PARMAKELIS - ΠΑΡΜΑΚΕΛΗΣ

MINOS BEACH ART HOTEL

bluegr

This exhibition organized

by the G.& A. MAMIDAKIS FOUNDATION

in collaboration with Bluegr - Mamidakis Hotels

É Ä Ñ Õ Ì Á Ã . & Á . Ì Á Ì É Ä Á Ê Ç

ÐÁÑÌÁÊÅËÇÓ • PARMAKELIS

ÌÇ×ÁÍÉÊÁ

MECHANICALS

ÅÐÉÌÅËÅÉÁ ÅÊÈÅÓÇÓ:

ÔÁÊÇÓ ÌÁÕÑÙÔÁÓ

CURATOR:

TAKIS MAVROTAS

16 JUNE - 30 SEPTEMBER 2006

ÁÃÉÏÓ ÍÉÊÏËÁÏÓ

MINOS BEACH ART HOTEL

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G. & A. Mamidakis Foundation launched a project twenty years ago endeavouring to bring seminal

artworks by contemporary Greek and international artists before the general public. In so doing

the foundation followed the path of Crete's unbroken, age-long tradition of cultivating syncretism and

the promotion of fruitful cross-pollination between art movements or trends that has made the island

a cultural crossroads.

The G. & A. Mamidakis Foundation Sculpture Gallery in Aghios Nikolaos, showcases modern art

for art lovers in Crete, and for our visitors from all over the world. Let us recall that Crete - birthplace

of Xenios Zeus, patron god of guests - comprised several major ports of call for the shipping that plied

the trade routes of the ancient and medieval empires of East and West; now tourists come in their millions

from all over the world, in answer to an abiding human need for contact and communication.

Indeed, tourism provides a unique modality for encounters between cultures and also for the quest

after the originals that connect and propound the commonality underlying artistic expression. The

foundation's Sculpture Gallery is adorned with monumental works by outstanding sculptors including

Magdalena Abramovich, Daniel Buren, Vincent Gallo, Joseph Kosuth, Anish Kapoor, Costas Tsoklis,

Nassos Daphnis, Stephen Antonakos, Vlassis Kaniaris, Theodoulos, Nikos Charalambidis, Savvas

Christodoulidis, et al.

This summer, George and Aristea Mamidakis Foundation is particularly fortunate to be staging

"Mechanicals", an exhibition of work by the distinguished sculptor Giannis Parmakelis. We are confident

that this treasure trove of his sculptural oeuvre will appeal greatly to the general public while it

demonstrates that Crete is not just the repository of a superlative cultural heritage but also a place of

enormous potential. I should like to express our warmest thanks to all those who were instrumental in

planning and staging this exhibition: my mother, Aristea Mamidakis, our great sculptor, Giannis

Parmakelis, our inspired exhibition curator, Takis Mavrotas, and all those art lovers who, through the

years, have been following our work in the field of culture with heart-warming dedication.

GINA MAMIDAKIS

President, G. & A. Mamidakis Foundation

G.& A. MAMIDAKIS FOUNDATION

Á êïëïõèþíôáò ìéáí áäéÜëåéðôç ðáñÜäïóç ÷éëéåôéþí, ðïõ Ý÷åé êáôáóôÞóåé ôçí ÊñÞôç ðåäßï

äéáóôáýñùóçò ðïëéôéóìþí, ìå ãüíéìï áðïôÝëåóìá óõãêåñáóìïý êáé áñìïíéêÞò áëëçëïåðéññïÞò

êáëëéôå÷íéêþí ôÜóåùí, ôï ºäñõìá Ã. & Á. ÌáìéäÜêç îåêßíçóå åäþ êáé äýï äåêáåôßåò ìéá ðñïóðÜèåéá

ðáñïõóßáóçò óôï êïéíü óçìáíôéêþí Ýñãùí ôçò ÅëëçíéêÞò êáé äéåèíïýò óýã÷ñïíçò êáëëéôå÷íéêÞò

äçìéïõñãßáò.

Ç ãëõðôïèÞêç ôïõ Éäñýìáôïò Ã.& Á. ÌáìéäÜêç, óôïí ´Áãéï Íéêüëáï, Ý÷åé ùò óôü÷ï ôçí ðñïâïëÞ

ôçò óýã÷ñïíçò ÔÝ÷íçò óôïõò öéëüôå÷íïõò áðü ôçí ÊñÞôç êáé ôïõò åðéóêÝðôåò ìáò áðü üëï ôïí

êüóìï. Áò ìçí îå÷íÜìå üôé óôï ãåíÝèëéï íçóß ôïõ ÎÝíéïõ Äßá, åêåß üðïõ Üëëïôå Ýöèáíáí ôá ðëïßá ôùí

áñ÷áßùí êáé ìåóáéùíéêþí áõôïêñáôïñéþí ôçò ÁíáôïëÞò êáé Äýóçò, ôþñá öèÜíïõí åêáôïììýñéá

ðåñéçãçôþí áðü üëï ôïí êüóìï, öÝñíïíôáò Ýôóé ìéá óýã÷ñïíç ðíïÞ óôçí áêáôÜëõôç áíÜãêç åðáöÞò

êáé åðéêïéíùíßáò ìåôáîý ôùí áíèñþðùí. Ï ôïõñéóìüò ðñïóöÝñåé óÞìåñá Ýíá ìïíáäéêü ðåäßï

óõíÜíôçóçò ðïëéôéóìþí êáé áíáæÞôçóçò ôïõ ðñùôüôõðïõ ðïõ óõíäÝåé êáé áíáäåéêíýåé ôá êïéíÜ óôçí

êáëëéôå÷íéêÞ Ýêöñáóç. Ôçí ãëõðôïèÞêç ôïõ Éäñýìáôïò êïóìïýí ìíçìåéáêÜ Ýñãá êïñõöáßùí

ãëõðôþí, üðùò ôùí ÌáãíôáëÝíá ÁìðáêÜíïâéôò, Êþóôá Ôóüêëç, ÓôÞâåí ÁíôùíÜêïõ, ÑÝíáò

Ðáðáóðýñïõ, ÂëÜóç ÊáíéÜñç, Êþóôá Âáñþôóïõ, Èüäùñïõ, Èåüäïõëïõ, Íßêïõ ×áñáëáìðßäç,

ÓÜââá ×ñõóôïäïõëßäç êáé ðïëëþí Üëëùí.

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Ôï ´Éäñõìá Ãåùñãßïõ êáé ÁñéóôÝáò ÌáìéäÜêç ìå éäéáßôåñç ÷áñÜ ïñãÜíùóå ãéá ôï öåôåéíü êáëïêáßñé

ôçí Ýêèåóç ôïõ äéáêåêñéìÝíïõ ãëýðôç ÃéÜííç ÐáñìáêÝëç ìå ôßôëï "Ìç÷áíéêÜ". Ï ðëïýôïò ôùí

ãëõðôéêþí ôïõ êáôáêôÞóåùí ðéóôåýïõìå üôé èá ðñïêáëÝóåé ôï åíäéáöÝñïí ôïõ êïéíïý

áðïäåéêíýïíôáò ôïõ üôé óôçí ÊñÞôç äåí Ý÷ïõìå ìüíïí Ýíá ëáìðåñü ðïëéôéóôéêü ðáñåëèüí áëëÜ êáé

Ýíá äõíáìéêü ìÝëëïí. ÈåñìÝò åõ÷áñéóôßåò åêöñÜæù óå üëïõò üóïõò åðßìïíá åñãÜóôçêáí ãéá ôçí

ðñáãìáôïðïßçóÞ áõôÞò ôçò ðïëéôéóôéêÞò åêäÞëùóçò óôçí ìçôÝñá ìïõ ÁñéóôÝá ÌáìéäÜêç, óôï

óðïõäáßï ìáò ãëýðôç ÃéÜííç ÐáñìáêÝëç, ôïí áêïýñáóôï åðéìåëçôÞ ôçò Ýêèåóçò ÔÜêç ÌáõñùôÜ êáé

üëïõò ôïõò ößëïõò ôùí êáëþí ôå÷íþí ðïõ üëá áõôÜ ôá ÷ñüíéá ðáñáêïëïõèïýí ìå óõãêéíçôéêü

åíäéáöÝñïí ôéò ðïëéôéóôéêÝò ìáò ðáñåìâÜóåéò.

