos Giotsas attended classes of painting at the School of Fine Arts in Greece and Graphic Design at Hertfordshire University in the UK. He lived in London, Istanbul and Athens. Today he leaves and works in Italy and Greece. Several works of him belong to private and public collections in Greece and outside, we can see some of them in particular in the Museum for Contemporary Art and 20th Century in Monsummano, in the Hungarian Open Air Museum at Szentendre – Budapest, in the Museum Kresow of Lubaczow, and at New York, in Queens College, in Consulate General of Greece at New York and in the Italian American Museum.
Up to the present, he held 10 solo exhibitions and has taken part in numerous International group exhibitions and art fairs. In Greece he is represented by PeriTechnon Karteris art Gallery.


Eleni Parmakeli was born in Athens where she lives and works. In 1997, she started her studies at the Athens School of Fine Arts, from which she graduated with first-class honours in 2003. She studied Painting at the studios of Prof. T.Patraskidis and Prof. Y. Valavanidis. In addition, she studied Engraving and Mosaic at the School s studios. Up to the present, she held three solo exhibitions and has taken part in four International Contemporary Art Fairs and twenty group exhibitions in Greece and abroad. In Greece she is represented by PeriTechnon Karteris art Gallery. Works by Eleni Parmakeli are to be found in the collection of Goulandri Museum and in private collections in Greece and abroad.
Critics and art historians who wrote on her oeuvre: Giuliano Serafini, Chrisanthos Christou, Yiannis Kolokotronis, Takis Mavrotas, Bia Papadopoulou, Athena Schina, Dora Iliopoulou Rogan.




2 April until 4 May 2019

Curator: Kjell-Erik Ruud

Felicitas Aga was born in Sweden in 1968 and grew up in Norway, the USA and Germany. She studied art at the Städelschule in Frankfurt under the great Danish painter Per Kirkeby. She spent a year at the Slade in London, where her tutor was Bruce McLean.
After further studies at Vestlandets Kunstakademi in Bergen, Norway, Aga received a DAAD scholarship in 1995, which took her back to London. She completed her education at Chelsea School of Art, London, with a Master of Arts degree in 1996. Felicitas Aga was awarded the Otmar-Alt scholarship in 1999 and the Volker-Hinniger-Preis in 2000.
She has had residencies in Italy and Florida and in 2012 she received the Atelierförderpreis des Bayrischen Staates.
She lives in Germany and England and exhibits internationally.


Rena Tzolakis



Rena Tzolakis was born in Heraklion, Crete.
He studied painting at the Athens School of Fine Arts, with the teachers Yannis Moralis and Andreas Georgiadis, and engraving with Yiannis Kefallinos.
Then, in 1959, he received the scholarship from the State Scholarship Foundation to specialize in lithography at the Ecole Nationale Supérieure des Beaux-Arts in Paris, with Pierre Eugène Clairin, who later became an assistant.
In 1960 he settled permanently in Paris.
Along with lithography, the Art of Book is taught in the famous Ecole Estienne. In 1968 he dreaded with woodcuts (standing wood with color) the book La belle Allemande, an anonymous writer for Les Mille et Un Bibliophiles. In 1968, he also linguistically portrayed the fourth volume of Paul Verlaine’s poems and Charles Baudelaire’s 1971 Flowers for the La Nouvelle Librairie de France publications, printed at the National Printing Office of France.
In 1981, the book by Dimitris Anali Lui ici, with engravings, for the Biren publications. In 2008 the Potions of the Agreement of Liquids, by Vasilis Koumis, with engravings, for the Synergie publications. In 2012 the poems L’évidence fugace, by Dimitris Kraniotis, with drawings, for the Alain Gorius publications.
Unstoppable still continues today to create without stopping and without despising any of the techniques of visual arts. She owes its reputation to her highly successful lithographs and copper engravings, as well as some who tend to classify and impersonate artists, perhaps ignore the rest of her work. But all the creations of Rena Tzolakis are as remarkable as inspired by the same passion of revival. Oil paintings, watercolors, acrylics, pencil drawings, pastels and particularly the pastel reliefs, which are entirely his own invention and invention, are equal to his lithographs and engravings, creations of the same youthful momentum, because Rena Tzolaki, like other artists he won the time thanks to Art and remains new.
Rena Tzolakis designs and prints her lithographs and copper engravings on the presses at her Paris atelier. Renna Tzolaki’s atelier was selected by American universities and there, beside her, many students were coming to Paris to study European Thought and Art.
Rena Tzolaki taught various Painting techniques at the Catholic Institute in Paris to teachers who specialize in teaching children with particular problems.
Many of her students are always in touch with her and keep their memories intensive.
He has performed several solo exhibitions in Paris, London, Athens, Aix en Provence, Auxerre, Thessaloniki and Piraeus. He has taken part in international exhibitions such as: Venice Biennale, invited at the American Pavilion, Paris Youth Biennial, 2nd International Exhibition of Contemporary Art in London, Tondo, Saga, Le Mois de l’Estampe in Paris, May Day, Paris , Comparaisons Lounge, Grand Palace, Paris, Salon des Réalités Nouvelles, Paris, Design and Watercolor Salon, Grand Palace, Paris, Art Biennale, Frechen, Germany.

