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About the artist

Yiannis Adamakos was born in Pyrgos in the southern Peloponnese in 1952. He studied at the Athens School of Fine Arts between 1973 and 1978 under G. Marvoides, D. Mytaras and P. Tetsis. He lives and works in Athens and in the island of Tinos.

About the exhibition

“I am searching for the magic of the darkness, the shadows, the misty and the obscure. A hidden beauty, faint as in a dream.” Yiannis Adamakos

The artist chose the term INSIGHT to describe the artworks he produced between 2019 and 2021 collectively and as a total. This series comprises works on paper and canvas created in parallel and share a common artistic approach. They complement each other and differ solely in size and material. The exhibition held in CITRONNE gallery features drawings on paper made exclusively with graphite pencil. The works are not studies on other larger ones. They constitute independent and, at the same time, integral parts of a broader series.

Yiannis Adamakos is a profoundly reflective, and insightful artist. He observes; but, at the same time, he adopts an abstract approach. He dreams; but, at the same time, he resorts to geometry. He documents; but, at the same time, he foresees. This solitary procedure integrates experiences turned into images and the ensuing emotion. The painter turns to his personal inner codes in order to filter, process and, ultimately, to transform reality. The formidably balanced synthesis, a composition of thesis and anti-thesis, provides a reflection of the perceived and sensuous impact of the outer world.

His works are not level. The graphite pencil actually engraves on paper and gives tonality and textures. Light and darkness –two opposing impressions– add volume, perspective, depth and three-dimensionality. Surfaces increase and decrease, they fluctuate, just like our breath. Depending on the pressure applied by the artist while using the graphite pencil on the paper, the white-black composition becomes layered; alternating tonalities emerge and create a peculiar sense of colour. Adamakos treats the surface with targeted incisions, a technique which modifies texture and adds depth and perspective.

The starting point for almost all of Yiannis Adamakos’ works is a landscape. However, this landscape cannot be positioned or delimited. It does not evoke a specific or identifiable locus because it is stripped of all elements of topicality and reformulates itself in a fusion of imagination, dream -like reminiscing, past experiences and, predominantly, alternating emotions. The purpose is not the mere rendering of the natural environment. Instead, it is all about the shadow, the imaginary existence. The artist appropriates landscape on his own terms.


Parameter, 1981. Acrylic, gesso, graphite, pastel and crayon on archival board, 35 x 34.4 cm

Shield, 1985. Aquatint etching, edition 1/1, 76 x 56.5 cm

Delta Series XXXXVII, 1989. Acrylic paint on Mylar, 152.5 x 101.6 cm

Mastaba XXXXIV, 1991. Ink, acrylic and graphite on Mylar, 91.5 x 55.8 cm

Maroussi Ramp, 1995. Welded painted steel and concrete, 2.74 x 0.61 x 12.19 m. Inkjet print mounted on aluminum, 42 x 42 cm

Drawing of Maroussi Project, 1996. Oil stick, ink and graphite on Mylar, 45.8 x 62 cm

Project Thessaloniki Alaca Imeret, 1997. Ink, graphite and colored pencil on millimeter paper, 30.2 x 20.9 cm

Olympic Gridlock, Athens Olympics, 2004. Oil pastel on laser prints on paper, 50.5 x 29.4 cm

Ancient Site Intervention I, 2006. Oil paint, oil stick and graphite on laser print, 43.2 x 27.9 cm

Ancient Site Intervention III, 2006. Oil paint, oil stick and graphite on laser print, 43.2 x 27.9 cm

Ancient Site Intervention V, 2006. Oil paint, oil pastel and graphite on laser print, 43.2 x 28 cm

Ancient Site Intervention VI, 2007. Oil paint, oil stick and graphite on laser print, 43.2 x 28 cm

Samaria Gorge Intervention I, 2008. Color inkjet print with Chine-Collé, 71.2 x 53.3 cm

Epidauros with Equilateral Triangle, 2012. Acrylic on laser print on Mylar, 61 x 91.5 cm

Metropolis Series, 2014. Gravure, 74.8 x 62.5 cm

Olympia Stadium Intervention, 2014. Acrylic and marker on laser print, 26.6 x 34.4 cm

Signal, 2014. Gravure, 57.1 x 80.3 cm

Site, 2014. Gravure, 64.7 x 80 cm

Learning Greek Series II 7.30.15, 2015. Oil pastel on archival paper, 35.5 x 28 cm

Learning the Greek Alphabet 8.9.15, 2015. Oil pastel and graphite on archival paper, 42 x 29.5 cm

