videos

AFTERLIFE, Short Film, 00:03:22 , Aigina 2016, @ [OUT] TOPIAS – Performance and public / outdoor Space)  @  Benaki Museum, Athens, Texts by Apostolis Artinos, Ioannis Dedes, Violleta Zefki

Το εγκαταλειφθέν εκμαγείο του Κούρου της Βολομάνδρας μέσα στο εγκαταλελειμμένο καποδιστριακό Εϋνάρδειο κτίριο, αναγεννάται παράγοντας το έργο του Διονύση Χριστοφιλογιάννη, ακολουθώντας μια διαδικασία ανάλυσης, ερμηνείας, επαναπροσδιορισμού και τοποθέτησης του εαυτού στο “σήμα” του Τώρα, μιας διαδικασίας που προσομοιάζει στα επιθανάτια τελετουργικά και μέσω αυτών και των αρχέγονων καθαρμών δια πυρός και θαλάσσης. Στα χέρια και το μυαλό του Χριστοφιλογιάννη αυτό το αντίγραφο είναι ο αρχετυπικός  μεγάλος νεκρός. (…απόσπασμα κειμενου Ι.Δεδε)  … Ο κούρος του Διονύση Χριστοφιλογιάννη, σύμβολο θανάτου κι αυτός, είχε την τύχη να πλαστεί εκ νέου, να αναγεννηθεί στο πρότυπο του Κούρου της Βολομάνδρας, να στολιστεί με περίσσια αγάπη και φροντίδα και να παραδοθεί στην καθαρτική πυρά δίπλα στη θάλασσα. (… απόσπασμα κειμενου Β. Ζεύκης) … Το ίχνος του Άλλου, που είναι και ίχνος μιας αρνητικότητας, το εσώγλυφο μιας απώλειας, μια οπτική, εν τέλει, ψευδαίσθηση, ένα παιγνίδισμα της εικόνας, μία επένδυση, ό, τι απέμεινε απ’ αυτήν. Το σώμα του Κούρου, γίνεται έτσι, στο έργο του Χριστοφιλογιάννη, ένα αυτοπαθές αντί-κείμενο. Μέσα στον φλογισμό των μετωνυμιών του, εντοπίζει και την αλήθειά του. Χαράξεις που του επέφερε ο πόθος και τον περιζώνουν τώρα στη διαφορά του. Η φλεγόμενη δαντέλα αφήνει μόνο τα εσώγλυφα ίχνη της πάνω στο δοκιμαζόμενο σώμα. Ένα σώμα που φλέγεται, αυτός ο φλογισμός του βλέμματός του, μία μορφή πλέον εξαϋλωμένη, μία διάτρητη επιφάνεια. Χαράξεις λοιπόν, ρωγμές, αυλακώσεις νοήματος, ιστορημένα ίχνη, αυτά μόνο τα ίχνη του Άλλου. (… απόσπασμα κειμενου Α. Αρτινού)

The abandoned mould of the Volamandra Kouros, located in the deserted kapodistrian Eynardion building, once again comes to life producing the work of Dionisis Christofilogiannis. It follows a process of analysis, interpretation, redefinition and positioning of the self in the “signal” of the Now, a process that simulates the deathly rituals and though these, as well as through primordial purification processes that entail going through fire and water. In the hands and mind of Christofilogiannis this replica is the archetypal great dead.  . (…excerpt I Dedes text) Dionisis Christofilogiannis’s kouros, also a symbol of death, was lucky to have been sculpted anew, to have been reborn patterned after the Volomandra Kouros, adorned with love and care, surrendered to the cathartic fire by the sea. (…excerpt V.Zefki text) The trace of the Other, which is also a trace of a negative, the carving of a loss, what is ultimately an optical illusion, a floric of the image, a coating, what is left of it. The body of the Kouros becomes in the work of Christofilogiannis a reflexive object. Within the enflaming of its metonymies it also traces its truth. Carvings that are brought upon by desire and now surround him in its difference. The burning lace only leaves its counter-relief traces upon the body that is under trial. A body that is burning up, this enflammement in its stare, a now disembodied figure, a perforated surface. Carvings then, cracks, corrugations of meaning, illustrated traces, only these; the traces of the Other. (…excerpt A.Artinos text)
The core of the exhibition presents video projects created in Greece in recent years which attempt an approach of outdoor, public space through performing arts. The movement towards outdoor space is linked to the renegotiation of public space as primarily shared space and is accompanied by an increased interest in the distinct physical features of the surroundings as they contribute structurally to the realization of the performance event.

White Torso, HD video 02:15:00, Dionisis Christofilogiannis, performer Yannis Adoniou, camera, editing Yiannis Myronidis, 2015

vlcsnap-error383

PLAY VIDEO >

In White Torso a dancer, dressed in white crochet, engaged in gymnastic exercises, making mechanical and stylized movements. Christofilogiannis inspiration came not from the center of the dancer’s experience, but from the costume itself, which eliminates the torso and which the dancer measure out rather than feel out or explore.The white crochet sub-ordinates the body of the dancer and acts as sculptural shell in proportions and aesthetics. Gently with the embroidery as a female symbol, the male dancer is covered completely with a feminine crochet. It is a protest against forgetting and the need of contemporary art to be reinterpreted from the old myths and the archetypes of art hidden within labor, repetition, concentration. The use of special lighting creates a mysterious, almost metaphysical atmosphere disappears the body and turning him into a mechanical doll. In White Torso Christofilogiannis limits and mechanized the kinesiology of the dancer, turning him into a human puppet doll, a process that refers both conceptually and aesthetically, to the experimental works of modern artists of the early 20th century, like Oscar Schlemmer’s Triadic Ballet.
Moreover, the gymnastic with almost obsessive way the dancer creates an architectural body, conversing with the lines of sculptural constructions in space. (text Konstantinos Argianas)


Clouds, 00:03:36, 2009, Dionisis Christofilogiannis (with Mihaela Trofimov, music Fabio Cortese)


In the vision of Dionisis Christofilogiannis the chromatic limitation perpetuates as well in the twenty or so white clouds where seemingly the protagonist’s mind lingers. Mihaela Trofimov is as convincing at the age of 11 as she is at that of 35. The actress knows so well how to reproduce the emotional dynamics, the sliding dictated by the hesitations of the nubile, by the pulsions repressed due to moral principles, education, preconceptions and taboos. The girl that she interprets sees herself as torn apart between the love for the uncle and guilt. Her acting explains the importance of gestures, the aboulia and the dizziness of the girl that is wanted by boys, intuitive, but still lacking in the instruments needed to decode the intentions of the grown ups. In the halo of the haze and the effort of understanding, she emotionally walks on quicksand, becoming an easy to manipulate object. How I Learned to Drive is a play written by American playwright Paula Vogel. The story follows the strained, sexual relationship between Li’l Bit and her aunt’s husband, Uncle Peck, from her adolescence through her teenage years into college and beyond. Using the metaphor of driving and the issues of pedophilia, incest, and misogyny, the play explores the ideas of control and manipulation.