Spyros Kouvaras
Land scape
CONTEMPORARY ART REVIEW living, searching and creating in Paris will always characterize my artistic work in the future, even now that I have moved to Athens. I mean that living and working in Paris for a long period as an artist is something which marks you forever. My Greek roots also exist in my works but more in a subconscious way. I used to look always forward in my life but of course memory and past are welcomed and necessary elements for the artistic creation.
You are a versatile artist and the results of you choreographic research conveys together a coherent sense of unity that rejects any conventional classification. Before starting to elaborate about your production, we would suggest to our readers to visit https:// vimeo. com / synthesis748 in order to get a synoptic view of your multifaceted artistic production: while walking our readers through your process, we would like to ask you if you have you ever happened to realize that such approach is the only way to express and convey the idea you explore.
I think yes. Personally, I couldn ' t exist just as a choreographer and performer. I first feel like an artist in a holistic way and secondarily like a choreographer and dancer. In my choreographic research I focus on the relationship between human subject and visual object, between body and image using at the same time the music as a link point between them. I am also interested in the connection between art, science and philosophy, so all these influences lead me to create hybrid dance performances. When I teach or give a workshop, I ask my students: Are you a dancer? Ok, you have to visit contemporary art exhibitions. Are you a visual artist? Ok, then you have to see contemporary dance performances. And of course, you must listen to music and study History of Art and philosophy in a personal way. I mean, becoming an artist is a component of many things and influences. The « richer » your background is, the « richer » is your work.
For this special edition of LandEscape we have selected OPUS I # temporality, an extremely interesting project that our readers have already started to get to know in the introductory pages of this article. What has at once caught our attention of your effective inquiry into the notion of physicality is the way you have been capable of creating a concrete aesthetics from direct experience: when walking our readers through the genesis of OPUS I # temporality would you tell us something about your usual process and set up?
When I was in Athens in October 2014, I visited the third part of the visual