Nikos Charalambidis

Nikos Charalambidis’ multi-disciplinary practice focuses on zones of conflict and political division such as that of his native Cyprus, which has been partitioned since 1974. These contested territories become the stage upon which Charalambidis proposes alternative readings of history and political events, suggesting new narratives and interpretations. In these imaginative, digitally constructed hypothetical – sometimes implausible - spaces histories, traditions, geographies and chronologies may be collapsed and dominant ideologies, cultural or otherwise, are exposed through a heavy dose of irony. Charalambidis fashions an enclosed world, suspended between the factual and the fictional to point to the relative notion of the recounting of history. In the exhibition Charalambidis shows a series of digital, watercolour-like, prints of episodes taking place in the the abandoned and dilapidated International Airport of Nicosia. The worn-out condition and the stage of decadence in which this modernist building has fallen is obvious and in straight contrast with the atmosphere of euphoria of its imaginary visitors. Since entrance is prohibited by the United Nations for both Turkish or Greek Cypriots, the building has acquired a mythical status. It is this transition from violence and reality into nostalgia that Charalambidis comments on. In addition, the work is also a metaphor for the phenomenon disturbingly termed the ‘tourisms of war’.

Social Gym No.35: Violence through Fashion by Nikos Charalambidis

“The exquisite attire of Mrs Maya Meijer-Bergmans during the reception for the princess Maxima, at the opening of the exhibition ''Giganteen'' in the Hague, was the central inspiration for this series of twelve pictures. Through a process of translocation and disorientation, the elegant figure of the directress of the Hague Sculpture Organisation, is depicted here accompanying the princess not in the venue of the exhibition, which was of course the real location of the event, but at the vacant and derelict International Airport of Nicosia. The worn-out condition and the stage of decadence in which this exquisite modernist building has fallen into, after thirty years of abandonment - it was once the most big and modern airport of the Middle East - is obvious and in direct straight contrast with the atmosphere of euphoria of its imaginary visitors.

The photographic material and authentic plans of the airport, necessary to accomplish this project, were procured in a secret mission by an American artist, a member of ‘my Social Gym’, and are being made public for the first time. Since approaching and entering the building is prohibited by the United Nations forces for both Turkish or Greek Cypriots, the building has acquired an almost mythical status, through the years. The emphasis on the vital force of this timeless architectural symbol, is not efficient enough to hide the huge blood stains from the violent battles of 1974, which can still be seen on the seats of what was once a modern waiting lounge, mixed with a layer of bird droppings formed in the thirty years of desertion. Even though violence kills beauty and harmony, in these pictures, beauty is the media though which violence is revealed; elegance, functions here, as a subtle mechanism of protest. The stylish ensemble and the hat of Mrs. Meijer-Bergmans, who has a protagonistic role in all the twelve pictures, is displayed on a window doll, as a precious piece of art or perhaps, as a piece of ‘architectural make-up’. Maybe, an optimistic message is concealed in its fashionable floral textile…”

www.xs4all.nl/~bobp/BeeldenVoorhout2004/30/Nikos%20Charalambidis.html

www.neesmorfesgallery.gr/en/charalambides/