The Santorini Biennale has concluded its first exhibition circle on Saturday 29, September 2012 with a ceremony hosted by the Estia of Pyrgos Cultural Association in Pyrgos Village, Santorini.

The president of the Jury Commission, painter Christophoros Asimis, the member of the Jury Commission, photographer George Lizardos, the Curators Paola Gentili, Alexa Kusber, Tracey Holt Walkden and Tomas Poblete and the Organizing Committee are delighted to announce four IBEX Awards!

Stephane Malka from France for the artwork “Empties (ky)”, curated by Paola Gentili.
Empties(ky) is a neologism standing for ky (kyphoscoliosis peptidase), a cythoskeleton necessary to the muscular growth of the human organism and empties standing for voids and lakings. As for Greece and the antic myths overthrow, from the Minoan civilization to the economic upheaval that we all knows about.

Empty Sky.
The Olympus is outkast.

Santorini, the cannibal Island, a possible Atlantis, has been sunken by its own Volcano is the magnificent prototype of those Greek tragedies. It’s a vernacular dialogue, a viral white on white growing on the walls and ceilings of a troglodyte habitat, composed by a single and same item demultiplied. A parasite object spreading itself to the site typology and it’s stuccoed, it’s aspirations and breathings. Empties (ky) is composed of polystyrene chips threshed along the 245 artists parcels.

Second Award GOLD IBEX:
Tanja Radez from Slovenia for the artwork “Girls and Boys”, curated by Tomas Poblete.
The spatial organization entitled Girls and Boys is a visual reflection by Tanja Radez, tracking in a part of her creative activity the visual remains of the recent past of her non-existent country Yugoslavia. Girls and Boys is a project dealing with early childhood games that are based on an exploratory attitude to collecting something. In Yugoslavia, one after the other the girls were collecting napkins and boys were collecting album stickers. The paper napkins, thinner than the wind, have remained forever imprinted in the girls’ subconscious memory. They smelled of homeliness or an unknown modernity, of the distant and unreachable, sometimes of the luxurious or the extravagant. While girls poetically collected the napkins, with their drawings and little patterns, the boys mostly went for album stickers. The psychological role of the pictures or stickers that were found inside chewing gum or chocolate wrapping was of great importance. Basketball and football players, cars, motorcycles, Winnetou and Sandokan, famous actors, animals and plants, stuck in a specific order in the empty spaces of the album that were slowly filling up. It was all so exciting, up to the moment when there were only a few of the stickers missing, and often that was the way it stayed. The albums had an important educative role. The sign on the cover of the Oto-moto album says it’s a sticker album for general technical education. Cars, motorcycles and traffic education, or animals of the world – all of them were systematically educational, provided with detailed illustrations and exact information. Sports fans found a great value in the world championships’ albums, the collections of the players’ portraits stuck in time are an encyclopaedia of memories of their greatest achievements. Looking at different albums and napkin collections, I developed a theory about the difference between girls and boys based on these early childhood collections. The collecting starts at a very early age, it may even be an urge that we are born with. The girls collect in a dreamy, intuitive manner, collecting designs, and feelings, while the boys collect systematically, in their albums or other similar contemporary obsessions the collections are precisely defined, systematized, numbered, and full of knowledge and data. The girls trade their belongings, while the boys sell it. This way of functioning remains a lifetime process – women’s collections are emotional, but often the ladies are not conscious of the fact that their shoe cupboard filled with pairs for all types of occasions, is really a collection. On the other hand the men, husbands, and gentlemen often engage in a dangerous affair as collectors. They invest a lot of time, knowledge and money into their collections. They also tend to evaluate their collections, and often collect things that will theoretically rise in value. The men deal inside their collections, fight for them, study them in detail, hide them, or brag with them. The women prefer to live out their collections in a certain way, as well as use them.

Third Award SILVER IBEX:
Stipan Tadic from Croatia for the artwork “Grandfather”, curated by Tracey Holt Walkden, Alexa Kusber, Paola Gentili and Tomas Poblete.
The face by itself captures memories and from the looks of a face one can see everything the person has gone true. I have tried to make the psychology, one can read out of the lines of a face, even more obvious by over sizing the portraits and putting the face and the gaze in focus. I also put three shades of blue into the background which symbolize three parts of the day oppositely to the three phases of life we have on the portraits. All portraits are done with the help of little squares which were painted 5 a day. They are painted with little brushstrokes where I paid much attention to detail. If we look closely, we can find on each portrait hidden between the brushstrokes a little painted portrait of Mickey Mouse. By putting something unreal like Mickey onto a hyper realistic face, suggests onto the illusion that the brushstrokes make nothing but an illusion of a face and somehow “bring the curtain down” between the painter and the viewer. So I am dealing here with time on different levels , the life time, the time of a day (blue background) and the time which took to paint the paintings (5 squares a day).

Fourth Award BRONZE IBEX:
Rui Sasaki from Japan for the artwork “Listen to My Mom”, curated by Alexa Kusber, Tomas Poblete, Paola Gentili and Tracey Holt Walkden.
My work is about the exploration and discovery of subtle intimacy in unfamiliar spaces: what I refer to as empty space. In 2007, when I crossed the world to come to the United States from Japan, I experienced sensations of lost memories, nostalgia, and loss of home. I consider physical and psychological space as home. House is a physical shelter but home is psychologically important container, holding memories and nostalgia. Home is the only space where I can feel intimacy. Within the unfamiliar space of the uncanny, I challenge the fissure between what can be known and what is unknowable, and what resists clear delineations of intimacy.

The Organizing Committee will also select the 20 most voted by the public artists and will award a special praise!

The Committee and the Curatorial Team is very proud for the quality of the artworks exhibited from all the participating artists!

With the hope that the Art can open always new perspectives in life, the Committee renews its appointment with the artists to the next Biennale of 2014.

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