Vassiliki Tsekoura, Untitled, 1999-2000

Vassiliki Tsekoura. In Situ

Former Fix Factory

Four major in situ installations and three drawings on paper by the important Greek sculptor Vassiliki Tsekoura were presented. Within the context of a post-formalist quest, the artist, who has been living in Paris since 1975, develops incessant dialogue with the specific each time architectural or natural space, which apart from its transparency and rhythm is constantly enriched with new dynamic and symbolic associations, as well as new materials ( e.g. reflexive surfaces, ready –made objects, sound e.a.) connected with existential situations and often attributing a dramatic tone to the work.

The demonstration of movement, of rhythm and –metaphorically- of the liquid element is a characteristic and simultaneously linking element of her art. The first work , Untitled, 2002, is a plexi-glass construction with metallic elements. It is bisected by metallic sinks. The artist has used coiled metal in the upper part, in order to give the impression of a “trapped” wave which by its intense spinning tends to break down the walls which hold it. The lightness of the wire used in the lower part suggests a different movement of the water.

The mirror, which is a fundamental element in the installation with the metallic furniture, is a material which Vassiliki Tsekoura recently introduced into her work. The plastic mirror symbolizes the relation of man with himself as he watches his reflected image in it. The mirrors and empty benches of the installation are wrapped in metallic net which resembles a wave or whirlpool while the hanging wires suggest a deserted world.

In the installation Untitled, 1999-200, mirror is again used but this time in order to suggest liquid element. The artist creates a cosmic craft which gives the impression of floating in the sea- the latter is represented with transparent plastic belts and plastic mirrors. The poll-box dividers are also part of the installation and are not used in terms of political expression but in order to imply the loneliness faced by contemporary man when he is asked to decide on society and thus express his existential anguish for the future and the unknown.

In the audio installation Daughters of the Rhine, inspired by Wagners’s Ring of the Nibelung to which it owes its title, there is again an intense reference to liquid element. A number of washing machines are suspended from the roof which is covered in black plastic suggesting the dark ocean bottom, and sounds are transmitted out of he machine mouths.

Finally, there are three drawings. Contrary to the rest of the works, the reference in the drawing with the matches burns is not to liquid but to fire, element of equal intensity and mobility. In the remaining two drawings, the reference to the liquid is evident, in the form of a waterfall to the bigger and of the sea in the smaller one.

Curated by Eleni Ganiti