ÔÆÉÍÁ ÌÁÌÉÄÁÊÇ

Ðñüåäñïò Éäñýìáôïò Ã. & Á. ÌáìéäÜêç


ÁNÔÉÈÅÓÅÉÓ ÊÁÉ ÓÕÃÊËÉÓÅÉÓ ÓÔÏ ÅÑÃÏ ÔÏÕ ÃÉÁÍÍÇ ÐÁÑÌÁÊÅËÇ

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Ôá üñéá ôçò ôÝ÷íçò åßíáé ôá üñéá ôïõ êüóìïõ ìáò. Ôï Õøçëü êáé ôï Áéþíéï Þôáí ðáëáéüôåñá ï

óêïðüò ôïõ êáëëéôÝ÷íç. Äõï Ýííïéåò - êëåéäéÜ, Üññçêôá óõíäåäåìÝíåò ìå ôçí ßäéá ôç ãëõðôéêÞ

Ýêöñáóç. ÓÞìåñá ôá üñéá áõôÜ áìöéóâçôïýíôáé êáé áñêåôïß õðïóôçñßæïõí üôé, áêüìá êáé áí

õðÞñîáí, äåí Ý÷ïõí êáìßá áîßá. Ïé ðáñáäïóéáêÝò ìïñöÝò ôçò ôÝ÷íçò áíôéìåôùðßæïíôáé óõ÷íÜ ùò

å÷èñïß ôçò åëåõèåñßáò ôïõ äçìéïõñãïý êáé ôçò åîÝëéîçò ôçò ôÝ÷íçò. Ç áíÜãêç üìùò ãéá ôçí

ôåëåéüôçôá äåí Ý÷åé öèáñåß, äßíïíôáò ôï ðñïâÜäéóìá óôç óïößá íá ôáõôßæåôáé ìå ôçí áñåôÞ ôçò

ôÝ÷íçò.

Ç ôÝ÷íç åßíáé ðÜíôá ìïñöÞ. ¸ôóé, áíôéìÝôùðïò ìå ôç ìïñöÞ êáé ôï ðåñéå÷üìåíü ôçò, ôçí åéêüíá

êáé ôç íïçìáôéêÞ ôçò õðüóôáóç, ôçí áëÞèåéá êáé ôç ìïñöïðëáóôéêÞ ôçò áðüäïóç, ï êáëëéôÝ÷íçò

åðéäéþêåé, ìÝóá áðü ôï ðÝñáóìá ôïõ ÷ñüíïõ, ôçí áðïäï÷Þ ôùí ðñïóùðéêþí ôïõ ïñáìáôéêþí

ìåôáðëÜóåùí. Ï ÐáñìáêÝëçò, áéñåôéêüò êáé åñåõíçôéêüò, óôç äéÜñêåéá ôçò ðåíçíôÜ÷ñïíçò

êáëëéôå÷íéêÞò ôïõ ðïñåßáò, äéåßóäõóå åðßìïíá óôéò áîßåò ôçò ìåãÜëçò ãëõðôéêÞò êáé áðïêÜëõøå ôï

äéêü ôïõ Ýñãï.

Óôçí ÊñÞôç, óôï ºäñõìá Ã. & Á. ÌáìéäÜêç, ï ãëýðôçò ðáñïõóéÜæåé ôéò äçìéïõñãßåò ôïõ, ôçò

÷ñïíéêÞò ðåñéüäïõ 1978- 2006, ðïõ áöïñïýí ôçí áíôéðñïóùðåõôéêÞ ôïõ åíüôçôá ìå ôßôëï

"Ìç÷áíéêÜ". Ï ÐáñìáêÝëçò, åäþ êáé åßêïóé åðôÜ ÷ñüíéá, õéïèåôåß äéüäïõò ãñáììéêÞò êáé

ãåùìåôñéêÞò åðåîåñãáóßáò, ãéá ôç äçìéïõñãßá Ýñãùí Üøïãçò êáôáóêåõáóôéêÞò ôåëåéüôçôáò. Ç

ãñáììéêÞ åðåîåñãáóßá ôùí áîüíùí ôïõ ãëõðôïý, ãéá íá öôÜóåé óôç óýíäåóç ôçò öüñìáò ìå ôçí

ðïëõåðßðåäç ãñáììéêÞ áíÜëõóÞ ôçò, ôïí ïäçãåß óå ðáñÜëëçëá êáé ôåìíüìåíá åðßðåäá. Ç Ýêôáóç êáé

ç ðåñßìåôñïò ôïõ üãêïõ ôùí "ãåùìåôñéêþí" áõôþí êáôáóêåõþí, ðïõ äáíåßæïíôáé ôéò áíáöïñÝò ôïõò

áðü ôç ãåíßêåõóç ôùí óôïé÷åßùí ôïõ ôå÷íïëïãéêïý ìáò ðïëéôéóìïý, èáññåßò üôé êáôåõèýíïõí ôçí

êßíçóÞ ôïõò, Ýôóé þóôå ç ìÜæá ôïõò íá ìçí åßíáé ðåðåñáóìÝíç, áëëÜ íá ãßíåôáé ç áöïñìÞ ãéá ôç

óýíäåóç ôçò öüñìáò ôïõ ìå ôï Üðåéñï. Ï ãëýðôçò êáôáöÝñíåé íá ìåôáôïðßóåé ôï óôü÷ï ôïõ áðü ôç

óôáôéêüôçôá óôçí êßíçóç êáé áðü ôïí üãêï óôç ãñáììÞ. Ç ëåðôÞ åðéöÜíåéá ôïõ áíïîåßäùôïõ

ìåôÜëëïõ, ôïõ äéÜöáíïõ ðëÝîéãêëáò Þ ôïõ îýëïõ, ìå ôçí åýêáìðôç Þ åýðëáóôç õðüóôáóÞ ôïõò, ôïõ

Ýäùóáí ôçí åõêáéñßá íá áðïäþóåé ïðïéáäÞðïôå åðéäÝîéá ìïñöéêÞ ôïõ óýëëçøç.


ÊÜèå ôïõ ãëõðôéêÞ óýíèåóç Ý÷åé ìå ïîõäÝñêåéá ìåëåôçèåß, þóôå íá åðéôõã÷Üíåôáé ç áñìïíéêÞ ôçò

Ýíôáîç óôï ÷þñï. Ç åëåõèåñßá ðïõ ôïõ ðñïêáëïýí ôá Ýôïéìá õëéêÜ êáé ç åõêïëßá ôçò äéá÷åßñéóÞò

ôïõò ôïõ äßíåé ôï Ýíáõóìá ãéá ìéá óõíå÷Þ äçìéïõñãéêÞ åíÝñãåéá. Åêåßíï ðïõ ôïí ðñïâëçìáôßæåé

Ýíôïíá åßíáé ï ÷áñáêôÞñáò ôïõ ÷þñïõ êáé ï ôñüðïò ìå ôïí ïðïßï èá ôïí ðñïóåããßóåé. ¸ôóé

äçìéïõñãåß íÝá ðëáóôéêÜ óýìâïëá äßíïíôáò Ýìöáóç óôçí áíáëïãßá ôïõ ñõèìïý. ÌïñöÞ êáé ýëç,

÷þñïò êáé öùò, ðÜíôá ó' Ýíá äéÜëïãï äõíáìéêÞò Ýíôáóçò, ãéá ôçí áðüäïóç ôùí ìïñöéêþí ôïõ

áíáæçôÞóåùí. ×åéñßæåôáé ìå ðåñéóõëëïãÞ ôï öùò, þóôå ç åéêüíá ôïõ Ýñãïõ íá ìåôáâÜëëåôáé, ìÝóá

óôï ðÝñáóìá ôçò þñáò, äßíïíôáò ðñïâÜäéóìá ó' áõôÞ ôçí ßäéá ôçí áîßá ôçò óôéãìÞò óôïí äåäïìÝíï

÷þñï.

Ï ÐáñìáêÝëçò ðñï÷ùñåß áðü ôçí åíïñáôéêÞ íüçóç ôïõ öõóéêïý êüóìïõ óå íÝåò êáé ïëïÝíá

áêñéâÝóôåñåò "ìç÷áíéêÝò" öüñìåò. Ï êüóìïò ôùí Ýñãùí ôïõ êáèñåöôßæåé ôï ôå÷íïëïãéêü ðáñüí êáé

áéóèçôïðïéåß ôç ãíþóç ìáò ãéá ôç óýã÷ñïíç ðñáãìáôéêüôçôá. Åðéíïåß íÝåò öüñìåò ìéáò åíôåëþò

áõôüíïìçò ãëõðôéêÞò Ýêöñáóçò, ðïõ ôïí öÝñíïõí óôçí áðÝíáíôé ü÷èç áðü ôéò áñ÷éêÝò ïñáìáôéêÝò

ôïõ êáôáêôÞóåéò, üôáí Þôáí ìüíéìá áíôéìÝôùðïò ìå ôï ðåðñùìÝíï ôçò áíèñþðéíçò ìïñöÞò êáé ôçí

áîåðÝñáóôç äýíáìç ôçò öýóçò.

