venice

Costas Tsoclis

Greek Pavilion, Biennale

Amid the quite often didactic and scholastic seriousness pervading the Venice Biennale, the Greek Pavilion stood happily apart. Costas Tsoclis used the pavilion’s ample space as a public forum in which to reflect on two distinct entities: darkness and light. Within this space he set up a game of mirrors, sinking images and objects into the depth of illusion. Both the real and the reproduced met at an intangible threshold that defied the senses and logic. Underlying Tsoclis’ esthetic is a precise control over the potential of fiction: the mythical tale dissolves into ordinary reality short-circuiting perception with a highly charged emotional content.

In the room to the right of the pavilion’s central hall, the room of darkness, the portraits of four men and a woman, standing motionless against a dark background, occupied an entire wall. One’s first impression was of hieratic fixity, of an

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