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Nina Papaconstantinou
Nina Papaconstantinou minutely explores the relationship between the text and its image, at the same time investigating the drawing as a composite of signs, imprints and tracings (ichnographies). “Writing, copying and imprinting” (to employ an indivisible triad of participles used by the artist herself to describe her work) she draws on the surface of the paper overlapping inscriptions and transcriptions which highlight the seduction of the trace and the materiality of writing.
A new appraisal of the artist ought, therefore, to provide added value. Hence, the main concern of the present publication, apart from recording and documentation, is to order and enrich her work (by means of a bibliography, to start with) by suggesting new readings of her indecipherable images, creating new, fruitful associations, seeking relationships with other bodies of work, ideas and references. At a second level, this accompanying text works more as a draft of “hermeneutic comments” or, better, as “notes in the margin” (marginalia) of Papaconstantinou’s production of images: on the one hand, I point out or develop readily recognizable concepts (secret, opacity, absence, deletion, copying, palimpsest, confession, disclosure, silence) and, on the other, I trace or come to suggest new ones.
This publication is not a catalogue raisonné ― it is, at any rate, an illusion to think that a visual artist’s complete oeuvre can ever be subsumed in a book, however voluminous. It may be more accurate to say it is a thorough survey, a panorama, covering the span of two decades. If the artist amasses traces (of writing) and secrets on paper, thus rendering the text indecipherable, this publication endeavors to make the hard–to–photograph and reproduce body of work, more legible and accessible. Through this book Papaconstantinou’s inscriptions emerge into another place of inscription, that of typography. Thus, the texts and books she uses as sources return to their house (oikos), i.e. once again become ―to use Jacques Derrida’s expression in Archive Fever: A Freudian Impression― part of the “ponderous archiving machine” (press, printing, ink, paper).
Edited and Essay by Christopher Marinos
Concept by Christos Lialios, Christopher Marinos, Nina Papaconstantinou and Katerina Vazoura
Design by Studio Lialios Vazoura
Language: English, Greek
Pages: 440 pages
Format: 210 x 280 mm, hardback with dust jacket
Edition: 240 copies
September, 2022
ISBN: 978-618-83082-6-8
€80.00 Add to Cart
Nina Papaconstantinou
Nina Papaconstantinou minutely explores the relationship between the text and its image, at the same time investigating the drawing as a composite of signs, imprints and tracings (ichnographies). “Writing, copying and imprinting” (to employ an indivisible triad of participles used by the artist herself to describe her work) she draws on the surface of the paper overlapping inscriptions and transcriptions which highlight the seduction of the trace and the materiality of writing.
A new appraisal of the artist ought, therefore, to provide added value. Hence, the main concern of the present publication, apart from recording and documentation, is to order and enrich her work (by means of a bibliography, to start with) by suggesting new readings of her indecipherable images, creating new, fruitful associations, seeking relationships with other bodies of work, ideas and references. At a second level, this accompanying text works more as a draft of “hermeneutic comments” or, better, as “notes in the margin” (marginalia) of Papaconstantinou’s production of images: on the one hand, I point out or develop readily recognizable concepts (secret, opacity, absence, deletion, copying, palimpsest, confession, disclosure, silence) and, on the other, I trace or come to suggest new ones.
This publication is not a catalogue raisonné ― it is, at any rate, an illusion to think that a visual artist’s complete oeuvre can ever be subsumed in a book, however voluminous. It may be more accurate to say it is a thorough survey, a panorama, covering the span of two decades. If the artist amasses traces (of writing) and secrets on paper, thus rendering the text indecipherable, this publication endeavors to make the hard–to–photograph and reproduce body of work, more legible and accessible. Through this book Papaconstantinou’s inscriptions emerge into another place of inscription, that of typography. Thus, the texts and books she uses as sources return to their house (oikos), i.e. once again become ―to use Jacques Derrida’s expression in Archive Fever: A Freudian Impression― part of the “ponderous archiving machine” (press, printing, ink, paper).
Edited and Essay by Christopher Marinos
Concept by Christos Lialios, Christopher Marinos, Nina Papaconstantinou and Katerina Vazoura
Design by Studio Lialios Vazoura
Language: English, Greek
Pages: 440 pages
Format: 210 x 280 mm, hardback with dust jacket
Edition: 240 copies
September, 2022
ISBN: 978-618-83082-6-8
€80.00 Add to Cart