Ðïéá üìùò ó÷Ýóç óõíäÝåé ôéò "Ìç÷áíéêÝò" ôïõ äçìéïõñãßåò ìå ôá áíèñùðïêåíôñéêÜ ãëõðôÜ ôçò

óôÝñåçò öüñìáò; Ïé ôùñéíÝò ôïõ äçìéïõñãßåò, 1978-2006, ðñïôÜóóïõí ôç ñåõóôÞ äõíáìéêÞ ôïõò

öüñìá êáé ôçí åëåõèåñßá ôçò ãåùìåôñéêÞò ôïõò áíÜðôõîçò, ðñïóðáèþíôáò íá óõãêáëýøïõí ôç

ìÜæá êáé ôï âÜèïò ôçò. Ðñüêåéôáé, êõñßùò, ãéá Ýñãá áñèñùôÜ, ìå áõóôçñÞ äïìéêÞ áíÜðôõîç

óýíèåóçò, üðùò ïé "Êßïíåò" óôçí ÁèÞíá (Îåíïäï÷åßï Hilton), óôï Ìáñïýóé (Ëåùö. Êçöéóßáò), óôïõò

Äåëöïýò (Åõñùðáúêü Ðïëéôéóôéêü ÊÝíôñï Äåëöþí), ìå Ýíôïíç áßóèçóç åíáôÝíéóçò. Ïé óýã÷ñïíïé

"ÊßïíÝò" ôïõ åíáñìïíßæïíôáé óôï óýã÷ñïíï ðåñéâÜëëïí, åíþ, ôáõôü÷ñïíá, áíáêáëïýí ìíÞìåò áðü ôï

ìáêñéíü ìáò ðáñåëèüí. Ç ÅëëÜäá ãéá ôïí ÐáñìáêÝëç óçìáßíåé ôï áéþíéï ðíåýìá, êáé ïé äéá÷ñïíéêÝò

ìïñöÝò ôçò áñ÷áßáò ôçò ãëõðôéêÞò ôçí áîåðÝñáóôç ôåëåéüôçôá ôçò Ýêöñáóçò. Ï ßäéïò, åîÜëëïõ, áðü

ôçí áñ÷Þ ôçò êáëëéôå÷íéêÞò ôïõ ðåñéðÝôåéáò, åóôßáóå ôçí ðñïóï÷Þ ôïõ óôçí áðüäïóç ôçò

áíèñþðéíçò ìïñöÞò. Ôï ó÷Ýäéï áðïôåëåß ðÜíôá ôçí áéôßá ôçò äñÜóçò ôïõ, áðü ôá öïéôçôéêÜ ôïõ

÷ñüíéá Ýùò óÞìåñá. Ôá ó÷ÝäéÜ ôïõ, ìå ôç ïîýôçôá ôçò ãñáöÞò ôïõò, áíôéðñïóùðåýïõí Ýíá óôÜäéï

åðßðïíçò ðñïåñãáóßáò, ðáëáéüôåñá ìå ôéò åîðñåóéïíéóôéêÝò ôïõ áíèñùðïêåíôñéêÝò öéãïýñåò (1964-

74), êáé ôþñá ìå ôéò ãåùìåôñçìÝíåò öüñìåò.

Áîßæåé üìùò íá óôáèïýìå óôçí ðáëáéüôåñç äïõëåéÜ ôïõ, óôá ãõíáéêåßá êáé áíäñéêÜ ãëõðôÜ, áðü ôéò

áñ÷Ýò ðåñßðïõ ôçò äåêáåôßáò ôïõ '60. Ïé ìïñöÝò áõôÝò äåí åßíáé ðåñéãñáöéêÝò ìå ðñüóèåôïõò

üãêïõò, áëëÜ óôñÝöïíôáé, êáèåìßá îå÷ùñéóôÜ, ãýñù áð' Ýíáí ðõñÞíá, óáí íá ôéò äÝíïõí ì' áõôüí

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íïçôïß Üîïíåò. Ðñüêåéôáé ãéá "êëåéóôÜ" óôç óõãêñüôçóÞ ôïõò êáé áíïéêôÜ óôçí Ýêöñáóç ôïõò ãëõðôÜ,

áöïý êáôáëáìâÜíïõí êõñéáñ÷éêÜ ôç èÝóç ôïõò óôï ÷þñï, áíôáíáêëþíôáò ôçí åóùôåñéêüôçôá ôçò

öõóéïãíùìßáò ôïõò.

Ëßãá ÷ñüíéá áñãüôåñá, ôï 1968, áñ÷ßæåé ç ðïëõóõæçôçìÝíç åíüôçôá ôùí Ýñãùí ôïõ "ÌÜñôõñåò êáé

èýìáôá", ðïõ ôïí áðáó÷üëçóå Ýùò ôï 1974. ÃëõðôÜ ðëáóìÝíá ÷ùñßò äéóôáãìïýò êáé äéëÞììáôá,

êõëïýí êáé óôñéöïãõñßæïõí ãýñù áðü Ýíáí áüñáôï áëëÜ õðáñêôü Üîïíá - êõñßùò õðü ãùíßá ðñïò

ôï åðßðåäï êáé ôçí êÜèåôï - êáé åíäõíáìþíïõí ôç ãëõðôéêÞ ïíôüôçôá. Ï ðõêíüò üãêïò êáé ç

áíáóôáôùìÝíç öüñìá, ìå ôéò âáèéÝò ôïìÝò Þ ãñáììÝò, áíáôÝìíïõí ôïí åóùôåñéêü ôïõò ìç÷áíéóìü,

åðéôõã÷Üíïíôáò, ìå ôéò åõñçìáôéêÝò ëåéÜíóåéò ôùí áêìþí ôïõò, ìéá óõãêëïíéóôéêÞ ðáñïõóßá. Ïé

åõëýãéóôïé Üîïíåò áêïëïõèïýí, ìÝ÷ñé ôçí ôåëåõôáßá Ýîáñóç ôïõ üãêïõ, ôç óõíï÷Þ êáé ôç íåõñéêüôçôá

ôïõ ðáëìïý, ðïõ äéÝðåé üëç ôç ìïñöÞ. ÌïñöÝò ðïõ ÷áñáêôçñßæïíôáé áðü ôçí áäñüôçôá ôïõ

ðëáóßìáôïò, åêðÝìðïõí äýíáìç áðü ìÝóá ðñïò ôá Ýîù, ôïíßæïíôáò ôçí ðõêíüôçôá êáé óöñéãçëüôçôá

ôçò óýíèåóçò. Ïé ìïñöÝò ôïõ ðåñéïñßæïõí ôçí áíÜðôõîÞ ôïõò óôçí áíèñùðïêåíôñéêÞ êëßìáêá, åíþ,

ðáñÜëëçëá, ïé ðñïóåããßóåéò ôùí ÷áñÜîåùí óôçí Ýííïéá ôçò åõèåßáò åðåêôåßíïõí ôçí ïäýíç ôïõ

óþìáôïò óôï Üðåéñï. Ç ãëõðôéêÞ ôïõ ìáñôõñßá, âáóéóìÝíç óôçí åéêüíá ôïõ óõíôåôñéììÝíïõ áôüìïõ

áðü ôç âßá ôçò åîïõóßáò, ìåôáöÝñåé ìå ôïí ðéï Üìåóï ôñüðï ôçí áãùíßá, ôçí ðßóôç êáé ôçí

ðñïóÞëùóç ôïõ ãëýðôç óôï áíèñþðéíï "ãßãíåóèáé". Ç åíüôçôá ôùí ãëõðôþí "ÌÜñôõñåò êáé èýìáôá",

ëßãï ðñéí ôçí ðôþóç ôçò åðôÜ÷ñïíçò äéêôáôïñßáò, êáôáêõñþèçêå óôç óõíåßäçóç ôïõ êïéíïý ùò ç

êïñõöáßá Ýêöñáóç ôçò êáëëéôå÷íéêÞò ôïõ äñÜóçò. Ðïëõó÷éäÝò ôï Ýñãï ôïõ áðü ôï 1974 Ýùò ôï

1982, ðëïõôßæåôáé ìå óõíèÝóåéò ìå öñïýôá, äÝíäñá, ìáãéÜôéêá óôåöÜíéá êáé ðÝôáëá ëïõëïõäéþí,

åðéóçìáßíïíôáò ôçí áíáêýêëùóç ôçò æùÞò äßðëá óôá áðëÜ êáé êáèçìåñéíÜ áãáèÜ ôçò öýóçò. Ç

äéðëÞ üøç ôçò æùÞò, ãÝíåóç êáé èÜíáôïò, åõôõ÷ßá êáé äõóôõ÷ßá, åðßìïíá ôïí áðáó÷ïëåß, èáññåßò êé

åðé÷åéñåß íá äþóåé óôï ÷áëêü ôçí ðíïÞ ôçò áíïîåßäùôçò ìíÞìçò.

