Dr Euripides Altintzoglou

Senior Lecturer - Photography

Dr Euripides Altintzoglou
Email address: E.Altintzoglou@wlv.ac.uk Phone number: 01902 321948 Location: MK201 Faculty: Faculty of Arts School/Institute: Wolverhampton School of Art Areas of expertise: Photography

About

Dr Altintzoglou’s practice follows the post-conceptual tradition of socially engaged art. Photography occupies a central role in this, although he employs various media and methods. His doctoral thesis (Dualism & the Critical Languages of Portraiture) was supervised by David Bainbridge and John Roberts, and was successfully examined by Prof Andrew Hemingway (Courtauld Institute of Art) and Dr Meena Dhanda (University of Wolverhampton). Throughout his career Dr Altintzoglou has held and curated numerous exhibitions in private galleries and public spaces in Britain, France and Greece.

Research interests

Research

In May 2011, Dr Altintzoglou launched a research journal Desearch, that aims at producing a reflective and critical approach to research methodologies in Fine Art, Cultural Theory and Philosophy. The journal aims at providing publishing opportunities to post-graduate students and its editorial board consists of academics from various British HE institutions. In January 2011 Dr Altintzoglou was presented with the ‘Higher Education Social Entrepreneurship Award’ by HEFCE for his work on Desearch.

Obituaries

Since 2009 Dr Altintzoglou has been engaged with Obituaries, a critical theory project that analyses the implications of the gradual decline of radical and emancipatory cultural phenomena. This series of short essays discusses various declining cultural phenomena, covering areas such as fashion, music, cooking, politics, education, television, sports, film and theatre from the perspective of key critical theory and philosophical concepts that originate in the works of Plato, Descartes, Kant, Hegel, Marx, Nietzsche, Lacan, Debord, Barthes, Foucault, Badiou, and Ranciere. The underlining intention of Obituaries is to trace the social imprint of our political system’s subservience to the capitalist economic order and identify the ways by which this interrelation can potentially deflate the critical potential of everyday cultural practices. In 2011 Dr Altintzoglou was commissioned by Flash Art International to produce a series of radio shows based on these essays which were broadcasted in the second half of 2012 by radio stations in Athens, Berlin and New York. A second series of radio shows is currently under production.

Experience in industry

The Ends of Art

In July 2013 Dr Altintzoglou curated The Ends of Art at Beton7 Arts, Athens, Greece, including works by himself and other British artists such as Jim Abernethy, Andrew Bracey, Cornford & Cross, Matthew Dalgleish, Dean Kelland, Adam Kossof, John Timberlake, and Alistair Payne.

The group of works included in the show addressed the conservative tendency of historians to declare the ‘death of art’ every time art goes through a critical stage in its course of development. Instead of abiding to such regressive doctrines the works in the exhibition turn to critical self-reflective strategies that echo the spirit of conceptualism in order to understand the new conditions of artistic production offered by recent technological advancements and social-political changes. Each work included in the exhibition dealt solely with the changing nature of a given discipline through another. In doing so, the exhibition investigated cross-disciplinarity as the means for a radical and thorough process of examination of the changing nature of art. This methodology is driven by a twofold intention: 1) to establish critical self-reflection as a recurring means for facilitating change in the arts, and through which 2) to eradicate the last remaining traces of humanism in art history: the dissolution of distinct art disciplines for the means of theoretical analysis.

Reversible

Reversible, Dr Altintzoglou’s most recent solo exhibition at Beton7 Gallery, Athens, Greece (22/09/11 – 15/10/11), included two bodies of work (photographic installations, object-based and readymade appropriations) that examine the individual and collective dimensions of change as a response to the recent European economic crisis. The first room included a series of radical portraits focusing on the psychoanalytical dialectics between a desire for change and a concurrent reluctance for progress. The notion of change expanded onto the socio-political domain as the second room was occupied by a group of object-based installations that drew on issues around knowledge, trust and systemic flaws identifying ‘what needs to be done’ once a new individualism has been established.

In Soulseeker – a radical full figure self-portrait that consists of a set of x-rays mounted on a lightbox – we witness the problematization of the dualist religious ideology through the scientific methodology of the work (x-rays). The reflective properties of the mirror in the triptych Untitled encourage collaboration by opening up the process of production of meaning beyond the personal concerns of the artist while the employment of text of psychoanalytical nature enforces a confrontation with various prohibitions that impede on our personal development. Representation and truth is the focus of Trust, an installation that questions the representational validity of photographic verisimilitude. The dialectics of action and reaction are explored through an edition of twelve stamps that print the word ‘No’ in all major dialects. Finally, Panacia – an installation consist of 1,200 syringes filled with €12,000 spelling the acronym ‘S.O.S’ – confronts the dominant role of economics and their association with modern notions of well-being.

See Through Me: Walsall

In 2010 Dr Altintzoglou was commissioned to carry out a collaborative installation (See Through Me: Walsall) at the New Art Gallery Walsall, which ran throughout August, September and October 2010. The work took the form of a radical photographic group portrait, exploring aspects of identity and forms of representation through collective modes of production with the participation of the gallery’s audience. The I-D format (passport-sized photos) was employed in order to address these issues through the creation of an installation, which consisted of the remaining frames of numerous passport-size snapshots, where the face is cut off. The installation presented a mosaic of more than 500 people – or rather a collective self-portrait of the gallery’s visitors – represented by their clothing, haircut, race, gender, etc., signs of which remain evident after the initial removal of the facial area.

Further information

Forthcoming Exhibitions

Sunbeam

The Sunbeam project consists of a typology of gates of abandoned industrial sites in the Wolverhampton area. Its aim is to address recent economic developments in local history through a contemporary method driven by ‘New Objectivity’ and the Düsseldorf School of Photography.

All images were shot in a positive manner under complimentary bright daylight in order to avoid common melancholic approaches to similar subjects and, thus, revisit Walter Benjamin’s notion of the ‘ruin’ from a positive perspective. As a result these gates and by extension the industrial history of the local area are celebrated as monuments of a glorious past. In return, this allows for conflicting dialectics to come into play, which reconfigure the historical notion of the ‘ruin’ and revise the ‘straight’ and objective methodology that drives photographic typologies after Bernd and Hilla Becher, and the Düsseldorf School of Photography.

Solo exhibitions

2011
  • Tupperware Project, 3rd Biennale of Athens, Athens, Greece (collaboration with Nikos Charalampidis).
  • Reversible, Beton7 Arts, Athens, Greece.
  • Beginnings, 17th International Short Film Festival, Drama, Greece (outdoor video installations).
2010
  • See Through Me, The New Art Gallery Walsall, Walsall, UK.

Group Exhibitions

2013
  • Vidéo Capital 2013, Fresne-Saint-Mamès, France.
  • The Ends of Art, Beton7 Arts, Athens, Greece. 
 2009
  •  d-Fine Arts, Queenstudio Gallery, Patras, Greece.
 2006
  • Contemporary Hellenic Art, Downtown Gallery, Athens, Greece.

Curated Exhibitions

2013
  • The Ends of Art, Beton7 Arts, Athens, Greece

Publications

Edited Publications

2013
  • Issue 3, Desearch: Postgraduate Journal of Art & Contemporary Culture, UK.
2012
  • Issue 2, Desearch: Postgraduate Journal of Art & Contemporary Culture, UK.
2010
  • Issue 1, Desearch: Postgraduate Journal of Art & Contemporary Culture, UK.

Other Publications

2012
  • Obituaries (Series 1), radio shows, broadcasted by Flash Art International Radio, New York, USA & Beton7 Art Radio, Athens, Greece