“Topheth”, Yiannis Theodoropoulos’s first book, is about the loneliness of objects, the memory of mosaic floors, the allure of bed sheets and of creases. It is also about the loss of love, the notion of sacrifice and (the process of) victimization, the search for a coherent subjectivity and the impossibility of this endeavour. The principal theme of Theodoropoulos’s images is the ‘end of tradition’, as the artist himself notes; not just the tradition of photography obviously, but the end of a sense of commitment-personal, social, as well as artistic. From this perspective, Topheth marks the end of submission to perpetuating complexes that cause a slew of guilt and blame. In this book, artist Yiannis Theodoropoulos ‘strips himself bare.’ The crypt opens up: his house in Magoufana –what the area of Pefki was once called– now resembles a museum of personal memories and illusive-destroyed collective dreams. —Christoforos Marinos
Edited by Christoforos Marinos with texts by the artist and him.