Ç ôïìÞ ôçò äçìéïõñãéêÞò ôïõ ðåñéðÝôåéáò ðñáãìáôïðïéåßôáé üìùò ôï 1978, üôáí áñ÷ßæåé ç

äçìéïõñãßá ôùí "Ìç÷áíéêþí", ìå ôçí áÝíáç êßíçóç. Ï ãëýðôçò óõíå÷ßæåé, ì' Ýíá äéáöïñåôéêü

ðëáóôéêü ëåîéëüãéï, íá äéåñåõíÜ ôçí üøç ôïõ ðñáãìáôéêïý. Åãêáôáëåßðåé ïñéóôéêÜ ôï åîðñåóéïíéóôéêü

ðëÜóéìï ôùí ìïñöþí, åãêáôáëåßðåé ôçí áíèñþðéíç ìïñöÞ, êáé åóôéÜæåé ôçí ðñïóï÷Þ ôïõ óôç

äçìéïõñãßá åíüò Ýñãïõ áðü ãåùìåôñéêÜ åðßðåäá ðïõ ó÷çìáôßæïõí åíßïôå ðñùôüöáíôåò

ôñéóäéÜóôáôåò öüñìåò. Öüñìåò äùñéêÝò, áðëÝò êáé êáèáñÝò, ðïõ åðéôñÝðïõí óôï äéáõãÝò öùò íá

ôïíßóåé ôçí áßóèçóç ôïõ ìÝôñïõ ôïõò. Óå áñêåôÜ Ýñãá ôïõ ÷ñçóéìïðïéåß áíôéèåôéêÜ ÷ñþìáôá (ìðëå,

êßôñéíï, êüêêéíï ê.Ü.), óå îýëï Þ óå ðëÝîéãêëáò, åíäõíáìþíïíôáò ôï äéÜëïãü ôïõ ìå ôéò åðéôïß÷éåò

áíÜãëõöåò óõíèÝóåéò ôïõ. Ãéáôß áõôÞ ç áíáóôÜôùóç ìÝóù ôïõ ÷ñþìáôïò; ¼ôáí ìå ôçí êßíçóç, Þ ôç


ìåôáôüðéóç, áðü ôïí üãêï óôç óçìáóßá ôçò ãñáììÞò êáé áðü ôç óôáôéêüôçôá óôçí Ýíôáóç

ðñïâÜëëïõí êõñßáñ÷á ïé áñåôÝò ôïõ ó÷åäßïõ ôïõ; ºóùò, ãéáôß, ìÝóù ôïõ ÷ñþìáôïò, åäñáéþíåé ìéá

ðñïóùðéêÞ áßóèçóç, ìéá ðñïóùðéêÞ åõáéóèçóßá, ðñïâÜëëïíôáò ôçí áíÜãêç åëåõèåñßáò ôïõ

áðÝíáíôé óôçí ðëáóôéêÞ ëåéôïõñãßá. ¸ôóé, åììÝíåé ó' áõôÞ ôçí ßäéá ôç ãÝíåóç åíüò íÝïõ ó÷Þìáôïòöüñìáò,

ðáñÜ óôï ßäéï ôï ó÷Þìá, äçëáäÞ óôï íá êáôáêôÞóåé ôçí ðëÞñç áõôïíïìßá ôçò ðëáóôéêÞò

Ýêöñáóçò. ÁõôÞ ç ìõèéêÞ ðëáóôéêÞ äýíáìç ôçò ôÝ÷íçò åßíáé ðïõ ôïí óõíåðáßñíåé êáé ôïí ïäÞãçóå

óôï äéêü ôïõ êüóìï, áðü ôçí áíèñùðïêåíôñéêÞ ãëõðôéêÞ óôéò "Ìç÷áíéêÝò" äçìéïõñãßåò.

Ï ÐáñìáêÝëçò óôïí ¢ãéï Íéêüëáï, ôï 2006, åãêáôÝóôçóå ôï ìíçìåéáêü ôïõ ãëõðôü "Óôï öùò ôçò

ÊñÞôçò", ðïõ áêôéíïâïëåß, ìÝóá áðü ôá åðÜëëçëá äéÜöáíá åðßðåäÜ ôïõ, Ýíá öùò, ðïõ ôáõôßæåôáé ìå

ôç óêÝøç ôïõ äçìéïõñãïý ôïõ: üôé ç æùÞ åßíáé Ýíá öùò êáé ç ïõóßá ôçò èá åßíáé ðÜíôïôå ç ÔÝ÷íç.

ÔÁÊÇÓ ÌÁÕÑÙÔÁÓ

ÄéåõèõíôÞò Éäñýìáôïò Ðéåñßäç

9


CONTRAST AND CONVERGENCE IN THE WORK OF GIANNIS PARMAKELIS

10

The boundaries of art are the boundaries of our universe. In times past artists would strive after

the Sublime and the Eternal, a pair of seminal conceptions, indissolubly bound to sculpture. Those

boundaries are questioned now, on the argument that even if they existed in the past, they are no

longer possessed of any significant value. Traditional art forms are mostly regarded as inimical to creative

freedom or artistic evolution. Yet the yearning for perfection remains imperishable, acknowledging

the pre-eminence of wisdom, identifying it with the virtue of art.

Art is forever form. Confronted with form and its content, the image and the substance of its meaning,

truth and its stylistic rendition, through the passage of time, an artist seeks to gain acceptance

for his own personal visionary transformations. Heretical and inquisitive, throughout his fifty years as

an artist, Parmakelis has perseveringly plumbed the values of great sculpture and has unveiled his

own work.

For his exhibition at the G. & A. Mamidakis Foundation, in Crete, the sculptor shows representative

works from his corpus entitled "Mechanicals", spanning the period from 1978 to 2006. For twentyseven

years, Parmakelis has pursued avenues of linear and geometrical elaboration in creating works

constructed with breathtaking perfection. The linear elaboration of their principal axes inherent to his

sculptures, with the purpose of linking the overall form with linear analyses on a succession of levels,

results in parallel or intersecting planes. It is easy to imagine that the span and outline of the volume

of such "geometrical" constructs, which find their referents in the generic traits of our hi-tech civilization,

marshal their progression so that their mass overcomes limitation, affording the occasion for

form to become congruous with infinity. The sculptor succeeds in transposing his goal from fixity to

motion; from bulk to line. He finds a way to impart actual shape to his consummate formal vision

thanks to the sleek surface of sheets of stainless metal, transparent Plexiglas, or wood, and to their

flexible, or malleable nature.


Each one of his sculptural compositions is the result of discerning design so that it may be fittingly

ensconced in its intended setting. The freedom occasioned by his ready-to-use materials, and his

ease in handling them, provide the impetus for his unflagging creative energy. His paramount concern

is for the character of the setting and his manner of dealing with it. Thus he creates new sculptural

figurations with an emphasis on the measure of rhythm. Form and matter, space and light, are

in perpetual, dynamically intense dialogue, manifesting his formal explorations. His handling of light

is meditative, so that the appearance of his work is transformed as the hours pass, putting a premium

on the value of the fleeting moment within any given environment.

Parmakelis progresses from a visionary intellection of the natural world to new and ever more precise

"mechanical" forms. The universe of his works reflects present-day technology and alerts us to

an awareness of contemporary reality. He invents new forms of an utterly individual sculptural expression

that bring him to the bank that lies across from that of his initial visionary attainments, when he

had been steadily concerned with the destiny of the human form and the overwhelming potency of

nature.

