athens

Kostis Velonis, Reconstruction of the model of Vladimir Tatlin’s monument to the Third International as an instrument of research for domesticity, 2009, wood, acrylic, veneer, plywood, spray paint, 43 1/4 x 11 3/4 x 11 3/4".

Kostis Velonis

Alpha-Delta Gallery

Kostis Velonis, Reconstruction of the model of Vladimir Tatlin’s monument to the Third International as an instrument of research for domesticity, 2009, wood, acrylic, veneer, plywood, spray paint, 43 1/4 x 11 3/4 x 11 3/4".

“Marx in Arcadia” may seem a somewhat oxymoronic title for an exhibition. Is Kostis Velonis positing a revolutionary pastoralism? Well, why not? Who but Marx foresaw a future society beyond the division of labor, where I may “do one thing today and another tomorrow, to hunt in the morning, fish in the afternoon, rear cattle in the evening, criticize after dinner, just as I have a mind, without ever becoming hunter, fisherman, herdsman or critic”? Velonis, though, seems to spend his days more as a carpenter and handyman than as any sort of agriculturalist who engages in bracing postprandial critique. His sculptures and works on paper are an interestingly uneasy combination of two strains of recent art: the “Unmonumental” school of haphazard, jerry-built, intuitivelyfree-associative assemblage on the one hand; and a more concept-driven mode based on the research on and critique of

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