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Summeracademy: How important is performance in your work? What is your preferred material and why?
Yorgos Sapountzis: I worked in the theater for years. From the age of 20 to 25 I was a stage designer and assistant directtor for a theater group in Athens. Even today I’m fascinated by that moment of selfabandonment that’s always there when some one exposes themselves before an audience and starts playing a role. This moment is so important because it’s precisely this we need to learn: the ability to feel through and with others. This is why, as far as my own work is concerned, I only call those works performances where I have an audience. And because this special element of feeling through others can only take place given human presence, I hardly ever turn such performances into video works after the event.
Yorgos Sapountzis, Sculptures cannot eat, various materials, music: Oyvind Torvund, 2017. Courtesy the artist and Barbara Gross Galerie and Eleni Koroneou Gallery, photo: Nick Ash
There’s one idea underlying all of my performances: “Here I am! I’m here for you now!” Time plays a role, the audience’s gaze, and their empathy with me, the performer. You can’t translate that into videos. Each time I have to overcome my fear of presenting myself to people again.
Yorgos Sapountzis, Performance, The Kitchen, NY, 2014
So there I stand with my materials, and with their aid I try to construct a story or an experience. Basically, everything that I do as an artist is born of this element of performance. Experiences during a performance are so strong that they often eclipse everything else in my memory. My memories of my performances point the way to my other works.
Internationale
Sommerakademie
für bildende Kunst
Salzburg
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