Nikos Arvanitis / Barking Dogs United

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Nikos Arvanitis:

2009
  Stairway to Content (Sonatine Bureaueratique)
         Tonight Live!
2008   Re-locating The Thrills
         The Gabba Conspiracy
         Masters Of The Universe
2007   Gimmie Gimmie Gimmie
2006   Holy Joy
         Masochists From Above/More Skin For The Ceremony
2005   Distraction Set For An Aesthetic Destruction
         I Know I Don´t
         Mastering Pieces (Masters to pieces)
         Utopikator
         Lost at the Cutting Edge of Technology
         Arena Mobile
2004   Bus Journey
         Birds and Micros
         A_part
2003   Vanity Sessions
         Analog Days
2002   Sence Less Obvious
         Digital Love
         Converter Project
2001   Reflections
         Labyrinth
99-00  Horizons and Devil Cyrcles
99-03  m10 + n69
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Barking Dogs United:

2009   BDU: Property Offer
         BDU: Human Dollz
2008   BDU: SIZE MATTERZ
         BDU: What We Want Is What You Want
2007   BDU: Bis Auf Weiteres...
2006   BDU: On A Spaceship With No Fuel And No Future
         BDU: Carwash
         BDU: iForgive / iForget
2005   BDU: The Wild Bunch

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Mastering Pieces (Masters to pieces)
Stücke meistern (Meister in Stücke)
Public art project,Theaterplatz, Weimar, Germany, 2005

First price on the "ZeitGenosse Schiller" Competition -Art in public space, organized by Deutsches National Theater & Staatskappelle Weimar in co-operation with the Stiftung Weimarer Klassik und Kunstsammlungen and the Master of Fine Arts Programm of the Bauhaus-Universität Weimar.

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In front of the Goethe and Schiller monument at the Theaterplatz in Weimar the artist placed an approx. 9 tons heavy sandstone, which was circa 250x200x100 cm big.


Based on the academic study model of a classical artwork in which the artist studies the masterpiece by copying it, the artist chiseled the stone and started copying the Goethe and Schiller statue. The process continued until the stone disintegrated into small parts.

With this symbolic action, the artist seeks to free the meaning of the monument from its material and to undermine the role of such a monument while referring to the fact that the monument is being commercialised as cultural identifications element of the city.



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