missing her...

for twelve years...

 

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An étude on the primal matter of hu"man"kind

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Dimitris Papaioannou had opened Istanbul Theater Festival with “Medea” in 2000, however I could not attend “Medea” at that time. And long after I admiringly watched the opening ceremony of 2004 Olympic Games in Athens, I learnt that it was Papaioannou who designed and staged it. As a person who watched all opening and closing ceremonies since 1984 Los Angeles Olympics, I can say that 2004 opening ceremony in Athens was the most creative one, followed by 1992 Barcelona ceremony designed by La Fura Dels Baus. Papaioannou's work was a contemporary work of art deriving its inspiration entirely from the past and culture of its territory and which managed to be universal without being folkloric like 1996 Seoul or pop like 2012 London ceremonies. I continued to follow the works of Papaioannou from the videos he shared on the internet which contained some parts of his works, DVD record of his work called “2” and finally from opening ceremony of 2014 Baku Olympics. That ceremony als...
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Marco Goecke, whose choreographies make unusual feelings visible in bodies

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THE BIG CRYING ©Rahi Rezvani The bare-chested man stands in the front and center of the stage with his back to the audience. In the background of the stage, a long thin pipe with a shaky but powerful fire emanating from the end is positioned on the same axis as the man. From the darkness in the back, male and female dancers wearing black clothes are swiftly coming forward from either side of the pipe. They and the man consult with each other with harsh, intermittent and fast repetitive gestures, exchanging mutual movements. It's like a farewell ritual; They say goodbye to him, as if taking a piece of him, or a memory with him. But it could also be an initiation or a creation ceremony; Perhaps others are getting the blessing of that bare-chested man to be born, to live, to continue to live, or to be accepted as adults. On the other hand, in a later scene and at the end of the work he is on his knees on the floor, his face leaning towards the ground, with his mouth opens wide but d...
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Creating deep Mediterranean melancholy with humble materials. Interview with Dimitris Papaioannou

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[The Turkish translation of this interview is published and can be accessed on  art.unlimited .] Dimitris Papaioannou- Portrait (Photo: Julian Mommert) On the first Sunday morning of December in a sunny and warm weather, we meet with the painter, director and visual artist Dimitris Papaioannou in a cute café in Pangrati, one of Athens’ bohemian and green neighborhoods. Dressed in a black tracksuit Papaioannou is in an emotional and sad mood. Following its 2.5-year-long world tour in 38 cities of 23 countries with more than 70,000 spectators, his last work The Great Tamer was performed for the last time on two previous sold-out evenings (29-30 November 2019) at the Megaron, Athens' largest theater of 1750 people. When I ask him about how he feels, Papaioannou describes the final performance of The Great Tamer as “ the funeral, the funeral of the show ” and adds: “ I very much like the fact that we closed The Great Tamer , we finished it, but I’m also very emotional about th...
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