Learning the Greek Alphabet 8.18.15, 2015. Oil pastel and graphite on archival paper, 66 x 50 cm

Pandemic Series Alpha, 2020. Block printing ink on archival paper, 68 x 50 cm

Pandemic Series 8.11.20, 2020. Graphite and oil stick on paper, 45.7 x 34.3 cm

Pandemic M.9, 2020. Oil paint and oil pastel on paper. 28 x 21.5 cm

Cris Gianakos
June 12 - October 3, 2021

Virvili Square
18020 Poros Island

(+30) 697 9989 684


Opening Hours
Sat. - Sun.: 11.00-13.00 & 19.00-23.00

About the artist

Cris Gianakos was born in New York in 1934. He attended the School of Visual Arts (SVA), where he has been a Professor of Art for many years. As part of the post-minimalist movement, he has been experimenting with simple geometric forms abstracted from the urban environment since the 1960's. His work in the form of sculpture, painting and drawing, uses ancient sites as a subject matter to investigate their geometry and mathematical principles. He further explores the roles that monuments play in our collective lives, drawing attention to both the past and future. He has exhibited his work worldwide in solo and group exhibitions extensively throughout the U.S. and Europe, as well as in Canada, Japan and Argentina. Gianakos has been the recipient of a variety of grants and awards, including the National Endowment for the Arts (NEA), the Pollock-Krasner Foundation, the NY Foundation for the Arts (NYFA) and others. He completed a large installation for the 2004 Athens Olympics. His works are available in the collections of the Museum of Modern Art, the Smithsonian and the Brooklyn Museum of Art, among others. He lives and works in New York.

About the exhibition

CITRONNE Gallery opens its exhibition program for summer 2021 with the solo exhibition JOURNEY by Cris Giannakos. The exhibition is to open on Saturday, June 12 and will run through September 11. A renowned, groundbreaking artist, Cris Giannakos is a member of the Greek Diaspora who lives and works in New York.

The CITRONNE Gallery exhibition features landmark paintings from 1980 – 2020, works 'of the pandemic' as a response to covid, and two new works of 2021—two installations created specifically for this show.

"In this exhibition at Citronne, Tatiana and I were able to pull together 4 decades of my art practice from 1981 to 2020 drawings done in reaction to Covid and 2 new 2021 floor structures to be fabricated and installed in the gallery. We titled the show “JOURNEY", denoting a passage through different works done in different mediums at different times. When you view them, no matter in which medium or time, you always feel evidence of the hand and my concerns for architecture, ancient Greek sites and engineering. But my work consistently circles around ramps, large structures in an environment, a conceptual idea marrying a concrete form to a specific site." (Cris Gianakos)

The basis of the work of Cris Giannakos is a research field around a geometrical axis. He crosses space with the imaginary extensions created by a geometric script in the environment—an approach he adopted from the outset in his artistic career. He also crosses time, as he is drawn to the character of ancient art, to classical architecture and above all to the ratio, i.e. its relation to geometry.

In the early ’90s he began to alter photographs of ancient artworks as well as those of archaeological sites. His works often constitute a rereading of ancient sites and monuments, always on the basis of key geometric shapes-symbols. He overlays the photos of archaeological sites, historic places and statues with geometric shapes which, to him, reflect the fundamental spirit of civilization in its various manifestations.

Yet in his recent "Pandemic Series” and “Dystopia Series”, geometry and the ratio, the structured world, is reversed. The site within space does not vanish but gets more difficult as it loses its distinctive elements. Blue or red, a dystopia, an uneasiness dominates as the symptom of a major reversal. These are works stemming from the subconscious and characterized by a gestural visual script—an explainable deviation from the artist's usual fare. The impression generated by these works is one of disorder, in full dissonance with the familiar and soothing order. It reflects a world that has suddenly lost its pace, its motion, its proportion and cohesion.

The exhibition JOURNEY is the third solo show to be organized by Citronne for Cris Giannakos. It comes after another solo event at the gallery in 2008 and an exhibition at the Archaeological Museum of Poros in 2013.

