Lida Kazantzaki
Papadopoulos experiments with different forms of expression, modern and traditional tools and materials. He moves from the real to the virtual and back again with constant sculpture and painting. He sets up three-dimensional constructions" with a camera and recordings from television programs, searching for the meaning of words such as "I. He paints abstract and rhythmic color compositions using an educational nuclear waste management robotic arm, controlled by a computer, two sensors and software, a paintbrush and inks. The final installation is reminiscent of the ironic images made with pieces of machines such as that of the "love parade" of the Dadaist Picambia. He creates the well-known equestrian figure of Georgios Karaiskakis in Zappeion, which was created in the spirit of academicism by Michael Tobro in the 60s, taking advantage of the possibilities given by the new multimedia. In the 3D video the form of the '21 fighter gradually mutates repetitively or instantaneously. Its material seems to be subject to the wear and tear of time: It is covered with a patina that erases its features, but retains the shell of its design and the impetuosity of its movement. It is dismembered, as if by a violent operation, which leaves its limbs to show through the fragment the power of the chisel and the muscles, as in the works of Michelangelo and Auguste Rodin. It is devoured, as in Giacometti's abstract sculptures. It becomes a floating mass of particles. It is placed in a dreamy or nightmarish landscape, depending on the perception of the viewer, made with blue-grey skies, clouds and abstract unreal but also organic forms that lead us to the paintings of the surrealists Tangi and Dali. Nikos Papadopoulos investigates, I would say, with the help of the means of technology, without being possessed by them, the aspects and limits of human expression. It deconstructs and structures according to the principle of the exponent of amorphous art Jean Fautrier, "Painting cannot do otherwise. It must be destroyed, to be renewed again and again"
Quote by: Lida Kazantzaki
https://www.avgi.gr/tehnes/83588_o-zografos-toy-mina
Konstantinos Bassios
Reflecting a version of the postmodern condition, the exhibition presents an environment meticulously crafted with an array of artistic and technological applications. These installations aim to critically evoke reminiscences of certain elements that define our contemporary era. Of particular interest is the work of Nikos Papadopoulos, which can be viewed as an affirming, if not instilling, imaginative expression echoing themes found in the writings of Jean Baudrillard. The exhibition, titled "Posthuman, past politics," is structured into three distinct sections. The first section features a video projection inspired by digital games, constructing a dystopian scenario populated by characters from various societal backgrounds. Utilizing computing sensors, interactions within this environment dynamically adapt, echoing Baudrillard's discourse on the "spectacularization of the trivial." This simulation serves to underscore the notion that "life imitates art," challenging conventional assumptions and directing attention towards the spectacle rather than genuine meaning. The second section, perhaps historically preceding the first, offers a contemporary reinterpretation of Plato's "Protagoras." Through a semi-spectacular presentation, the artist embodies the role of the reader, facilitating an "Immanent Rehearsal to impossible exchange" wherein meaning, position, and opinion are fluidly redirected within the philosophical dialogue. In contrast, the third section presents the visitor with three simulacra, altered representations of the artist himself. These effigies, resembling clones, aim to explore identity formation and interpersonal relationships through acts of appropriation. Even the artist, in acknowledging his self-representation, invites reflection on his own role and interactions within society. In summary, the exhibition defies linear narratives, offering a multifaceted exploration of contemporary themes and philosophical inquiries.
Konstantinos Bassios
member of A.I.C.A., highlights the exhibition's nuanced engagement with postmodern discourse and its implications for understanding our complex contemporary reality.
https://hub.uoa.gr/past-human-past-politics-exhibition/