So then, what is the relationship that links his "Mechanical" opus with his 'human' sculptures of more

solid form? His current works, 1978-2006, are premised on a fluid, dynamic form and free geometrical

development, endeavouring to disguise their bulk and its depth. They consist mainly of modular

works that follow strict compositional rules of structural development, such as the "Columns" in Athens

(Hilton Hotel), Maroussi (Kifissias Avenue), Delphi (European Cultural Centre of Delphi), notable for

their numinous aura of contemplation. His modern "Columns" are in harmony with their contemporary

setting, whilst recalling memories of our distant past. For Parmakelis Greece denotes the eternal spirit,

and the perennial forms of ancient sculpture with their unmatched and consummate expressivity.

In fact, from the outset of his career as an artist, he kept his attention focused on the rendition of the

human form. From his student years until the present, drawing has always served as the spring-board

of his work. His sketches, with their astute draughtsmanship, denote a phase of arduous preliminary

exploration, be it in his expressionist 'human' figures of the past (1964-74) or in his present geometrical

forms.

It would be worth our while to touch on his older work, the female and male sculptures from roughly

the beginning of the '60s. Those forms are not descriptive by dint of an accretion of volumes, but

individually revolve around a central core, as if bound to it by a notional axis. As sculptures they are

"closed" constitutively, but open expressively, since they command their place in space with aplomb,

in a manner mirroring the interiority of their aspect.

11


12

A few years later, in 1968, he started work on a much discussed body of sculptures, the "Martyrs

and victims" which worked on until 1974. Those pieces, sculpted without hesitation or dilemmas,

rotate and revolve around an invisible but real axis - chiefly at an angle to the horizontal or the perpendicular

- a source of compositional strength. Density of volume, turbulence of form, deep incisions

or scorings dissecting their internal mechanism, and vertices inventively smoothed, achieve compelling

presence. To the utmost extremity of volume, the lissom axes pursue the cohesion and wiriness

of the pulse that governs the entire form. Each form is remarkable for its strong moulding, radiating

strength from within, emphasizing compositional density and vigour. His forms confine their

growth to a human scale, while the well-nigh straight scored lines extend bodily suffering to infinity.

His sculptural testimonial, occasioned by the image of the individual crushed under the violence of

authority, directly conveys the sculptor's anguish over, faith in, and dedication to human "becoming".

Coming as it did a little before the collapse in Greece of a seven-year-long dictatorship, the "Martyrs

and victims" series of sculptures came to be regarded by the public as the most sublime manifestation

of his activity as an artist.

His work from 1974 to 1982 became more varied with additional themes such as compositions of

fruit, trees, May-day floral crowns, and flower petals: allusions to the sempiternal cycles of life, close

to the simple and bountiful gifts of nature. Absorbed in the contemplation of life's duality, birth and

death, joy and sorrow, he sought to imbue copper with the spirit of incorruptible memory.

The actual watershed in his creative development occurred in 1978 when he began to work on his

"Mechanicals", with their endless motion. Albeit employing a new plastic vocabulary, the sculptor continued

his exploration of the mien of reality. He abandoned his expressionist moulding of figures for

good, abandoned the human form, and focused on the creation of works composed of geometrical

planes that often gave shape to three-dimensional forms never before seen: forms of Doric purity and

simplicity that allow refulgent light to emphasize their virtue of measure. He used contrasting colours

(blue, yellow, red, etc.) on wood or Plexiglas in several works, thus enhancing his colloquy with his

wall mounted relief compositions. What purpose did this agitated colouration serve, when the virtue

of his design emerged authoritatively by means of motion or transposition, from bulk of volume to the

significance of line, and from inertness to tension? Perhaps through colour he achieved a personal

feeling, a personal sensibility, vouchsafing expression to his need of freedom vis-a-vis the plastic

function. Thus he persevered in bringing about a veritable genesis of a new shape-form, rather than

relying on shape alone, in other words persevered in his pursuit of full autonomy for his sculptural


expression. It is this mythical plastic force of art that fascinated him and brought him to his own, personal

universe, in a transition from his 'human' sculptures to his "Mechanical" works.

In 2006, Parmakelis installed his monumental sculpture "In the light of Crete" in Aghios Nikolaos. The

piece, through its superimposed transparent planes, radiates a light that is identical with the thinking

of its creator: that life is light, and that its essence will always be Art.

TAKIS MAVROTAS

Director, Pierides Foundation

13


14

Öéãïýñåò - Ìç÷áíéêü, 2.06×1.80 ì.

Figures - Mechanical, 2.06X1.80 m.

ÌðïõêÝôï - Ìç÷áíéêü 1989,

îýëï - ìÝôáëëï - ÷ñþìá, 1.80×0.90 ì.

Bouquet - Mechanical 1989,

wood - metal - paint, 1.80X0.90 m.


îýëï - ìÝôáëëï - ÷ñþìá, 1,80×0,90 ì.







19

Áðü ôïí öõôéêü êüóìï 1977-1984, Ó÷Ýäéï ìïëýâé, 1.06×0.76 ì.

From the vegetable world 1977-1984. Pencil drawing,1.06×0.76 m.

Áðü ôïí öõôéêü êüóìï, Ôüñíïò 1979 - Ìðñïýôæïò

From the vegetable world, Lathe 1979 - Bronze

20

ÌðïõêÝôï, Áëïõìßíéï, ýøïò 2.73 ì.

Bouquet, Aluminium, height 2.73 ì.

21

ÌðïõêÝôï, Áëïõìßíéï, ýøïò 2.05 ì.

Bouquet, Aluminium, height 2.05 m.

22

ÂñÜ÷ïò - Ìç÷áíéêü 1989,


Rock - Mechanical 1989,

wood - metal - paint, 1.65×1.45 m.

23

24

Öéãïýñá - Ìç÷áíéêü, 2.05×1.15 ì.

Figure - Mechanical, 2.05×1.15 m.

25

26

Óýíèåóç - ÖñïõôéÝñá,


Composition - Fruit-bowl,


28

Ãåùìåôñéêü Íï 2,


Geometrical Nr 2,

wood - metal - paint, 1.20x1.60 m.

Ãåùìåôñéêü Íï 1,


Geometrical Nr 1


31

ÊÜèåôï Ìéíùúêü, ýøïò 2.50 ì.

Perpendicular Minoan, height 2.50 m.

32

Êýâïò - Ìç÷áíéêü, áëïõìßíéï, 0.80×0.80×0.50 ì.

Cube - Mechanical, aluminium, 0.80X0.80X0.50 m.

ÔÜëùò, ýøïò 3.00 ì.

Talos, height 3.00 m.

35

36

ÊÜèåôï - Áñ÷áúêü,

áëïõìßíéï - ìðñïýôæïò, 0.40×0.90×0.15 ì.

Perpendicular - Archaic,

aluminium - bronze, 0.40X0.90X0.15 m.

37

ÊÜèåôï - Áñ÷áúêü,

áëïõìßíéï, 1.50×0.58×0.34 ì.

Perpendicular - Archaic,

aluminium, 1.50X0.58X0.34 m.

Êïëþíá,

áëïõìßíéï - îýëï - ÷ñþìá, ýøïò 3 ì.

Column

aluminium - wood - color, height 3 m.

Êïëþíá,

áëïõìßíéï, ýøïò 3ì.

Column,

aluminium, height 3 m.

ÂñÜ÷ïò, áëïõìßíéï - ïñåß÷áëêïò 1.05×0.62×0.34 ì.

Rock, aluminium - bronze, 1.05x0.62x0.34 m.

43

Êáñðüò, áëïõìßíéï, 0.60×0.70×0.50 ì.

Fruit, aluminium, 0.60×0.70×0.50 m.

Êýâïò, ÷áëêüò, 1.70×1.50×1.50 ì.

Cube, copper, 1.70×1.50×1.50 m.

45

Ìç÷áíéêüò êýâïò, 1984 - 1988

÷áëêüò, 0.33×0.25×0.25 ì.

Mechanical cube, 1984 - 1988

copper, 0.33×0.25×0.25 m.

ÁíÜðôõîç Êýâïõ 1989, îýëï - ìÝôáëëï - ìïëýâé, 1.94×1.34 ì.

Expansion of Cube 1989, wood - metal - pencil, 1.94X1.34 m.

ÁíÜðôõîç Êýâïõ 1984 - 1988, îýëï, 0.45×0.33×0.21 ì.

Expansion of Cube 1984 - 1988, wood, 0.45X0.33X0.21m.

47

48

Ìç÷áíéêü, îýëï, 0.48×0.42×0.42 ì.

Mechanical, wood, 0,48×0,42×0,42 m.

49

Ìç÷áíéêü, îýëï, 1.08×0.38×0.38 ì.

