Christodoulos Panayiotou

Christodoulos Panayiotou (born 1978) is a Cypriot artist. Panayiotou's work spans a wide range of media, including sculpture, painting, installation, performance, photography, and video, and focuses on uncovering hidden narratives in the visual and material records of history and time. Drawing from his training in dance and the performing arts, as well as his studies in history and theatre anthropology, the artist’s work often involves the re-contextualisation of found materials and performance-based interventions.

Early life Panayiotou was born in 1978 in Limassol, Cyprus.

Works

Wonder Land, Never Land, I Land Wonder Land (2008), Never Land (2008) and I Land (2010) form a trilogy of 35mm slide projections that are the product of extensive archival research into the past of the artist’s home country, Cyprus. Commenting on Wonder Land, Panayiotou has stated:“The Limassol carnival parade is a revelation of everything we would like to be, of everything we know we cannot be, and of everything we cannot afford to accept that we are.” Never Land is a three-channel projection comprising images from the archives of the island's largest daily newspaper, Phileleftheros. The material is from throughout the 1990s, a decade of transition and transformation for Cyprus, as it engaged with the prospect of entering into the European Union. The work functions on the basis of idiosyncratic, personal associations between the images projected in each channel.

In I Land, the final instalment of the trilogy, Panayiotou examines the representation of the first president of Cyprus, Archbishop Makarios III, through photographs taken by the Press and Information Office (PIO) in Nicosia during his seventeen-year presidency. The PIO is a government department that deals with the distribution of official information to the media and the public. Among official photographs of the president kept in the archive, Panayiotou came across seemingly trivial snapshots taken by PIO photographers in the course of their duties. By juxtaposing these images, he uncovers a parallel storyline, told through the eyes of PIO photographers, which both accompanies and challenges the official narrative. Panayiotou introduced a series of gold-gilded monochrome paintings. The works were produced by infiltrating a pre-existing commercial circuit of production of religious icons, commissioning an iconographer to deploy the customary Byzantine techniques. Bringing forward the golden background as the sole element in the painting, the artist abstracted any form of representation associated with Orthodox iconography.

Mosaics In the Cyprus Pavilion of the 56th Venice Biennale, Panayiotou showed three mosaic works composed of ancient tesserae. In common archaeological practice, some findings are re-buried after they have been excavated and documented for preservation purposes. The pulp from the different denominations has been composed and combined into sheets of paper, as separate colour fields or mixtures, using the technique of pulp painting. The notes retain nothing of their original form other than their pigments. By restoring value to devalued matter, the series forms part of Panayiotou’s greater investigations into the notion of value exchange.

The Price of Copper The Price of Copper is a series of improvised fountains consisting of a raw sheet of copper sourced from the Skouriotissa copper mines in Xeros, Cyprus. Panayiotou produced a series of three works, each titled Painting, for which he worked closely with the restoration department of the museum. For these works, pieces of cotton wool used during the restoration and cleaning of the surfaces of the canvases in the collection of the Musée d’Orsay were collected, and the varnish, layers of paint, grime and other undesirable matter were extracted. The extracted material was then used as paint to cover new canvases exhibited alongside the other works in the show.

Dying on Stage Dying on Stage is an ongoing and ever-growing lecture-performance by Panayiotou that explores the hierarchical order of literal, metaphorical and symbolic deaths on stage, with reflections on the concept of tragic irony being the point of departure. The radical paradigm of death serves here as a narrative to investigate the complex relationship between the actor, the character and the spectator.

Originally, new chapters of Dying on Stage were only presented to friends on the artist’s birthday, however, following an invitation to present it publicly at Serpentine Galleries' Park Nights different versions have been performed in numerous festivals and institutions over the past decade, amongst which are: Festival d’Automne, Paris, France; Festival La Bâtie, Geneva, Switzerland; Kunstenfestivaldesarts, Brussels, Belgium; PERFORMA 15, New York, US; Centre National de la Dance (C ND), Paris, France (on invitation by Jerôme Bel); Onassis Cultural Centre, Athens, Greece; Atelier des Ballets de Monte Carlo at the Nouveau Musée National de Monaco, Monaco; Centre Pompidou, Paris, France; Phenomenon, Anafi, Greece; Sharjah Biennial 13 Act II, STATION, Beirut, Lebanon; Cabaret Voltaire, Zürich, Switzerland; and Conway Hall, London, UK, presented by Camden Arts Centre in collaboration with Serpentine Galleries.

In February–April 2023, Panayiotou toured Dying on Stage, with performances taking place in Switzerland at Théâtre Le Pommier, Neuchâtel, and in France at Festival Parallèle, Mucem, Marseille; le Théâtre de la Vignette, Université Paul-Valéry 3, Montpellier; Malraux. scène nationale Chambéry Savoie, D.A.M.E Festival, Malraux, Chambéry; Ccn (Centre Choréographique National) de Caen en Normandie, Caen; and Centre national de la dance (CN D) in collaboration with Palais de Tokyo (in the context of EXPOSÉ·ES), Pantin.

Panayiotou continues to add a new chapter to Dying on Stage every year on his birthday. The performance material currently spans over twenty hours, with different versions of between two-to-six hours performed to the public.

