Euripides Altintzoglou

Reversible

Beton7 Arts, Athens, 2011

For Reversible Altintzoglou presented two bodies of works that examine the individual and collective dimensions of change in an attempt to reconcile a misconceived disparity between the two. The first room included a series of radical portraits focusing on the psychoanalytical consequences of the dialectics between a desire for change and a concurrent reluctance for progress. The notion of change expanded onto the socio-political domain as the second room was occupied by a group of sculptural installations that draw on issues around knowledge, trust and systemic flaws identifying what needs to be done once a new individualism has been established.

In Soulseeker – a radical full figure self-portrait consist of a set of x-rays mounted on a lightbox – we witness the problematization of the dualist religious ideology through the scientific methodology of the work (x-rays), which refers to the quarrel between science and religion. The reflective properties of the mirror in the triptych Untitled encourage collaboration by opening up the process of production of meaning beyond the personal concerns of the artist while the employment of text of psychoanalytical nature enforces a confrontation with various prohibitions that impede on our personal development. Representation and truth is the focus of Trust, an installation that questions the representational validity of photographic verisimilitude. The dialectics of action and reaction are explored through an edition of twelve stamps that print the word ‘No’ in all major dialects. Finally, Panacia – an installation consist of 1,200 syringes filled with €12,000 spelling the acronym ‘S.O.S’ – confronts the dominant role of economics and their association with well-being.