Mechanical, wood, 1.08×0.38×0.38 m.

ÊÜèåôï - Ìç÷áíéêü 1979, îýëï, 0.92×0.37×0.37 ì.

Perpendicular - Mechanical 1979, wood, 0.92X0.37X0.37m.

50

Êýâïò, îýëï, 0.87×0.78×0.78 ì.

Cube, wood, 0.87×0.78×0.78 m.

52

ÁíÜðôõîç Êýâïõ, îýëï - ÷ñþìá, 0.45×0.33×0.21 ì.

Expansion of Cube, wood - paint, 0.45X0.33X0.21 m.

ÁíÜðôõîç Êýâïõ 1984 - 1988, ðëåîéãêëÜò, 0.34×0.33×0.38 ì.

Expansion of Cube 1984 - 1988, plexiglas, 0.34×0.33×0.38 m.

54

ÄéÜèëáóç 1984 - 1988, ÐëåîéãêëÜò, 0.35×0.33×0.20 ì.

Refraction 1984 - 1988, Plexiglas, 0.35×0.33×0.20 m.

' Óôï öþò ôçò ÊñÞôçò', ÐëåîéãêëÜò, ýøïò 2.40 ì.

ÓõëëïãÞ, Éäñýìáôïò Ã.& Á. ÌáìéäÜêç

'Under the light of Crete', Plexiglas, height 2.40 m.

G.& A. Mamidakis Foundation Collection

55

57

ÃÉÁÍÍÇÓ ÐÁÑÌÁÊÅËÇÓ

ÃåííÞèçêå óôï ÇñÜêëåéï ôçò ÊñÞôçò. Óðïýäáóå ÃëõðôéêÞ óôçí

ÁíùôÜôç Ó÷ïëÞ Êáëþí Ôå÷íþí Áèçíþí ìå á' êñáôéêÞ õðïôñïößá êáé

ìå êáèçãçôÝò ôïí æùãñÜöï ÃéÜííç Ìüñáëç (Ðñïêáôáñêôéêü) êáé ôïí

ãëýðôç ÃéÜííç ÐáððÜ óôá ÅñãáóôÞñéá ÃëõðôéêÞò. ÊáôÜ ôç äéÜñêåéá

ôùí óðïõäþí ôïõ äéáêñßèçêå ìå äýï âñáâåßá êáé ðÝíôå åðáßíïõò óôç

ÃëõðôéêÞ êáé óôï Ó÷Ýäéï. ÓõíÝ÷éóå ôéò óðïõäÝò ôïõ ãéá ôñßá ÷ñüíéá

(1961 - 1964) ìå õðïôñïößá ôïõ Éäñýìáôïò Êñáôéêþí Õðïôñïöéþí

(ÉÊÕ) óôçí Ecole de Beaux Arts ôïõ Ðáñéóßïõ, êïíôÜ óôïõò ãëýðôåò

Zadtkine êáé Kouturier. Äßäáîå åëåýèåñï ó÷Ýäéï óôï Ôå÷íïëïãéêü

Éíóôéôïýôï (ÄïîéÜäç) óôéò Ó÷ïëÝò Äéáêïóìçôþí áðü ôï 1968 Ýùò ôï

1976. Åßíáé êáèçãçôÞò óôï Äçìïêñßôåéï ÐáíåðéóôÞìéï ÈñÜêçò, óôï

ôìÞìá Áñ÷éôåêôüíùí Ìç÷áíéêþí.

ÅÊÈÅÓÅÉÓ

58

1960 ÏìáäéêÞ, Áßèïõóá ÔÝ÷íçò "Áñìüò" ÁèÞíá

1961 ÁôïìéêÞ, Áßèïõóá ÔÝ÷íçò "Æõãüò" ÁèÞíá

1965 VII ÐáíåëëÞíéïò ÁèÞíá

ÌðéåíÜëå Áëåîáíäñåßáò

Áßãõðôïò

1966 ¸êèåóç ÍÝùí ÅëëÞíùí Ãëõðôþí, ÓôÝãç ÃñáììÜôùí êáé Ôå÷íþí ÁèÞíá

ÄéåèíÞò ¸êèåóç Óõã÷ñüíïõ ÃëõðôéêÞò, Ìïõóåßï Rodin

Ðáñßóé

1967 É× ÐáíåëëÞíéïò ÁèÞíá

ÌðéåíÜëå ôïõ ÓÜï ÐÜïëï

Âñáæéëßá

1969 ¸êèåóç ÅëëÞíùí Êáëëéôå÷íþí ÂïõêïõñÝóôé

1970 35 ç ÌðéåíÜëå Âåíåôßáò Éôáëßá

ÏæÜêá

Éáðùíßá

1971 Baucunste Galerie "Kunster International" Êïëùíßá

ÌðéåíÜëå ÂïõäáðÝóôçò

Ïõããáñßá

ÐáãêñÞôéïò 1971

×áíéÜ

1976 ÁôïìéêÞ, "Áßèïõóá ÔÝ÷íçò Áèçíþí" (ÐñùôïìáãéÜ 1976) ÁèÞíá

1977 ÁôïìéêÞ, "Áßèïõóá Áãßïõ ÌÜñêïõ" ÇñÜêëåéï

¸êèåóç Êñçôþí Êáëëéôå÷íþí

ÇñÜêëåéï

1978 ÃëõðôéêÞ 78 ÖéëïèÝç

1979 ÏìáäéêÞ ÂïõêïõñÝóôé

ÏìáäéêÞ (ÄÝêá õðïøÞöéïé êáèçãçôáß), ÅèíéêÞ ÐéíáêïèÞêç ÁèÞíá

ÏìáäéêÞ, Áßèïõóá ÔÝ÷íçò "Studio ÔÝ÷íçò"

ÁèÞíá

ÏìáäéêÞ, "ÖÜëçñï 1979"

ÁèÞíá

ÏìáäéêÞ, Ìïõóåßï ÃïõëáíäñÞ

¢íäñïò

1980 A' ¸êèåóç ÃëõðôéêÞò "ÇñÜêëåéï 1980" ÇñÜêëåéï

ÏìáäéêÞ, Grande Palais

Ðáñßóé

1981 ¸êèåóç Êñçôþí Êáëëéôå÷íþí (ÖåóôéâÜë Ëåõêùóßáò) Ëåõêùóßá

ÏìáäéêÞ, "Áßèïõóá ÔÝ÷íçò Çñáêëåßïõ"

ÇñÜêëåéï

¸êèåóç ÃëõðôéêÞò "ÖÜëçñï 1981"

ÁèÞíá

1982 ÁôïìéêÞ (Ó÷Ýäéá, ÃëõðôéêÞ), Áßèïõóá ÔÝ÷íçò "ÓôáõñáêÜêç" ÇñÜêëåéï

ÁôïìéêÞ, Áßèïõóá ÔÝ÷íçò "ÍÝåò ÌïñöÝò"

ÁèÞíá

ÁôïìéêÞ, "Óðßôé ôçò ÅéñÞíçò"

ÁèÞíá

ÏìáäéêÞ, Áßèïõóá ÔÝ÷íçò "Åðßðåäá"

ÁèÞíá

1983 ÄéåèíÞò ¸êèåóç Ðëáóôéêþí Ôå÷íþí ÂïõêïõñÝóôé

1984 ÏìáäéêÞ, Áßèïõóá ÔÝ÷íçò "Æõãüò" ÁèÞíá

ÁôïìéêÞ, "Áßèïõóá ÔÝ÷íçò Áèçíþí" ("Ìç÷áíéêÜ")

ÁèÞíá

ÏìáäéêÞ, "Rodis Karkazi Gallery"

ÓéêÜãï

1988 ÁôïìéêÞ, "Atheneum Art Gallery" ("Ìç÷áíéêÜ") ÁèÞíá

1989 ÏìáäéêÞ, Áßèïõóá ÔÝ÷íçò "Titanium" ÁèÞíá

1992 ÁíáäñïìéêÞ, ÐéíáêïèÞêç Ðéåñßäç ÁèÞíá

1993 ÁíáäñïìéêÞ, ÄÞìïò Èåóóáëïíßêçò Èåóóáëïíßêç

1993 ÁôïìéêÞ, Áßèïõóá ÔÝ÷íçò "Ëüëá ÍéêïëÜïõ" Èåóóáëïíßêç

1994 ÁíáäñïìéêÞ, ÄÞìïò ÊáëáìÜôáò ÊáëáìÜôá

1998 ÁíáäñïìéêÞ, Ðñåóâåßá ÂåíåæïõÝëáò ÂåíåæïõÝëá

1999 Ðåñéðáôçôéêü, "Áðï ôçò Êïñçóóßá óôï ÂïõñêÜñé ìå 10 ãëõðôÜ" ÊÝá

2003 ¸êèåóç Áíôéðñïóùðåõôéêþí Ýñãùí. ÅëëçíïãåñìáíéêÞ ÁãùãÞ ÁèÞíá


Áðü ôï 1975 Ý÷åé öéëïôå÷íÞóåé 85 ìåôÜëëéá, üðùò "Äçìïêñáôßá óå áóÞìé", ôá 12 ìåôÜëëéá ôïõ ÌåãÜëïõ ÁëåîÜíäñïõ ê.á.

