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Michalis Manousakis

Michalis Manousakis
Michalis Manousakis
July 12, 2008 - August 6, 2008

Virvili Square
18020 Poros Island

(+30) 697 9989 684

Opening Hours
11.00-13.00 & 19.00-23.00

About the artist

Michalis Manousakis was born in 1953 in Chania, Crete. He studied painting at the Athens School of Fine Arts (1979-1984) under D. Kokkinidis and D. Mytaras. He presented his first solo exhibition in Thessaloniki (Diagonios Gallery, 1979). The largest part of his oeuvre is anthropocentric. His interest lies with simplified figures and their relation to their surroundings. In many cases, he creates beyond the canvas, composing conceptual projects or installations with symbolic allusions. Old toys have proved to be a significant tool of inspiration, which he has been meticulously collecting for many years. He teaches painting at the Athens School of Fine Arts since 1987, where he was elected full professor in 2014. He has presented many solo exhibitions and has participated in numerous group shows in Greece and abroad. In 1994, he participated in the Alexandria Biennale, where the Greek participation won the Best National Pavilion Award. He also participated, among others, in the exhibition Classical Memories in Modern Greek Art (Capital Museum of China, Beijing; 2007). In 2012, he presented the exhibition One Meter at the National Museum of Contemporary Art.

About the exhibition

In the exhibition in Poros, Manoussakis presents a group of works on old closet doors. These doors enclosed spaces where clothes were hung and protected. The memories are associated with the bodies that the clothes covered, the smell, the touch, the warmth of these bodies.

From that starting point, and taking advantage of the preexisting division of the doors into four vertical panels, the artist reworks and develops further the concept of horizontal diptychs and triptychs of his earlier works. As in those earlier works, parts of different actions create vertical tetraptychs with continuous and discontinuous narrations, forming puzzles where it is not obvious where the different fragments belong. Do they belong to the same person, are they dream images?

As in most of Manoussakis’s work, the playfulness of the puzzled image is just on the surface – the skin of the work. The work is erotic but tense and melancholic at the same time. The fragmentation of the action in the panels either reconstructs the narration or indicates a complete fragmentation, an amputation either physical – suggested by the panel fragmentation – or emotional or even an erotic castration.