Parallel activities

The Island Club In 2018, Panayiotou initiated The Island Club, a non-profit exhibition space that hosts exhibitions by local and international artists, as well as film screenings, performances, and readings. The space has featured exhibitions by Pierre Leguillon, Apostolos Georgiou, Eileen Myles, Eric Baudelaire, Koula Savvidou, Jumana Manna, Kara Walker, Thraki Rossidou Jones, Constantin Brancusi, Farah Al Qasimi and Pratchaya Phinthong, among others.

Initially, The Island Club was hosted on the ground floor of the artist’s studio, located in Agora Anexartisias — a shopping arcade built in 1991 in the commercial centre of Limassol. In March 2021, The Island Club moved to a new space inside the arcade in close proximity to the studio. I write, erase, rewrite, erase again, and then a poppy blooms (Centre of Contemporary Art Kitakyushu), and False Form (Rodeo, London). Some letters were published in books and catalogues, such as Two Days After Forever: A reader on the Choreography of Time (a book produced to accompany the artist’s exhibition at the 56th Venice Biennale), Letters from Japan, Imeldific by Giovanna Silva, and Neither Nor: The challenge to the Labyrinth (published for the Italian Pavilion at the 58th Venice Biennale).

Panayiotou has been an advisor at the Rijksakademie van beeldende kunsten since 2016.

Recognition In 2005, Panayiotou was awarded the 4th DESTE Prize from the DESTE Foundation for Contemporary Arts in Athens. In 2011, he received the Future of Europe Prize from the Museum of Contemporary Art in Leipzig. In 2015, The Takis and Louki Nemitsas Foundation awarded him with the Nemitsas Prize in Visual Arts – an annual award dedicated to Cypriot scientists and artists who, through their research and work, bring honour to Cyprus on an international level.

Exhibitions Panayiotou has exhibited his work in various museums and major exhibition spaces around the world. In 2012, he took part in the thirteenth edition of the quinquennial contemporary art exhibition documenta, with the works The Sea and Independence Street. In 2015, he represented Cyprus at the 56th Venice Biennale with the exhibition Two Days After Forever. In 2019, he collaborated on the conception of the Emma Kunz - Visionary Drawings exhibition at the Serpentine Galleries. To accompany Kunz's works, he created new stone benches from the healing rock AION A which acted as scopic devices from which visitors could contemplate the drawings. and the Musée d’Orsay

Solo exhibitions One Year, LUMA Arles, Arles, France (2023–ongoing) The Portrait of Christopher Atkins, CCCOD (Le Centre de création contemporaine Olivier-Debré), Tours, France (2021) LUX S.1003 334, Musée d’Orsay, Paris, France (2019) “I write, erase, rewrite, erase again, and then a poppy blooms”, Centre for Contemporary Art, Kitakyushu, Kitakyushu, Japan (2017) Two Days After Forever, The Cyprus Pavilion, 56th Venice Biennale, Venice, Italy (2015) Days and Ages, Moderna Museet, Stockholm, Sweden (2013) And, Casino Luxembourg, Luxembourg (2013) In the light of day, fireflies are like any other insect, Centre for Contemporary Art, Kitakyushu, Kitakyushu, Japan (2013) One Thousand and One Days, Contemporary Art Museum St. Louis, St. Louis, Missouri, USA (2012) Christodoulos Panayiotou I: The Price of Copper & II: To Bring Back the World to the World, CAC Brétigny, Brétigny Sur Orge, France (2012) Christodoulos Panayiotou, Museum of Contemporary Art Leipzig, Leipzig, Germany (2011) Christodoulos Panayiotou, Kunsthalle Zürich, Zürich, Switzerland (2010)

Group exhibitions Between the Sun and the Moon, Lahore Biennale 02, Lahore, Pakistan (2020) Le Grand Monnayage, 8th Melle Biennale, Melle, France (2018) Stories of Almost Everyone, Hammer Museum, Los Angeles, USA (2018) Floating Worlds, 14th Biennale de Lyon, Lyon, France (2017) Tamawuj, Sharjah Biennial 13, Sharjah, UAE (2017) Cher(e)s Ami(e)s, Centre Pompidou, Paris, France (2016) Soleil Politique: The Museum Between Light and Shadow, Museion, Bolzano, Italy (2014) Sacre 101: An Exhibition based on the Right of Spring, Migros Museum, Zürich, Switzerland (2014) Berlin Biennale 8, Berlin, Germany (2014) When Attitudes Become Form Become Attitudes, CCA Wattis Institute for Contemporary Arts, San Francisco, California, USA (2012) dOCUMENTA (13), Kassel, Germany (2012) The Unexpected Guest, 7th Liverpool Biennial, Liverpool, UK (2012) You Are Not Alone, Joan Miro Foundation, Barcelona, Spain (2011) The End of Money, Witte de With, Rotterdam, The Netherlands (2011) Scene Shifts, Bonniers Konsthall, Stockholm, Sweden (2010) Live Cinema/In the Round, Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA (2010) Home Works Forum 5, Ashkal Alwan, Beirut, Lebanon (2010) The Columns Held Us Up, Artists Space, New York City, New York, USA (2009) Convention, Museum of Contemporary Art North Miami, Miami, USA (2009)