Tania Drogossi


Randomly Cast About


Tania Drogossi was born in Athens, and studied fashion design at the Veloudakis School. She set up her own studio in the world of fashion, where she won distinctions in various competitions. She was awarded first prize in the TEXTILIA Panhellenic Competition at the Thessaloniki Trade Fair, the second prize for knitware, and a commendation for textile design.
She attended lessons in free drawing and painting at the studio of Eirini Koutridou, and lessons in engraving at the ATHENS ENGRAVING CENTRE, with Dimitra Siaterli and Pino Pandolfini as her teachers. She also took lessons in painting from the artist Rania Kapeliari.
Works by Tania Drogossi are to be found in private collections in Greece and abroad. She lives and works in Athens.

Personal exhibitions
2018 ‘Randomly cast about’, Peritechnon Karteris Art Gallery
2016 ‘Corpus’, ENA Art Gallery

Irene Pouliassi


Born in 1989. Athens, Greece
Currently lives and works in London, United Kingdom


2017-2018 MA Fine Arts, University of the Arts London, Chelsea College of arts, UK.
2011-2016 BA Fine and Applied Arts, University of Western Macedonia, Greece.


Honorary Mention, Worldwide exhibition, Gallery Bayer, Stara Zagora, Bulgaria

2019 TBA, Collaborative exhibition, Lisbon, Portugal
2019 TBA, Solo Exhibition in Peritehnon Gallery, Athens, Greece
2017 Sarkothymia, Balkan art gallery, Xanthi, Greece.
2016 Bodies under surveillance, Bust gallery, Richmond, VA, USA.
2016 Osteotopia, Florina’s national army Barracks art space, Florina, Greece.
2015 (Fe (OH)) People, Bios Gallery, Athens, Greece.


Drake’s Rejects, The Flying Dutchman, London Uk
Rituals & Identity, Ann Street Gallery, New York, USA
Prosalendi’s Britannia, Corfu Heritage Foundation, Corfu Greece
Hope 2, Battersea Arts Center, London,UK
Uniqlo Tate Lates 2018, Tate, London
Art Works of the Future, Tate Modern, London, UK .
An Elephant in the room, MAFA Gallery, London UK.

“FRIDGE” Pop up Group Show, London, UK
2nd Vietnam watercolor Biennale, Ha Noi Capital, Vietnam.
Loft Exhibition, Gallery Bayer, Stara Zagora, Bulgaria.
1st International watercolor Biennale, Pristina, Kosovo.
Stimulus, Greenhouse Berlin, Berlin, Germany
Oblivion Part 2, Teatro Nasseli, Comiso, Italy
GWANGHWAMUN international art festival, Sejong museum of art, Seoul, South Korea.
Abstract Mind, CICA Museum, Incheon, South Korea.
Oblivion, Giuseppe Mazzone Hall, Vittoria, Italy.
2nd Tirana International Watercolor Biennial, National Historical Museum, Tirana, Albania.
Echoes from the cave, Crypt Gallery, London, United Kingdom.
ABIO, Beton 7 Gallery, Athens, Greece.

Osten International Biennial of Drawing, Osten Gallery, Skopje, Macedonia.
Mini Castra, Lokarjeva Gallery, Castra, Slovenia.
Rem-brand name, Lola Nikolaou gallery, Thessaloniki, Greece.
Windows remains, Parthenon film festival, Parthenon, Chalcidice, Greece.
UNTITLED 2016, Chiostro Delle Grazie, Vittoria, Sicily, Italy.
Parasites, Cultural center of Florina, Florina, Greece.
Lust art in austere times, Isnotgallery, Nicosia, Cyprus.
Periapsis project, Cask Gallery, Larissa, Greece.
Φ.Ε.Κ, National Press Office of Greece, Athens, Greece.
Periapsis project, University of Thessaly, Volos, Greece.
V for versatility, AthensCon, Tae Kwon Do Stadium, Athens, Greece.
Breast Cancer Awareness group exhibition, Old school museum, Amyntaio, Florina.
Periapsis project, Romantso/Bios, Athens, Greece.

Periapsis Project, Lola Nikolaou gallery, Thessaloniki, Greece.
Moments, special guest of George Korbakis solo exhibition, Technochoros gallery, Athens.
Incubarte international art festival, Galleria 9, Valencia, Spain.
Rembrand Name project, Lola Nikolaou Gallery, Thessaloniki.
De-touch Re-movement, S.A.F, Santorini, Greece.
Undrained white, black color”, National Theatre of Northern Greece, Kozani, Greece.
Quar-t, Artis Causa Gallery, Thessaloniki, Greece.
I dared to praise, European Cultural Centre of Delphi, Greece.
Visual laundry, public installation, Thessaloniki, Greece.
Technostihia, gallery 512, Ptolemaida, Greece.
Rem-Brand name, Technochoros gallery, Athens, Greece.
People and plinths, gallery 512, Ptolemaida, Greece.

Rem-b Rembrand-name, Lola Nikolaou gallery, Thessaloniki, Greece
Rem Brand Name project, ART ATHINA, Taekwondo Stadium, Athens, Greece.
Small canvas exhibition, Papatzikou gallery, Veroia, Greece.
Family affair, Florina museum of contemporary art, Greece.