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eros thanatos

Could Eros be the antidote to Thanatos or vice -versa? Couls this rhetoric become the connection between the subconsious and the “darker” place of the human substance with the corporeality and even the sociopolitical need, of the human being? Sigmund Freud theorized that the duality of human nature emerged from two basic instincts: Eros and Thanatos. He saw in Eros the instinct for life, love and sexuality, in its broadest sense and in Thanatos, the instinct od aggression, death.

Eros is the drive toward life and attraction; Thanatos toward repulsion and death. Yet, the life instinct as driven by a powerful energy, well known as the libido, advances a person to anything that is pleasurable. For libido, however, to satisfy one's need for pleasure, it directs the energy into that object through a process called cathexis (κάθεξις): holding. Could , though, cathexis lead a human being to be consumed, as Rainer Maria Rilke once stated?

In Symbosium, Plato claims that Eros is of divine and, simultaneously, demonic origins, which gravitate towards the other party involved. In other words, Eros is the union between completion and infinity, while in Phaedrus, he alleges that, in naturalo consequence, a lover cannot abide his “amorous other” more, or even equally, powerful or alike, but always aspires to reduce him / her to something weaker and of lowerv level. In this dipole then, what role do passion and beguilement play and what does that of pathos? Could Eros mean the good and the bad, or what Flaubert describes as the shelter from mediocrity, the despair for the beautiful we once dream of, the state of being damned?

The exhibition, through a dialectical approach, will present the works of ninetten artists, which will attempt to provide the answer to above mentioned, amongst other, questions, by paying attention to sentimental and sexual details and evocation of “mood”, also, the differences of intention, which involve coercion anddisgrace, on one hand, beauty and delight, on the other.

Panos Fameli's Endless Pussy (The Gate), withness an almost total subvension to geometricity in favor of a newly improvisational and pparently freewheeling rectilinearity. The latter is established first by the structure – the many asymmetrical linear planes of the wooden relief in its unpainted form, intensified whereupon by an application of black, protracted thermal silicone. Famelis's new improvisational spirit informs the artificiality of his representational vulva with a “projective” dimention, which creates an expanded sensation of the pictorial plane. Rodin's passionate response to the human body, at times radical and idiosyncratic, as expressed in his “Gates Of Hell”, of 1917, provides Famelis with the springboard to endless protract of the framing edges or those seem to be boxed in. Inspirationally akin to Gustave Courbet's “The origin of the World”, of 1866, the artist advances a reflection upon the genesis of the human existence and its visual transformation.

Stavros Kavalaris, Curator.

exhibitions

Sponsored by NEON and organized by the House of Cyprus

Could Eros be the antidote to Thanatos or vice -versa? Couls this rhetoric become the connection between the subconsious and the “darker” place of the human substance with the corporeality and even the sociopolitical need, of the human being? Sigmund Freud theorized that the duality of human nature emerged from two basic instincts: Eros and Thanatos. He saw in Eros the instinct for life, love and sexuality, in its broadest sense and in Thanatos, the instinct od aggression, death.

Eros is the drive toward life and attraction; Thanatos toward repulsion and death. Yet, the life instinct as driven by a powerful energy, well known as the libido, advances a person to anything that is pleasurable. For libido, however, to satisfy one's need for pleasure, it directs the energy into that object through a process called cathexis (κάθεξις): holding. Could , though, cathexis lead a human being to be consumed, as Rainer Maria Rilke once stated?

In Symbosium, Plato claims that Eros is of divine and, simultaneously, demonic origins, which gravitate towards the other party involved. In other words, Eros is the union between completion and infinity, while in Phaedrus, he alleges that, in naturalo consequence, a lover cannot abide his “amorous other” more, or even equally, powerful or alike, but always aspires to reduce him / her to something weaker and of lowerv level. In this dipole then, what role do passion and beguilement play and what does that of pathos? Could Eros mean the good and the bad, or what Flaubert describes as the shelter from mediocrity, the despair for the beautiful we once dream of, the state of being damned?

The exhibition, through a dialectical approach, will present the works of ninetten artists, which will attempt to provide the answer to above mentioned, amongst other, questions, by paying attention to sentimental and sexual details and evocation of “mood”, also, the differences of intention, which involve coercion anddisgrace, on one hand, beauty and delight, on the other.

Panos Fameli's Endless Pussy (The Gate), withness an almost total subvension to geometricity in favor of a newly improvisational and pparently freewheeling rectilinearity. The latter is established first by the structure – the many asymmetrical linear planes of the wooden relief in its unpainted form, intensified whereupon by an application of black, protracted thermal silicone. Famelis's new improvisational spirit informs the artificiality of his representational vulva with a “projective” dimention, which creates an expanded sensation of the pictorial plane. Rodin's passionate response to the human body, at times radical and idiosyncratic, as expressed in his “Gates Of Hell”, of 1917, provides Famelis with the springboard to endless protract of the framing edges or those seem to be boxed in. Inspirationally akin to Gustave Courbet's “The origin of the World”, of 1866, the artist advances a reflection upon the genesis of the human existence and its visual transformation.

Stavros Kavalaris, Curator.

info exhibitions

Sponsored by NEON and organized by the House of Cyprus

eros thanatos