I have always been interested in the language of the image, moved by this work, the presence of which can raise certain questions. More than exhibiting an artwork, I prefer to observe, to act, to intervene in such a way that the result is truly something minimal but of the utmost dynamism; and by utmost dynamism I mean the utmost opportunity for one to be able to be present. You are exhibited opposite him (the viewer) who must discover this place, by giving a sign, working in a space that is truly emphatic. Thus, as one musical note follows another, the eye is directed slowly, slowly there, to where there is a small marvel of a something, which is not seen outwardly and which is to reveal itself. In this sense, I believe that the ‘given’ exhibition space could be very interesting when viewed critically. After that, it should be necessary to discover other possibilities as well, where something could change ever so slightly, where it may still even be almost impossible to exhibit. The truth is that what I desire is not answers, rather the opposite, namely, to generate questions through presentation. I like to work in a way that is direct, transparent, seemingly simple, almost letting things reveal themselves, that’s what interests me most. Furthermore, history concerns me deeply (in relation to its making a statement on current reality), that particular kind of human record, of this (via art) continuum: To make so as to be able to see, that is, to be able to take the risk of beginning something without knowing how it will turn out in its final form. —Athina Ioannou
Complete with an essay of Denys Zacharopoulos, this publication presents the work of the artist Athina Ioannou.
