展览 Exhibition｜临界状态 Critical Condition：Inverted Values
这个展览是通过现成品的符号学概念化而创造的，它们以象征性的、吸引人的隐喻形式进行叙述。在我们这个物质主义的世界里，物对我们的重要性远甚于其他一切。这使得它们成为与我们密切相关的强大的意义载体。在这里，它们被视为象征符号，完全从商品升级而来（但仍有其社会文化关联），它们来自于物的世界，但却传达出观念的世界。这些作品作为一种艺术形式，无论是简单还是复杂，都不是精英主义和神秘化的。它们经过了简化，力图在作品与观众之间创造更加亲密的关联。通过建立一种直接的交流方式，强调信息在艺术上的优先性，从而鼓励批判性思考，并激发有意义的行动。
The body of works is created through semiotic conceptualising of ready-mades that create narratives in the form of symbolic, mind-engaging metaphors. Objects mean to us more than anything in this materialistic world of ours. That makes them powerful carriers of meanings that we closely relate to. Treating them here as symbols upgraded from mere commodities – but still empowered with their socio-cultural associations – they come from the worldu of things to communicate the world of ideas. Ranging from simple to more complex compositions the works serve as forms for an art that is not elitist and mystified but simplified aiming at creating more intimate connections with the audience. Establishing a directness of communication that emphasises the importance of the message as artistic priority so as to provoke critical thinking and inspire meaningful reaction.
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Inverted Values, 颠倒的价值
Beauty lies within, 内在美
Pause: Eternal Vertigo, 停顿：永恒眩晕
Stop the spin I want to get off, 别转了，我想下车！
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Baudrillard, McLuhan and me, 鲍德里亚，麦克卢汉与我
Think outside the screen, 跳出屏幕来思考
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False Idols, 伪神
Mind the slope, 当心斜坡
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Curtain Falls, 幕落
In the theatre of my dreams I choose when to perform,
在梦的舞台上，我选择何时起舞
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Tang Ping Pong, 躺平-乒乓
The obsession for and phobia of success,
害怕成功-执迷成功
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Futility, 无 用
Pick up your pieces, no one else will,
收拾好自己的烂摊子，没人会帮你
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Perspective, 种种视角
What size matters?, 哪个要紧？
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End of Innocence, 天真的消亡
Camera killed the dancing star, 相机杀了舞星
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Existentialism, 存在主义
The danger of opposite extremes, 极端对立面的危险
艺术家介绍
Statement
帕诺斯作品的基本原则是将符号学概念化应用于各种意义媒介（主要是物体），从而创造概念装置。他深受杜尚、马格利特、贫穷艺术和YBAs的影响，聚焦于作为艺术品组成部分的象征属性，由此创造的作品构建了一种反讽、挑衅、非美学化，并且带有一丝滑稽的概念艺术，从而批判当代人类的生存境况。
The basic principle underlying Panos’s work is the application of semiotic conceptualisation to various meaning agents but mainly objects to create conceptual installations. He has been strongly influenced by Duchamp, Magritte, Arte Povera and the YBAs. He focuses on the representational and symbolic properties of objects and materials as artwork components. The resulting works construct an ironic, provocative, non beautified and with a dose of slapstick, conceptual art that poses a critique on the condition of contemporary humanity.
在他的作品中，物体-部件被转化为符号，以只有符号才能做到的如此熟巧和概念化的方式传达物质和非物质之间的关系。他利用我们共有的经过精心设计的符号生态系统进行艺术创作，批评“形式大于意义”、“外观大于实质”的歧视，恢复两者之间的平衡，但同时更强调后者。作品的符号学方向指示着对物质主义的限制，导向精神存在与人文情怀的回归。反抗进步神话的意识形态，批判系统，怀疑我们对消费主义价值体系和乌托邦的过度依赖。他的作品部署了一场场符号学游击战，以捍卫被忽视的理想和隐秘的价值。
The objects-components are transformed into signs to convey the relationship between material and immaterial in such a proficient and conceptual manner only a sign can. Creating art that uses our shared elaborate ecosystem of signs to criticise the discrimination of form over meaning, appearance over substance, restore balance between the two but always favour the latter. The semiotic direction of the works guide a reading towards the deflation of the materialistic, the need to return to more spiritual levels of existence and a more humanistic sensibility. Stemming from an ideological critique of the myth of progress, the systemic establishment and our over-dependence on consumerist utopia and values. Deploying a semiological guerrilla counter-warfare to defend the neglected importance of ideals and esoteric values.
作品中的这些物体以简单的方式（仅仅是近似的并列）被组装起来，以突出它们之间能量的流动与力量的转换，以及在它们的并置中所传达出的整体意义。从繁复杂乱、华而不实和装神弄鬼的事物中剔除混乱，以简化和提升艺术体验，倡导意义及其本质，同时强调谦逊的重要性，突出艺术品和观众的直接联系。帕诺斯接续马格利特，用真实的烟斗代替画中的烟斗，并指出真实的烟斗也不是烟斗。现成品被扔进一个概念舞台，你会看到它们进入一个意义游戏，它们之间无休止地争取意义，从而激发批判意识，并鼓励观众采取改善性的行动。
The objects are assembled in simple fashion by mere juxtaposition of approximation. Highlighting the flow of energy and transition of forces between them and towards the overall meaning their juxtaposition conveys. Cutting the clutter from the complex, pompous and mystified to simplify and elevate the art experience emphasising on the meaningful and its essence, while at the same time stressing the importance of humility and a direct connection between artwork and audience. Instead of painting pipes Panos uses actual ones and claims them not to be. He throws them into a conceptual arena and you watch them enter into a signification play as they interact with each other endlessly striving for meaningful-ness, raising critical awareness and instigating actions of betterment.