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Biography |
Stefanos Tsivopoulos (b.1973), is a Greek artist who lives and works in Amsterdam and Athens.
He recently completed a 2 years residency at the Rijksakademie in Amsterdam.
Recent shows include the Museum of Contemporary Art Belgrade, 1st Athens Biennial, Kassel Kunstverein Friedericianum, International Project Space Birmingham,1st Thessaloniki Biennial, the Deste Prize, Museum Het Domein, Museum of Contemporary Art Athens, Montevideo Arts Institute Amsterdam, Center Photographique d_lle-de-France Paris, Sammlung Essl Vienna.
He is the winner of Golden Cube Award 2008, at the 25th Kassel film festival.
During 2009 he is an artist in residence at Platform Garanti in Istanbul. |
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Filmography |
2008 Untitled (In Plato's Cave), video installation
2008 Reverse, video installation
2007 The Remake, film
2007 The Interview, video installation 2006 Land, film
2006 Play, video installation 2005 Three men, film 2005 True Fiction, video installation 2005 Occupation Unknown, documentary
2004 Actors, video installation 2004 Under Construction, documentary
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Contact |
Stefanos Tsivopoulos
Tommaso Albinoni 36
1083 HM, Amsterdam
The Netherlands
Tel: +31611107914
E-mail: stefanzabba@yahoo.com
AD Gallery
3 Pallados Street 105 54 Athens
Greece
Tel: +30 210 322 87 85
Fax: +30 210 322 87 85
E-mail: ad@otenet.gr
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Composers |
| | Director, Scenario, Montage: | Sefanos Tsivopoulos | | Director of Photography: | Theo Marcellos
| | Set designer: | George Mermelas | | Costume designer: | Anthi Mamalou | | usic: | Yannis Kyriakides | | Actors: | Andonis Iordanou, Zan Zak Tesson, Eua Psillaki | | Production: | The Athens Biennial, | | Co producer: | National Greek Television, Alpha Delta gallery |
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Summary |
On Untitled (The Remake), 2007 with which he participates in the 1st Athens Biennale, Tsivopoulos turns to archive material from the years of the 1967 dictatorship and the early years of Greek State Television.
He organises the artwork on three levels: On the first level he employs material from the official celebrations of the Colonels and festivities in the Athens Marble Stadium.
On a second level he shoots the technical equipment then used in the Hellenic Radio television (ERT) studios for the production of news bulletins.
Finally, on a third level he elaborates on some sequences that have been saved from the rehearsals of news bulletin broadcasters of the period and stages a precise appropriation with the use of actors.
Such a triple structure attributes multiple meanings to the title: Remake.
On one hand it is a rethinking on the possibility of the reconstruction of reality and the fundamental role technique plays in this process.
On the other, it is a comment on the propaganda mechanisms of the regime and the reversed, from the supposedly existing, association between reality and its documentation in the news.
What is more, the title Remake highlights the deep roots of contemporary political, television discourse in the typology, cliches and ideologies of the dictatorship era.
The director about his film
Truth begins with an axiom of truth.
It begins with a decision.
Decision to say that an event has taken place.
Alain Badiou, The Political As A Truth Procedure
In the centre of my artistic practice is the research, collection and analysis of archive photos, newsreels, film archives and other historically related imagery that constitute part of our collective memory.
These documents are taken out of their historical context and used in my work in a reverse mode instead of serving their purpose they are deployed to tell a new story.
By questioning the axiomatic value of a document, I'm at the same time stating that we are strongly appealed by the document as it is.
Trying to expose the aura of photographic document while revealing my own suspicion in its power to prove validity.
To show the paradox of the document and its inherent contradictions without using the witness, but rather the document itself as subject.
In the core of my work exists the following assumption that: It is the way a story is been told rather the story itself.
The origin of the story as a true or a not true event comes second to the image’s ability to create genuine emotions and overlook facts.
So archives are not necessarily serving as ‘representatives’ of the Historical truth rather are just another way to tell a story.
-Stefanos Tsivopoulos |
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Distribution |
Stefanos Tsivopoulos
Tommaso Albinoni 36
1083 HM, Amsterdam
The Netherlands
Tel: +31611107914
E-mail: stefanzabba@yahoo.com
AD Gallery
3 Pallados Street 105 54 Athens
Greece
Tel: +30 210 322 87 85
Fax: +30 210 322 87 85
E-mail: ad@otenet.gr
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