Marking Time

Stephen Antonakos
Marking Time
April 17 - September 25, 2021

19 Patriarchou Ioakim
4th floor
10675 Athens

(+30) 210 7235 226

Opening Hours
Tue, Thu, Fr: 11.00-20.00
Wed, Sat: 11.00-16.00

About the artist

Antonakos’s work with neon since 1960 has lent the medium new perceptual and formal meanings in hundreds of gallery and museum exhibitions first in New York and then internationally. His use of spare, complete and incomplete geometric neon forms has ranged from direct 3-D indoor installations to painted Canvases, Walls, the well-known backlit Panels with painted or gold surfaces, his Rooms and Chapels. Starting in the 1970s he installed over 55 architecturally scaled permanent Public Works in the USA, Europe, Israel, and Japan. Throughout, he conceived work in relation to its site —its scale, proportions, and character —and to the space that it shares with the viewer. He called his art, “real things in real spaces,” intending it to be seen without reference to anything outside the immediate visual and kinetic experience. Colored pencil drawings on paper and vellum, often in series, have been a major, rich practice since the 1950s; as has his extensive work with collage. Other major practices include the conceptual Packages, small-edition Artist’s Books, silver and white Reliefs, prints, and — since 2011 —several series of framed and 3-D Gold Works. Antonakos was born in the small Greek village of Agios Nikolaos in 1926 and moved to New York with his family in 1930. In the late 1940s, after returning from the US Army, he established his first studio in New York’s fur district. From the early 1960s forward, until the end in 2013, he worked in studios in Soho. "Stephen Antonakos: A Retrospective”’; organized by The J.F. Costopoulos Foundation; curated by Katerina Koskina; Benaki Museum, Pireos; December 2007 — March 2008.

About the exhibition

Stephen Antonakos (Greece, 1926 — New York, 2013) returns to Citronne Gallery with the solo exhibition “MARKING TIME” — a selected narrative through six directions of work, from the Project Drawings (1965-1973) through two iconic gold-leafed Neon Panels from 2009. The years between are “marked” by the suite of 4 silkscreened, torn, and collaged “Tears” of 1979; 3 crucial colored-pencil on French vellum drawings from 1980; 3 post-“ALPHAVITOS” white wood Reliefs from 1986; and several of the climactic Spring Series drawings from 2006 — each covered in “hatching” strokes in one color and then variously folded, cut, cut-out, or layered.

From their beginnings in the 1950s and throughout the decades, Antonakos's abstract geometries exhibited a natural sense of scale and a mastery of relating forms to each other and to their sites.

"Ι believe there is human meaning in basic abstract forms,
in their specific proportions and placements.
My work is real things in real spaces. Νο illusions."

From childhood he drew constantly and inventively, and drawing remained a major practice. With an innate rigor and led by a kinetic sense of readiness, he activated the given space. "The hand and the mind are one," he said. From the early 1950s, he worked in three dimensions as well. He is best known for his work with neon, begun toward the end of that decade with geometric shapes. Νο words, no images. Uniquely, he embraced and explored neon for its own qualities - intense color, flexibility, capacity for great scale, responsiveness to auxiliary light, and - crucially - indivisibility from space. These qualities are exemplified in the Direct Neons, Neon Panels, Neon Walls, Rooms, and Canvases; and in the over 50 architecturally-scaled Public Works that followed. Through the years, he composed collages and Travel Collages, conceived and realized the Packages, compiled ALPHAVITOS and other Artist's Books, and more. On each of his roads, he travelled long distances, usually for decades.

For Antonakos, the participation of the viewer was central. He hoped always to reach the inner person and considered that it was the experience of the viewer that completed a work. Α deeply religious man, his non-referential innovations with geometry, light, and space evolved in the late 1980s toward a sense of the spiritual. Meditation Spaces and Chapels became major themes. He made a series of Neon Panels with gold-leaf surfaces dedicated to Orthodox saints, with such titles as Resurrection. With elemental trust in the art's formal and material capacities, he worked from an awareness of the world toward a possible state of being in the presence of the art suggested by the Greek word isychίa - quiet, but alert - with senses open.

"I am a realist.
Ι am quite aware of today's and yesterday's injustices and losses. The goal is to live with energy, to fight the tragedies."

“Visibilium et invisibilium”

About the artist

Alekos Kyrarinis was born in 1976 in Athens and raised on the island of Tinos, the place of his origin. He worked with his father, Yiannis Kyrarinis, a sculptor in marble, from the age of eleven until 1997, when he was admitted to the Athens School of Fine Arts. At the School he studied at the studio of Jannis Psychopedis and graduated in 2003. He has illustrated the following books: Calendar of Group ALPHA 2003, Verifying the Night (Dimitris Angelis, Neos Astrolavos / Efthyni, Athens 2011), Encima del subsuelo /Above the subsoil (Kostas Vrachnos, limited edition, Athens 2012), issues 1,2,3 of the magazine “Nea Efthyne”, Drippings from the tiles (Monk Antonios Romaios, En Plo editions, Athens 2015), issue 1 of the magazine “Anthivola”. He collaborates with the magazine “Frear” and with the cultural space “Baumstrasse”. He has published an essay book about painting entitled “Nefeli’s questions”, Mikros Astrolavos /Efthyni, Athens 2011.His work has been shown in 16 solo exhibitions in Greece, Spain and Belgium. He has participated in several group exhibitions in Italy, Belgium, Luxembourg, Austria, Poland, Romania, France and Spain.

