Yiannis Grigoriadis

Ο Γιάννης Γρηγοριάδης (1971) σπούδασε γλυπτική στην Ανωτάτη Σχολή Καλών Τεχνών Αθήνας (1990 – 1995), μεταπτυχιακές σπουδές στην Αγγλία, Staffordshire University (1996-1997) με κατεύθυνση την βίντεο-τέχνη και την βίντεο-εγκατάσταση. Έχει στο ενεργητικό του πλήθος ατομικών και ομαδικών εκθέσεων στην Ελλάδα και το εξωτερικό. Ενδεικτικά αναφέρονται οι διεθνής συμμετοχές: 2017 “learning by earning” A video program for Athens and Kassel, Γερμανία, Κάσσελ. 2015 “It’s All Greek to Me,” Τορόντο, Καναδάς. 2014. “Public Domain”,Milkshake agency, Γενεύη.Ελβετία. 2013 “AGORA”, 4η Μπιενάλε της Αθήνας. 2013, 48-stunden-neukoelln, “From Athens With Spontaneous Love”, Βερολίνο. 2012 Parabola short film festival at the Cultural Center Tensta Träff, Στοκχόλμη. 2012 ‘PIGS Case” Supermarket Art Fair, Στοκχόλμη. 2010 “Greek Contemporary Video Art”, Uqbar project space, Βερολίνο. 2010“Media Art Festival (EMAF) Osnabrück, Γερμανία. 2008 11η Μπιενάλε Αρχιτεκτονικής στη Βενετία, με την ομάδα INTP για τη δημιουργία των video για την εγκατάσταση “Athens by Sound”. 2004 “Video Zone2” 2nd International Video-Art Biennial. Ισραήλ. 2004 “The Armory Show” The International Fair of New Art. Νέα Υόρκη. Το εικαστικό του έργο μελετά την πόλη, αναδεικνύει τις πολλαπλές αναγνώσεις της μέσα από την συστηματική καταγραφή , εξετάζει τον δομημένο χώρο ως ένα πεδίο νοημάτων που συνιστούν τη μνήμη. Είχε επιμεληθεί πολλές εκθέσεις και προβολές. Διδάσκει ως Αναπληρωτής καθηγητής στο Εργαστήριο Πλαστικής της σχολής Αρχιτεκτόνων Μηχανικών του ΕΜΠ.


Yiannis Grigoriadis usually uses the following practices on his works. Artwork as a presumption about the initial state which gets fueled with a series of impressions (images, texts and verbal narrations), the uncanny subset of the past that coats a splintered and non-continuous present. The evidence of origin consists of impressions and inscriptions that mediate knowledge. Evidence dominates experience.

Dealing here with a “local issue” make the case that amnesia is one of the most prominently alive forms of memory and that consciousness is born in the subject’s present. By detaching evidence from a ”drawer” of narrations, they make an attempt at subverting archive fetishism. The subject matter which concerns his work is shaped by paradoxical materials-processes, by an associative juxtaposition that attempts to establish their own reflective space and disengage their position from collective knowledge: a rapprochement with the singular; forgetfulness as the mechanism of a constant reconfiguration. Instances which subvert narrative, that foreground the space, the shape and the material and endeavour to highlight synchronicity and coexistence. He is also interested in an attempt to collect additional urban data (accidents, events, routines) from the metropolis through the study of site specific details and circumstances. His purpose is the creation of an additional methodological tool that helps us to understand the urban landscape and its socio-political characteristics. The thorough surveying of an urban detail is reflecting the intention to listen to the city’s potentials and compose a network of sensations and living experiences. All urban elements that someone passes by without giving a second sight (a crack on the street, a blocked well, a broken plate in the sidewalk, a decaying wall) have been surveyed and reproduced in order to highlight and conceptualize city issues. The process produces a conceptual shift, which attempts to rationalize the decline of our lives and helps us to reconciliate with the new urban condition.