Time, Form, Concept

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On 4th June 2013 a selection of Korovessi’s work was exhibited in the National Archaeological Museum of Athens.

This page is a virtual tour of the exhibition accompanied with descriptions of the artist’s ideas and concepts behind each exhibit.

 

The Idea behind the exhibition

Modern Sculpture in dialogue with Ancient Greek Sculpture.

The exhibition of modern sculpture next to its ancient counterpart is a novel cultural approach. It lends itself as mutual ground for exploration by disciplines like Art, History, Sociology, Philosophy and Meditation.

The sturdy marble that has stored inside it centuries of human contemplation will stand next to a wooden work “Life ” with the lightness of its… youthfulness.

This novel ‘cohabitation’, initiates ubiquitous interest from specialist, amateur, Greek or foreign visitors alike.

The conversation between different topics, concepts, forms and materials evokes an array of interpretations.

Flocking
Exhibition Room 11





Flocking
Cast brass, marble, 54cm x 25cm x 10cm, 2013

The dynamic stride of the archaic Nike (n. 21) converses aesthetically and conceptually with the flying of the birds of the contemporary work, which open their wings gradually and are characterised by dynamism and intensity.

Harmony
Exhibition Room 39





Harmony
Stainless steel, oven paint, 100cm x 70cm x 24cm, 2013

At the end of the sculpture’s wing, the contemporary metalwork sculpture signifies the new ways with which modern artists process metal and create sculptures with abstract forms.

Horsepower
Exhibition Room 21





Horsepower
Cast Bronze, 40cm x 100cm x 10cm, 1985

Symbolic representation of a modern, mechanical ‘horse’. The clenched fists and the waving mane signify the dynamism of the rider of today. Few steps away, racing to victory full of power and frenetic energy gallops the bronze horse with its jockey from Artemision (n. X15177)

Irini (Peace) A
Entrance



Iirini (Peace) at Time, Form, Concept -Creative Commons CC0 Waiver License

Irini (Peace) A
Cast brass

Soundgraph of the word ‘peace’. It depicts dozens of people embracing each other in a rhythmic pulse, atop a semicircle, like that of Apollo’s lyre which resonates the harmony of the Cosmos. Peace, a human need, is a timeless prerequisite for the flourishing of the arts and culture. The work was placed in the vestibule to mark the existence of a Contemporary Sculpture exhibition in the Museum.

Exhibition Room 4
In close connection with the precious artifacts of the Mycenaean civilization of 1600-1110 BC, in Room 4 next to floral motifs lies the bronze Evolution Disk (Whole), with recordings of ten words corresponding to images and geometric symbols, which converse with the Linear B language and Mycenaean scripts in the room. The lively references to a nautilus-ladden seascape pictured in a bronze 15th century BC manual as found in a Laconia tomb, also coexist with Korovessi's Rowing- the depiction of the liquid element being a connecting thread between the cultures.
Evolution disk (‘Whole’)
Exhibition Room 4





Evolution disk (‘Whole’)
Cast brass, nickel

The work hosts the soundgraphs of ten words along with the corresponding words, images or geometrical shapes. The «Whole» seems like a modern version of the mysterious Phaistos disc and calls the visitor to ponder on the codes of communication and on man’s effort to deliver with symbols the meaning of words. The work is at the vestibule of the Prehistoric Collection exhibition, next to the showcase with the neolithic works.

Freedom
1st Floor staircase landing





Freedom
Cast brass, 80cm x 54cm x 35cm, 2013

The composition with the birds reflects the need of man to transcend the limitations of his nature. An upward route towards freedom!

The work is placed at the grand staircase leading to the upper floor of the Museum’s exhibitions.

Rowing
Exhibition Room 4





Rowing
Cast brass, brass, stainless steel, 90 x 30 x 10cm, 2003

The soundgraph of the word ‘rowing’ looks like a sea, travelled by rowers as carriers of the modern civilisation. The modern rowers are paying homage to the nautical culture of the Cycladic people and to the seagoing Mycenaeans. The work is at the vestibule of the Prehistoric Antiquities next to the showcase with the Cycladic works.

Exhibition Room 7
Next to the wine vessel of Dipylos (late Geometric period), an exhibit that carries the first found inscription in Greek alphabetic writing, stands Sonic Alphabet, especially created for this exhibition and spangled with waveforms of the letters of the Greek alphabet. With its frugal, geometric lines it reminds the modern viewer the great achievement of alphabetic writing. And in line with the debut appearance of the greek phonetic alphabet in the vessel, in it we witness for the first time the ‘sound-sculptured alphabet’.
Sonic Alphabet
Exhibition Room 7





Sonic Alphabet
Stainless steel, cast brass, 100 x 38 x 62cm, 2013

The sculpture is comprised of the wave forms of the sound of the letters of the Greek alphabet. It was created especially for the exhibition at the National Archaeological Museum. With its frugal lines it reminds to the modern visitor the great achievement of the alphabetic writing. The work stands next to the cup-bearers of Ditylos (n. 192); an exhibit that carries the most ancient preserved inscription in Greek alphabetic writing.

Bonds
Exhibition Room 9





Bonds
Stone, metal, wood, 74x37x10cm, 1990

Two figures in an embrace. The sculpting of the bodies with an agricultural tool (harrow) symbolises the need to cultivate relationships for the blossoming of love. The work stresses the power of companionate or brotherly love. It is placed near the archaic complex of brothers Dermyos and Kitylos (n. 56). The visitor can see both works simultaneously if he/she stands in Exhibition Room 8, at the axis of the opening towards Exhibition Room 9.