Âñáâåýôçêå êáé åêðñïóþðçóå åðßóçìá ôçí ÅëëÜäá óôïí Ðáíåõñùðáúêü äéáãùíéóìü ãéá ôï íüìéóìá ôïõ Åõñþ.

ÃËÕÐÔÁ

Âñáâåýôçêå êáôÜ êáéñïýò ìå 20 ðñþôá êáé äåýôåñá âñáâåßá êáé äéáìüñöùóå ÷þñïõò, üðïõ öéëïôÝ÷íçóå ôéò åîÞò ãëõðôéêÝò

óõíèÝóåéò:

1966 ÂéÜííïò Çñáêëåßïõ ÊñÞôçò. Óýíèåóç "ÌÜñôõñåò êáé Èýìáôá". ×áëêüò, ýøïò 3,40 ì.

ÂéÜííïò Çñáêëåßïõ ÊñÞôçò. Óýíèåóç ïëüãëõöç. ×áëêüò, 3,50 × 0,60ì.

1966 ¢ãéïò ÉùÜííçò ÑÝíôç ÐåéñáéÜ. "Íßêç". ×áëêüò, ýøïò 3.00 ì.

1970 ÊáâÜëá "ÅéñÞíç". ×áëêüò, ýøïò 3.00ì.

1972 ÅëÜôç ÔñéêÜëùí. Óýíèåóç áíÜãëõöç. ×áëêüò, ýøïò 2.40ì.

1973 ×áíéÜ ÊñÞôçò. "Áèçíáãüñáò". ×áëêüò, ýøïò 2.40ì.

1975 Á’ Íåêñïôáöåßï ÁèÞíáò. Ìíçìåßï ÍéêïëÜïõ ÃïõëáíäñÞ. Ïñåß÷áëêïò, ýøïò 2.00ì.

1977 Åëåõóßíá. "Áéó÷ýëïò". Ïëüãëõöç óýíèåóç. ×áëêüò, ýøïò 2.20ì.

1980 Club ÅêÜëçò. "ÅêÜëç" Óýíèåóç ÁíÜãëõöç. ×áëêüò, ýøïò 4.00 × 0,90ì.

1981 ÇñÜêëåéï ÊñÞôçò. "Åñùôüêñéôïò êáé Áñåôïýóá". Óýíèåóç ïëüãëõöç. ×áëêüò, ýøïò 3.20ì.

1982 ÓïêáñÜò Çñáêëåßïõ. Óýíèåóç ïëüãëõöç. ×áëêüò, ýøïò 3.00ì.

1983 Áñ÷Üíåò Çñáêëåßïõ. "ÊáðåôáíÜêçò". Óýíèåóç ïëüãëõöç. ×áëêüò, ýøïò 2.40ì.

1985 Åëåõóßíá. "ËÜóêïò". Óýíèåóç ïëüãëõöç, ýøïò 2.40ì.

1985 Ó÷ïëÞ Äïêßìùí ÐåéñáéÜ. "Ìáôñþæïò" áíäñéÜíôáò. ×áëêüò, ýøïò 2.40ì.

1986 ÑÝèõìíï ÊñÞôçò. Óýíèåóç "Äåëößíéá", ïëüãëõöï. ×áëêüò, ýøïò 3.20ì.

1987 ÅèíéêÞ ÔñÜðåæá ÊáéóáñéáíÞò. Óýíèåóç áíÜãëõöç áðü ôçí óåéñÜ

"Ìç÷áíéêÜ". Áëïõìßíéï - ÷ñþìá, 15 × 5.30ì.

1987 ÊçöéóéÜ ÁèÞíáò. Óýíèåóç ïëüãëõöç. Áëïõìßíéï, ýøïò 1.30ì

1988 ×ÉËÔÏÍ Áèçíþí. Óýíèåóç ïëüãëõöç.

Êïëþíåò áðü ôç óåéñÜ "Ìç÷áíéêÜ", ýøïò 6.30ì.

1988 Á’ Íåêñïôáöåßï ÁèÞíáò. Óýíèåóç ÁíÜãëõöç. "ÌðïõêÝôï". ÌÜñìáñï, ýøïò 2.00ì.

1989 ÐÝñáìá Ñåèýìíïõ. "Óôáýñïò ÊáëÝñãçò". Óýíèåóç ïëüãëõöç. ×áëêüò, ýøïò 2.00ì.

1992 Âüëïò. Óýíèåóç "ÅëåõèÝñéïò ÂåíéæÝëïò". ×áëêüò, ýøïò 2.40ì.

1993 Ðíåõìáôéêü ÊÝíôñï ÄÞìïõ Áèçíáßùí (ïä. Ðåéñáéþò).

Óýíèåóç "Êïóìïãïíßá". ×áëêüò, 1.65 × 1.00 × 78

1998 ÂåíåæïõÝëá, ÊáñÜêáò. "Íßêç". ×áëêüò, ýøïò 3.50ì.

1998 ÇñÜêëåéï ÊñÞôçò. Ìíçìåßï ãéá ôïõò Íåêñïýò ôçò åñãáôéêÞò ôÜîçò.

Óýíèåóç "ÓôåöÜíé". ×áëêüò, ýøïò 2.00ì.

2003 Âüëïò. ÌðïõêÝôï áðü ôçí óåéñÜ "Ìç÷áíéêÜ". Áëïõìßíéï, ýøïò 2.54ì.

2004 Ìáñïýóé. Óýíèåóç áðü ôçí óåéñÜ "Ìç÷áíéêÜ".

ÊÜèåôï Áñ÷áúêü. Áëïõìßíéï, ýøïò 6.30ì.

2004 Äéüíõóïò ÁôôéêÞò. Óýíèåóç "Êýâïò". ÌÜñìáñï, ýøïò 3.00ì.

2005 Äåëöïß. Åõñùðáúêü Ðïëéôéóôéêü ÊÝíôñï Äåëöþí.

"Êïëþíåò". Áëïõìßíéï, ýøïò 6.00ì.

2006 ÌÉÍÏS BEACH. "Óôï öþò ôçò ÊñÞôçò". ÐëÝîõ, ýøïò 2.40ì.

59

¸ñãá ôïõ Ý÷ïõí áãïñáóèåß êáé õðÜñ÷ïõí óôï Ìïõóåßï ÂïññÝ óôçí Ðáéáíßá, óôï Ìïõóåßï ÃïõëáíäñÞ óôçí ¢íäñï, óôçí ÅèíéêÞ

ÐéíáêïèÞêç Áèçíþí, óôçí ÐéíáêïèÞêç Ñüäïõ, óôçí ÐéíáêïèÞêç Ðéåñßäç, óôçí óõëëïãÞ ôçò "Baucunste Galerie" óôçí Êïëùíßá

Ãåñìáíßáò, óôçí óõëëïãÞ ôçò "Galerie Pagani" óôï ÌéëÜíï êáé óå ðïëëÝò éäéùôéêÝò óõëëïãÝò, óå ÅëëÜäá, Åõñþðç êáé ÁìåñéêÞ.


GIANNIS PARMAKELIS

Born in Herakleion, Crete. Studied Sculpture at the Athens School of Fine Arts, on a state scholarship with honours, under Giannis

Moralis, painter (Preliminary), and Giannis Pappas, sculptor (Sculpture Workshop). In the course of his studies he received two awards

and five commendations for Sculpture and Drawing. He then went to the Ecole des Beaux-Arts in Paris on a Hellenic State Scholarships

Foundation grant, where he pursued his studies for a further three years (1961-64) under sculptors Zadtkine and Kouturier. From 1968

to 1976 he taught drawing at the School of Decoration, Institute of Technology (Doxiadis). He is university professor of the Department

of Architecture and Civil Engineering at the Democritus University of Thrace.