About the exhibition

Citronne Gallery is hosting Alekos Kyrarinis’ seventeenth solo exhibition. His latest works mark the end of a two-year period of prolific artistic production. 28 large and small-scale works of egg tempera on wood, 10 mixed technique drawings on paper, 5 sculptures in the round or overpainted Tinian marble reliefs (the island of Tinos is the artist’s birthplace) and 1 video clip for an excerpt of the composition by Giorgos Koumendakis, The Pedal Tone of a Child, which is the outcome of the cooperation and mutual respect between the composer and the painter. Through the works of this exhibition, works that encapsulate all the characteristics of his artistry, Kyrarinis complements, extends and further refines a career in painting of almost twenty years.

Since 2004, Kyrarinis has been consistent with his career and artistic vision, painting by painting and exhibition by exhibition, in his own unique personal style and —paraphrasing Plato—works “are turned by him into something nobler”. Kyrarinis’ painting is a fascinating amalgam of influences that have been so utterly assimilated that they have become difficult to distinguish: Islamic calligraphy, Miró’s biomorphism, Picasso’s cubism, Jean Dubuffet’s Art Brut, Matisse’s elaborate use of colour, Paul Klee’s thin lines and playful style. Almost always, his subjects include portraits of Angels or Angels defeating evil or Saints-knights spearing dragons, in other words, his subject is essentially one: the conflict between Good and Evil, the former’s domination over the latter. In essence, it is an allegory of human passions. In his works, space is shallow, anti-physiocratic and defies western art’s third dimension, yet with full respect to the achievements of the early 20th-century modernists. Kyrarinis’ draws from the archetypes of the art of the Near East, albeit not exclusively. Those Spotless Archetypes in the words of Fotis Kontoglou, and that is why space in his works is overwhelmed by varied decorative motifs which stem from a very large time frame ranging from the distant past to the present: from the late antiquity to the byzantine and post-byzantine era moving on to popular marble sculpture and woodcarving to Nikos Gabriel Pentzikis. All motifs play an instrumental part in the composition because their use is the result of Kyrarinis’ profound awareness of their symbolism and visual importance.

With Alekos Kyrarinis’ exhibition, entitled, "Visibilium et invisibilium", Citronne Gallery continues with its exhibition programme which aspires to host carefully selected exhibitions of contemporary Greek art and thus, to enrich and provide more insight on contemporary Greek art. The debate between the past and the present is both visible and invisible in Alekos Kyrarinis’ works; it is an active debate on behalf of the artist that is open to multiple interpretations from the viewer.

The exhibition comes with a bilingual catalogue which features comments on all works by Nikolaos Paisios, who is the curator of the exhibition and also an introductory note by Tatiana Spinari, Art Historian and director of Citronne Gallery.

Curator: Nikolaos Paissios
Lighting: Maria Maneta

Ars Longa

Adamakos, C. Gianakos, G. Lappas, Th/poulos, Kyrarinis, Markou
Ars Longa
October 2 - October 17, 2020

19 Patriarchou Ioakim
4th floor
10675 Athens

(+30) 210 7235 226

Opening Hours
Tue, Thu, Fr: 11.00-20.00
Wed, Sat: 11.00-16.00

About the exhibition

Citronne gallery Athens presents a selection of artworks by six artists as a preview of its participation in the forthcoming online "Art Athina, 2020".
"Ars Longa", Citronne gallery’s starting point in terms of subject, exhibits and brings together contemporary artworks - painting, sculpture, construction, photography.

The art media used are diverse, the artists come from different eras and backgrounds; however, they form a palimpsest of ideas and creativity which hovers above time and space. What we are trying to demonstrate, to prove, is that Art transcends human limits, and the finite human life.

In our days, humanity is undergoing a great, unforeseen ordeal which is dominated by the fear of the unknown. In parallel or even against this distress, Art raises protective and defensive walls, breaks free from the neurotic rationalism of our days and guarantees the value of continuity, the immortality of Creation.
Yiannis Adamakos and his abstractions, Cris Gianakos of the Diaspora , the transcendental Makis Theofylaktopoulos, Alekos Kyrarinis and his Byzantine obsessions, the post mortem multifaceted George Lappas and photographer Nikos Markou give life to this creative spirit.