Peace – Paz
Room 22





Peace – Paz
Bronze, marble, Peace: 86cm x 29cm x 11cm - Paz: 90cm x 32cm 23cm, 1996

The a linearly arranged compositions represent sound of the word “peace” in English and Spanish. The way they slope from the centre outwards, they are reminiscent of ancient greek pediments. The compositions are symbolically placed in front of sculptures belonging to the east Asklepios temple pediment, and that are titled ‘The Fall of Troy’.

Water
Exhibition Room 23





Water
Wood, aluminum, aniline colours, 172cm x 32cm x 32cm, 1996

The sculpture is consisted of the wave form of the word ‘water’ on top of a canoe. Placed in a room with funerary monuments it brings to mind thoughts about Charon’s boat, on board which the dead, crossed the Acheron river to be lead to the underworld.

Exhibition Room 13
The two ancient marble Kouroi (of Kea and Croesus, Anavissos respectively) of circa 530 BC with their robust and slender trunks stand in front of Korovessi’s Mutations I and III, both with a similar vertical totem-like figurine arrangement.
Transmutations I, III
Exhibition Room 13





Transmutations I, III
Wood, metal, glass, cast brass, marble, I: 200cm x 50cm x 50cm, III: 134cm x 30cm x 30cm, 1992

The tectonicity of the archaic Kouroi (n. 3686, 3851) is contrasted with the abstract form of ‘Transmutations’, offering an opportunity to the viewer to reflect on the ways artists experiment with matter and manage to produce forms governed by internal strength.

Balancer Perhaps
Exhibition Room 15





Balancer Perhaps
Cast brass, stainless steel, 160cm x 130cm x 20cm, 2013

The balancer balances next to the bronze sculpture of Zeus of Artemision. The god balances freely in space, conquering the three dimensions and showing his divine splendour. Next to him, the contemporary sculpture comes to remind the viewer about the greatness of man’s fortitude. The Balancer with logic and self awareness stands with his own powers; he is the god of himself.

Exhibition Room 33
In front of the Roman sarcophagus in Room 33 stands the work Life, a stringed instrument based on the sound of the word. The anthropomorphic figurine is transformed into a sort of a speaker, from which vibrations of the strings resonate to the sound of Life. The two parts symbolize the two aspects of life: the sarcophagus keeps it safe while the figurine the releases it.
Life
Exhibition Room 33





Life
Wood, brass, strings, 165cm x 55cm x 30cm, 1997

The work is an anthropomorphic speaker, the strings of which produce linearly the sound of the word ‘life’. It is placed in front of the roman marble sarcophagus (n. 1497). The two objects act contrapuntally, made, the first to hold the echo of life and the second to resonate life through the pulse oscillation of the strings.

Agon
Exhibition Room 21





Agon
Brass, 98cm x 30cm x 20cm, 2003

The contemporary work renders the sound of the word ‘agon’ with forms of athletes at the time of the contest and at the moment of receiving awards. The rich in miniature processed forms composition, coexists in the space with the winning sculpture of the young equestrian, known also as ‘jockey’ of Artemision (n. X15177) which dominates the room.

Altar Room
The room with the stone altar, which was a tribute by the Athens municipality to Venus and the 3 Charities, found near Thisio and dated to 210 BC hosts Korovessi’s Air, a bronze and limestone composition of parallel brass rods with bell-shaped ends, a serial structure reminiscent of reed in the wind. In the same room there is a marble relief pedestal from the cave of the nymphs in Penteli, and a marble statue of Pan, from Sparta.
Air
Altar Gallery





Air
Bronze, limestone, 220cm x 150cm x 30cm, 2003

Serial structure composition of repeated brass rods that represent the soundform of the word ‘air’. The work reminds reeds rustling in the passing wind, and visually represents elements of nature historically connected with the god Pan. It is placed next to an adjacent section of votive sculptures of Pan and the nymphs.

Eros
Altar Gallery





Eros
Wood, metal, ink, 60cm x 50cm x 10cm, 1996

The work depicts the wave form of the sound of the word ‘eros’. It is located at the end of the section of sculptures associated with the goddess of love, Aphrodite and her worship.

Woman – Races
First Floor Vestibule





Woman – Races
Silk-screening on plexiglass, 100x50x30cm, 1986

Seated female form, with her hands back. Consecutive surfaces with lines interchange with gaps, through which the female form is shaped as the viewer is moving in front of the work. The artwork is placed in the lobby of the first floor, at the entrance of the Vase Collection.

Exhibition Room 23
In front of the now empty pedestal of the bronze Antikythera Adolecent (c340 BC) one of the very few large ancient surviving statues found on the Antikythera seabed stands Sea Travellers in stainless steel, cast brass and stainless steel cable. The floating and simultaneously pulsating composition feels like it travels in the sea like the Antikythera Adolecent.
Sea Travellers
Room 23





Sea Travellers
Stainless steel, cast bronze, 100cm x 80cm x 10cm, 2010

Waveforms of the word ” skate “. The work’s rays of the project are suspended on strings and vibrate with sound. It is like traveling to the sea , an integral part of the identity of the Greeks.