the pd concept

Panos Dimitropoulos 

The basic principle underlying Panos’s work is the application of semiotic conceptualisation to various meaning agents but mainly objects to create conceptual installations. Strongly influenced by Duchamp, Magritte, Arte Povera and the YBAs, he focuses on the representational and symbolic properties of objects and materials. 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. 

The signification properties of objects become the protagonists in conveying 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. Deploying a semiological guerrilla counter-warfare to defend the neglected importance of ideals and esoteric values. 

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 the art experience emphasising on the meaningful and its essence, while at the same time stressing the importance of humility and prioritising in forming an honest 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. 

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Major Exhibitions

Closed – solo show, Yijin Musuem, Shanghai, 7.24

Light – group show, Outsider Gallery, Zhengzhou, 4.23

In Sight Out – solo show, JoyBean, Beijing, 3.23

Encore – group show, 021 Art Fair, Shanghai, 12.22

The Forgotten Words – solo show, Square Gallery, Shanghai, 10.22

Welcome to the jungle – group show, Hauhui Art Museum, Zhengzhou, 9.22

Upcoming Promises – group show, Simulacra Studio, Beijing, 8.22

Condition Critical – solo show, Simulacra Studio, Beijing, 8.21

Antonyms – group show, Goethe Institut, Shanghai 7.21               

Telephone – group show, online, phonebook.gallery, 12.20

Spoilet – solo show, Square Gallery, Shanghai, 7.20

Connecting the dots – group show, 1929 Art Space, Shanghai, 5.19

Unknown Asia – group show, Grant front Pavilion, Osaka, 10.18

Flux – group show, Chelsea College of Arts, London, 4.18

On starting another conversation about comparative feminism group show, WhyWhy Art, Nanjing, 5.17

Eruturf – group show, WhyWhy Art, Nanjing, 6.16

The Absent Ingredient: Presence within Absence – solo show, The Exchange, London, 10.15     

Tracing my Echo – group show, 1 Year Gallery, Taipei, 2.15

Paradise Lost – group show, M50 Studio Gallery, Shanghai, 6.14

Off Spring – group show, Curious Duke Gallery, London, 11.13  

Summer Exhibition – group show, The Royal Academy of Arts, London, 6.12

The Spring Exhibition – group show, Kunsthal Charlottenborg, Copenhagen, 5.11

Arte Laguna – group show, Arsenale, Venice, 2.11

Complexity – solo show, The Empire Gallery, London, 10.10

Colour of Perception – group show, Topolski Century Gallery, London, 5.09 

Hot – group show, The Empire Gallery, London, 10.08