Ars Longa is a wakeup call against the current nightmare. Between bloom and wear, between the brevity of life - vita brevis and the longevity of memory, Art had and still has the power to go beyond sensible limits and to withstand time, surpassing human dimension, human state and human boundaries.

Yiannis Adamakos seeks to exhaust the boundaries between the sensible world and the subjective-subconscious reception of reality. He dredges up and explains the traces of memory. He demonstrates that the limits between present and past are forged in Memory. Similarly, the limits between light and darkness, noise and silence, dream and experience, nature and fantasy fuse into colour.

Cris Gianakos, a well known visual artist of the Greek Diaspora. He is interested in architecture, ancient civilisations and human behaviour. He is fascinated by geometrical forms and classical proportions as well as their cultural and spiritual aspect. With the dynamic composition of clear geometric levels, such as the Cross and the Diagonal, it hints at the supremacy of pure emotions.

Makis Theofylaktopoulos, representing Greek expressionism, has created a soaring universe of painting excellence and existential depth, at the centre of which lies the human or human-like form. Given that he constantly reinvents his technique anew, he goes from representation to an almost autobiographical abstraction as it seeks "artistic emission", that is, the power of painting to pulsate irrationally within its viewer With a constantly reinvented technique, he goes from the representation of the form to an almost autobiographical abstraction, in search of the "artistic emission" - that is, the possibility of the painting pulsating horses inside its viewer. The image of a solitary, urban person in such a difficult world, concerns human existence per se.

Alekos Kyrarinis, with a varied visual signature, with personal meanings and collective memories, he continues with his complex, strictly personal quest. Kyrarinis’ painting is a fascinating amalgam of influences that have been so utterly assimilated that they have become difficult to distinguish - from Byzantine semantics to Islamic calligraphy and contemporary visual artists, from Greece or abroad. Space in his works is overwhelmed by varied decorative motifs which stem from a very large time frame ranging from the late antiquity to the byzantine and post-byzantine era moving on to popular marble sculpture and woodcarving. All motifs play an instrumental part in the composition because their use is the result of Kyrarinis’ profound awareness of their symbolism and visual importance.

George Lappas rejects limitations; he is indifferent to "rationality." He is characterised by and expresses the eternal desire of man to exceed limits. His world is composed of metal, plastic fabric, electric lamps. These unexpected materials create a sense of paradox, of the uncanny, which evokes subconscious oneiric connections, and hard-to-apprehend associations. After all, Lappas defies limitations, he is indifferent to rationality. The physical body is abolished; thought, memory and narration work exclusively in their internal rationale. His works are first and foremost a study of the relationship between body and space and time, a reflection on the relations of the past and the future of sculpture, the structural parameters of plastic arts and architecture in relation to location, but also a dive into aspects of the human soul.

Nikos Markou provides a photographic definition of an inner world, an Inner Space. From selected landscapes he shifts to an inner reality. Moreover, from natural rendering he moves to technical mutative treatment. The end result leads the viewer to a “fabricated” reality. These photographs are no longer photographs of landscapes or people, but interior landscapes- namely a transcendent reconstruction whose starting point is assimilated through the photographer’s decisive and subjective interpretation.


About the artist

Nikos Markou (Athens, 1959) studied mathematics at the University of Athens but has been working as a photographer artist since 1980. He has had fifteen solo exhibitions in museums and galleries in Greece and abroad, has participated in over sixty group shows and has won awards and distinctions in photography contests. The oeuvre of Nikos Markou has been published in two monographs: Geometries, texts by Costis Antoniadis & Olga Daniilopoulou, (Adam, 2000) and COSMOS, text by Iraklis Papaioannou (tetarto, 2004).

About the exhibition

Photographer Nikos Markou selects spaces which he defines as a personal "Topos" — a private point of reference.

His Topos of urban or other decontextualized landscapes leads towards a clear or unclear horizon which renders them deliberately finite. The human presence is either nonexistent or merely hinted at—but its impact is all too visible: pollution, environmental destruction, deterioration of nature, distortion of the physiognomy of the place. In the images of Athens, degradation has evolved into an everyday experience, but similar elements can be discerned out of town, such as the half-sunken ship that dissects the horizon and the sea in Eleusis. Even the lotus flowers in the Corinthian landscape hint at the loss of memory more than at blossoming and bounty.

Here the photographer aims to generate a semi-objective impression as he invisibly intertwines natural and artificial elements. His “topos” is constructed via the framing of his chosen subject.