60

EXHIBITIONS

1960 Group, "Armos" Art Gallery Athens

1961 One -man, "Zygos" Art Gallery Athens

1965 VII Hellenic Athens

Alexandria Biennale

Egypt

1966 Exhibition of Young Greek Sculptors, Home of Arts and Letters Athens

International Exhibition of Contemporary Sculpture, Musee Rodin Paris

1967 × Hellenic Athens

Sao Paolo Biennale

Brazil

1969 Greek Artists' Exhibition Bucharest

1970 35th Venice Biennale Italy

Osaka

Japan

1971 Baukunst Galerie "Kunster International" Cologne

Budapest Biennale

Hungary

All Cretan 1971

Chania

1976 One -man, "Athens Art Gallery" (1st May, 1976) Athens

1977 One -man, "Saint Mark Gallery" Herakleion

Cretan Artists Exhibition

Herakleion

1978 Sculpture 78 Philothei

1979 Group Bucharest

Group ("Ten Candidate Professors"), National Gallery

Athens

Group, "Art Studio" Gallery

Athens

Group, "Phaleron 1979"

Athens

Group, Goulandris Museum

Andros

1980 I Sculpture Exhibition "Herakleion 1980" Herakleion

Group, Grand Palais

Paris

1981 Cretan Artists Exhibition (Nicosia Festival) Nicosia

Group, "Herakleion Art Gallery"

Herakleion

Sculpture Exhibition "Phaleron 1981"

Athens

1982 One - man (Drawings, Sculpture), "Stavrakakis Art Gallery" Herakleion

One - man, "Nees Morfes" Art Gallery

Athens

One - man, "House of Peace"

Athens

Group, "Epipeda" Art Gallery

Athens

1983 International Plastic Arts Exhibition Bucharest

1984 Group, "Zygos" Art Gallery Athens

One - man, "Athens Art Gallery" ("Mechanicals")

Athens

Group, "Rodis Karkazi Gallery"

Chicago

1988 One -man, "Atheneum Art Gallery", ("Mechanicals") Athens

1989 Group, "Titanium" Art Gallery Athens


1992 Retrospective, Pieridis Gallery Athens

1993 Retrospective, Municipality of Thessaloniki Thessaloniki

1993 One-man, "Lola Nikolaou Art Gallery" Thessaloniki

1994 Retrospective, Kalamata Municipality Kalamata

1998 Retrospective, Greek Embassy in Venezuela Venezuela

1999 Promenade, "From Korissia to Vourkari with 10 sculptures" Kea

2003 Exhibition of representative works. Hellenic- German School Athens

Since 1975 he has designed 85 medallions including "Democracy in silver", twelve medallions of Alexander the Great, etc. His

award-winning contribution was Greece's official entry in the European Design Competition for the Euro.

SCULPTURES

He has been awarded twenty 1st or 2nd prizes, and has created the following compositions along with their setting:

1966 Viannos, Herakleion, Crete: Composition "Martyrs and Victims",

copper, height 3.40m.

Viannos, Herakleion, Crete: Sculpture, copper, 3.50x0.60m.

1966 Aghios Ioannis Rendis, Piraeus: "Nike", copper, height 3.00m.

1970 Kavala: "Peace", copper, height 3.00m.

1972 Elati, Trikala: Relief composition, copper, height 2.40m.

1973 Chania, Crete: "Athenagoras", copper, height 2.40m.

1975 1st Cemetery, Athens: Nikolaos Goulandris Memorial, bronze, height 2.00m.

1977 Eleusis: "Aeschylus", sculpture, copper, height 2.20m.

1980 Ekali Club: "Ekali", relief composition, copper, height 4.00x0.90m.

1981 Herakleion, Crete: "Erotokritos and Aretousa", sculpture, copper, height 3.20m.

1982 Sokaras, Herakleion: Sculpture, copper, height 3.00m.

1983 Archanes, Herakleion: "Kapetanakis", sculpture, copper, height 2.40m.

1985 Eleusis: "Laskos", sculpture, height 2.40m.

1985 Piraeus Cadet School: "Matrozos", statue, copper, height 2.40m.

1986 Rethymno, Crete: "Dolphins", sculpture, copper, height 3.20m.

1987 National Bank, Kesariani branch: Relief composition from "Mechanicals",

aluminium - colour, 15x5.30m.

1987 Kifissia, Athens: Sculpture: aluminium, height 1.30m.

1988 Athens HILTON: Columns from "Mechanicals", sculpture, height 6.30m.

1988 1st Cemetery, Athens: "Bouquet", sculpture, marble, height 2.00m.

1989 Perama, Rethymnon: "Stavros Kallergis", sculpture, copper, height 2.00m.

1992 Volos: Composition Eleftherios Venizelos, copper, height 2.40m.

1993 Athens Municipal Cultural Centre (Pireos st):

Composition "Cosmogony", copper 1.6x1.00x 0.78m.

1998 Venezuela, Caracas: "Victory", copper, height 3.50m.

1998 Herakleion, Crete: Monument for the dead of the working class,

composition "Wreath", copper, height 2.00m.

2003 Volos: Bouquet from "Mechanicals", aluminium, height 2.54m.

2004 Maroussi: Composition from "Mechanicals",

Archaic Perpendicular; aluminium, height 6.30m.

2004 Dionysos, Attica: Composition "Cube", marble, height 3.00m.

2005 Delphi, European Cultural Centre of Delphi:

"Columns"; aluminium, height 6.00m.

2006 MINOS BEACH: "Under the Light of Crete", Plexiglas, height 2.40m.

61

Works by Giannis Parmakelis have been acquired by and may be found in the Vorres Museum in Paeania, the Goulandris Museum

in Andros, the National Gallery of Athens, the Gallery of Rhodes, the Pieridis Gallery, the collection of "Baukunst Galerie" in Cologne,

Germany, the collection of "Galerie Pagani" in Milan, and several private collections in Greece, Europe and America.


ÅÊÈÅÓÇ

Ó×ÅÄÉÁÓÌÏÓ - ÅÐÉÌÅËÅÉÁ

ÔÜêçò ÌáõñùôÜò

ÏÑÃÁÍÙÔÉÊÇ ÕÐÏÓÔÇÑÉÎÇ - ÅÐÉÊÏÉÍÙÍÉÁ

Ôßôç Ìðïõ÷Üãéáñ

ÃÑÁÌÌÁÔÅÉÁÊÇ ÕÐÏÓÔÇÑÉÎÇ

ºäñõìá Ã.& Á. ÌáìéäÜêç

THE EXHIBITION

CONCEPT - CURATOR

Takis Mavrotas

ORGANISATIONAL SUPPORT - COMMUNICATION

Titi Buhayar

SECRETARIAL SUPPORT

G. & A. Mamidakis Foundation

62

ÊÁÔÁËÏÃÏÓ

ÃÅÍÉÊÇ ÅÐÉÌÅËÅÉÁ

ÔÜêçò ÌáõñùôÜò

ÌÅÔÁÖÑÁÓÇ

ÁëÝîáíäñïò Æáöåéñßïõ

ÅÐÉÌÅËÅÉÁ ÊÅÉÌÅÍÙÍ

Åññßêïò ÓïöñÜò

Ó×ÅÄÉÁÓÌÏÓ - ÊÁËËÉÔÅ×ÍÉÊÇ ÅÐÉÌÅËÅÉÁ

Ìáñßá ÓôÝöùóç

ÖÙÔÏÃÑÁÖÉÅÓ

Ìáñßá ÓôÝöùóç

ÃéÜííçò Âá÷áñßäçò

ÃéÜííçò Ãëõíüò

ÅÊÔÕÐÙÓÇ - ÂÉÂËÉÏÄÅÓÉÁ

Ã. ÄåôïñÜêçò ÁÅÂÅ

ÃÑÁÌÌÁÔÅÉÁÊÇ ÕÐÏÓÔÇÑÉÎÇ

ºäñõìá Ã.& Á. ÌáìéäÜêç

CATALOGUE

GENERAL EDITOR

Takis Mavrotas

TRANSLATION

Alexander Zaphiriou

PROOF READING

Eric Sofras

LAYOUT

Maria Stefossi

PHOTOGRAPHS

Maria Stefossi

Yannis Vacharidis

Yannis Glynos

PRINTING - BINDING

G. Detorakis S.A.

SECRETARIAL SUPPORT

G. & A. Mamidakis Foundation

ÉÄÑÕÌÁ Ã.& Á. ÌÁÌÉÄÁÊÇ


PARMAKELIS - ΠΑΡΜΑΚΕΛΗΣ

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