PERIOD 2001-2007
SMALL MASTERPIECES
SCHIZOIMAGES
NONSENSE OR A STRICTLY PERSONAL CASE
FOLK SONG INSTEAD OF TITLE
WHIMSICAL ENTANGLEMENTS
WHIMSICAL ENTANGLEMENTS Νο 2
SMALL MASTERPIECES
In May 2001 , Lampros Psyrrakis performs the second solo exhibition, in the basement of 72 Metropoleos st. in Thessaloniki , titled " Small masterpieces ".The material used for the construction of the works are small glass beads glued onto canvas . The works are of small size, since the completion of a work 40X40 cm, requires painstaking daily work of many months. The second part of the title refers to the plastic language of the works, which are nothing more than copies of known works of famous artists of Modernism . Therefore the exhibition in conceptual terms, comments on the stereotype of the Museum of Contemporary Art- MOMA type , that " decent " Western European and American cities , serialy manufactured in the mid twentieth century , as evidence of wealth and prestige . Other theoretical problem posed is the conceptual definition of the relationship between prototype artwork and copy as well as the postmodern issue of authorship, that many artists, like S. Levine, put on debate, from early 70s.
ACTION FIELD KODRA 7
KORΙΤSΑ-ΑLΒΑΝΙΑ
LIKENESS ABOUT
BUREAUCRACY
12 PAINTING TRIENNIAL IN VILNIUS- LITHOUANIA
PSEUDOHAPPENING
SMALL MASTERPIECES
In May 2001 , Lampros Psyrrakis performs the second solo exhibition, in the basement of 72 Metropoleos st. in Thessaloniki , titled " Small masterpieces ".The material used for the construction of the works are small glass beads glued onto canvas . The works are of small size, since the completion of a work 40X40 cm, requires painstaking daily work of many months. The second part of the title refers to the plastic language of the works, which are nothing more than copies of known works of famous artists of Modernism . Therefore the exhibition in conceptual terms, comments on the stereotype of the Museum of Contemporary Art- MOMA type , that " decent " Western European and American cities , serialy manufactured in the mid twentieth century , as evidence of wealth and prestige . Other theoretical problem posed is the conceptual definition of the relationship between prototype artwork and copy as well as the postmodern issue of authorship, that many artists, like S. Levine, put on debate, from early 70s.
