Kostas Tzimoulis
No Armature, 2018

Tzimoulis’s [art] is decidedly anti-spectacular, anti-heroic, anti-macho – encapsulated entirely by the prefix anti-. His art is unconcerned with pleasing the viewer’s eye – a unique expression that seeks no recognition: its uniqueness emerges organically, effortlessly, never as an end in itself. At the same time, Tzimoulis as an artist is fascinated by subtle differences – those crucial, delicate distinctions that render a sculptural form, an image, or a gesture poignant and unique. In his hands, discarded material, a forgotten object, morph into radiant energy, ‘a syllable of meaning’ as he puts it, or – to quote Pasolini – into ‘an infinite dictionary, as infinite as the dictionary of possible words.’ In contrast to the dazzling, often verbose grand spectacles that dominate public spaces and contemporary art museums, Tzimoulis’s works seem humble, even underwhelming. Their presence is discreet yet palpable, thanks to their inner equipoise, sensitivity, and compositional completeness. (…)

Except from Excerpt from Christoforos Marinos’ introduction to “Kostas Tzimoulis: Matters of Mounting”, exhibition presented by the Municipality of Athens, City of Athens Arts Center, 6 March – 13 April 2025.