MANOLIS BABOUSSISMANOLIS BABOUSSIS
MANOLIS BABOUSSIS
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  • SELECTED PRESS
    • How to repair a tear? – 2020
    • How to repair a tear? – 2019
    • De l’architecture à la photographie. 2018
    • Something Stupid – 2018
    • Manolis Baboussis – Janis Kounellis -2018
    • Lifo 2017
    • Dramatisations of the objects – Apostolis Artinos, 2017
    • Manolis Baboussis Katerina Nikou – 2013
    • Secrets, skeletons, and a celebration of truth – Alexios Papazacharias 2013
    • Manolis Baboussis, Christoforos Marinos – 2010
    • Pensive Photography – Bruno Cora, 2006
    • Baboussis’s work –  Denys Zacharopoulos on Baboussis’s works 2006
    • Pensive Photography – Bruno Cora, Camec 2006
    • Discussion – Manolis Baboussis, Denys Zacharopoulos 2006
    • Detective’s gage – Daniella Pallazoli NMCA 2003
  • NEWSLETTER
  • TEXTS/ΚΕΙΜΕΝΑ
  • CONTACT
  • HOME
  • WORKS
    • VISUAL ARTS
    • POETRY
    • ARCHITECTURE
      • DRAWINGS
      • KEA
    • JANNIS KOUNELLIS
  • BIOGRAPHY
  • PUBLICATIONS
  • SELECTED PRESS
    • How to repair a tear? – 2020
    • How to repair a tear? – 2019
    • De l’architecture à la photographie. 2018
    • Something Stupid – 2018
    • Manolis Baboussis – Janis Kounellis -2018
    • Lifo 2017
    • Dramatisations of the objects – Apostolis Artinos, 2017
    • Manolis Baboussis Katerina Nikou – 2013
    • Secrets, skeletons, and a celebration of truth – Alexios Papazacharias 2013
    • Manolis Baboussis, Christoforos Marinos – 2010
    • Pensive Photography – Bruno Cora, 2006
    • Baboussis’s work –  Denys Zacharopoulos on Baboussis’s works 2006
    • Pensive Photography – Bruno Cora, Camec 2006
    • Discussion – Manolis Baboussis, Denys Zacharopoulos 2006
    • Detective’s gage – Daniella Pallazoli NMCA 2003
  • NEWSLETTER
  • TEXTS/ΚΕΙΜΕΝΑ
  • CONTACT

The  videos projections Anatomies Ι, ΙΙ, with music by Joachim Latarjet, use their inventive flow and the subtle immediacy of the photographic images to call upon us to reflect on the reality we experience. It poses multifaceted issues associated with the various routes and obsessions of Baboussis himself as well as the timeless questions of the human condition.

The first photographic project of Baboussis from the Volterra 1973 event was shown as a slide show at the time, while the large-scale prints he presented in subsequent shows make up a conceptual and visual discourse irrespective of any chronological or thematic affinity, favouring an open interpretation and triggering diverse associations.

Manolis Mavrommatis says:

“…the videos of Baboussis, his photography, the constituent structures and their organisation, the constructions, the objects and their accumulations—all these denote that the photographic object has left its original place and been diffused onto the objects that make it up: diffusion is the function of the analysis in space, and the reflection of space management consists in the compilation of an archive of the constituent elements of a perception that took place there and whose memories are gathered here, piece by piece”.

The Videos where shown at Alatza Imaret National Gallery Thessaloniki 2018.

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