The exhibition programme of the Temporary Duplex project space continues with the group show entitled Α Generation of the ’90s. It is curated by Andreas Fakis, it forms the seventh action of Public Art Festival and it presents two and three dimensional pieces by seven Greek artists who grew up during the decade of 1990 and have developed a presence in public space.
The artists: Dimitris Taxis (1983, Szczecin), b. (1982, Athens), Vasilis Markosian (1980, Athens), ath1281 (1983, Athens), Cacao Rocks (1985, Athens), Greg Papagrigoriou (1986, Athens) and D! (1984, Athens), are participating with unseen works of art.
The oversaturation of information, symbols images and consequently, meanings is evident in the public domain; a condition that was brought into existence gradually, starting out a few decades back.
The means of communication are expanding more and more. As a result, alternative means are created too, often reflecting a primitive –and potentially inherent– extroversion, which is coming out from the one who makes the first step. From the one who initiates any form of dialogue; direct or indirect.
As the technology progresses and the time goes by, the overcomplication of a theoretically simple task is becoming evident more and more.
Despite of a potential programmed effort, often waiting time is required, or even the use of multiple methods, in order to make communication possible, be it peer to peer, or a complex entity –such as an organization or a company– to many peers, in which case a need arises: to go above –both visually and acoustically– anything that could interfere.
This case also includes the art we come across in public space, which forms one of the most primordial forms of communications that today is noteworthy for the range it can reach as a method of interaction.
Through a work of art, the creator externalizes a part of his beliefs, possibly how he feels both as subjectivity and in regards to his surroundings. He starts a public dialogue, in which anyone can become an observer or an interlocutor.
The decade of the nineties –with everything that came along– contributed significantly in the culture of today’s “thirty plus” year old artists. The Dukes of Hazard, the mundial of ’90, the Prodigy, the Spice Girls, the Beastie Boys, the Police Academy, Home Alone, Trainspotting, Pulp Fiction, “i Aparadechti”, the Koskotas scandal, the PASOK-ND diptych, the Medrano circus, the time Omonoia was a choice for a family walk, Game Boy, Mega channel, the real trolleybuses, BMX and skate culture, Wendy’s, the last walks of Aliki Vougiouklaki on Poseidonos avenue, the echo of Melina Merkouri’s actions for the stolen marbles of the Acropolis, the arrival or Rap in Greece, the first wave of graffiti writers from abroad, the construction of the metro, the Cosmos cans, the Sparvar and later the Spanish Montana, the graffiti festival of ’98 at the non-pedestrianized Ermou street, the adventure of Abdullah Ocalan, the consolidation of mobile telephony, the advent of the internet in Greece and the arrival of the information that came through the internet, played a major role in the moulding of the aesthetic and the perception of the artists, functioning as examples to follow, to avoid and even as examples of no significance.
My intention is not to convert a private space into public, nor of course to transfer something from the street into an indoor environment, but to present in this space –which is so up to date, so tangible– a selection of works by the artists, which I see as visual fragments that can be encountered in public space and in their way, they accomplish to become visible within the amalgam of noise that prevails in the saturated urban environment. The repetitive elements, the recognisable techniques, the thematic units, the specific colour palettes, the vocabulary and even the type of surfaces the artists select, contribute to this achievement, composing their visual language and classing the urban space not only as public, but also as personal.