November  25,2020 – January 15,2021

MaLou Art Consulting & Gallery is excited to present the upcoming online solo exhibition

ΙΠΠΟ-ΚΑΘΑΨΙΑ of the uniquely talented Greek artist Eurydice Maria Ventouri.

The title of the exhibition ‘’ΙΠΠΟ-ΚΑΘΑΨΙΑ’’is not accidental..The word ΙΠΠΟ-ΚΑΘΑΨΙΑ means acrobatics on a horse. The equivalent of the bullfighting that took place in ancient Crete with a bull. It consists of two words: ‘Ιππο-horse and καθάψια-leaping

Eurydice Maria Ventouri  was born in Athens. She followed her Αrchitecture studies in France, in Rouen at the beginning, (first cycle) and in Paris thereafter (second and third cycle of studies) at the National School of Architecture of Paris-La Villette ( UP6) from which she graduated. During her studies in Rouen she had the chance to attend the engraving class of Jacques Ramondot (professor of engraving at the National School of Fine Arts) where she learned a lot about metal engraving. At that time, during her stay in France, she mainly worked with ink drawings and etchings and dry point. After her return to Greece, she mainly worked with oil painting on canvas. She took part in many exhibitions in Greece and abroad.

Eurydice Maria Ventouri: ‘’How I work? My works are an automatic recording of the subconscious. They are built on their own and I just watch them, help and take care of their structure and aesthetic development … I lend my hand and act like a midwife to what she wants to be born through me … Maybe they are the primitive elements of the common subconscious who mixed with my subconscious looking for light ….. asking to be born  somewhat in some mysterious way …’’

Interview with the Painter Natalia Kostaki

Interview with the Painter Natalia  Kostaki

Intertwining Autobiography and Abstract Expressionism

Interview with the Painter Natalia  Kostaki

– Natalia, what do you think, how would you characterize the essence of your original and fine art? Can it be attributed to any of the existing artistic movements? Maybe you have already answered this question for yourself? And in general, have you thought about it?

– I thought about what the direction of my art could be called. Someone said that this is psychophysics. Maybe this definition has something to do with my direction, but it is too mechanistic. Once, when I was just starting to paint, my husband called my style a religious avant-garde. It seems to me that what I am doing is very closely related to symbolism. This trend is characterized by the liberation of painting from the “shackles of authenticity.” Symbolist artists used mythology, allegory, and biblical subjects in their works. My compositions depict not concrete realistic images, but the moment of their birth from energetic substances. I prefer absolute freedom, the abstract self-expression. It seems to me that there is a soul in my works that speaks on my behalf. However, I find it difficult to assert anything. This is the privilege of art critics. Irina Pronina, senior researcher at the Tretyakov Gallery, says: “N. Kostaki’s work tends towards monumentality. On the one hand, it carries the idea of space, but on the other hand, of the vital forces of nature. Therefore, Natalia approaches her own solution of the theme that was developed by the organic direction in the art of the avant-garde. ”

 – I wanted to ask you for a long time: you grew up in a house where everything was literally “saturated” with art, every centimetre of living space. Moreover, contemporary artists frequently visited you. So, did you decide your early path for yourself? When did the voice of calling speak in you?

Despite the fact that I grew up in my father’s house that would almost count as a museum, where there were works not only by avant-garde artists, but also by other artists (for example, the so-called Sixtiers), this did not have a direct impact on me. Perhaps my friends also had some indirect, apparently psychological influence. I was friends with Dmitry Krasnopevtsev, I am friends with Francisco Infante. In my childhood, Anatoly Zverev and I dabbled in drawing together. Zverev visited my father’s house, and after his departure to Greece he often visited us – we were friends. He painted us and wrote an autobiography. My teacher was a wonderful person, a muralist painter and bard – Vladimir Geydor. He prepared me for the Stroganov School. He could replace my spiritual father, especially after my father’s death. My husband and I were friends with him and we continue to be friends with his family, who were also artists. After graduating from the Stroganov Moscow State Academy of Arts and Industry , I began to engage in creativity, but at first it was an applied direction. At the institute – art design, then, for some time, I was fond of jewellery and was engaged in painting on glass. But soon I had to leave these activities, because children were born, and it is impossible to engage in this type of creativity with children. This activity involves acids, burners, and chemical reagents. Besides, there was no time.

– What is the strongest influence you have experienced in your life? And was there any obvious influence of fate, or providence, in your life?

In 1991, we were forced to leave for Greece, because a crisis with all its difficulties began in our country. This period of life was very stressful and difficult for me and my family. After my father’s death, I had to endure had great difficulties communicating with my closest associates. It was a big shock for me. I could lose the meaning of life. But suddenly, apparently at the behest from somewhere outside, I wanted to take paper and paints. I started painting and got out of this situation. Against the background of stress, I felt a desire for self-expression, for the work of an artist. But I didn’t want to imitate anyone. When I realized that I could do something individual, I started to work to the fullest. The influence of providence, apparently, was also with my father. He was not an ordinary collector who collects things: be it paintings, toys, sculptures, etc. He was completely captured by one feeling of the need to preserve something important that was lost, something that could disappear irrevocably. It was the Russian avant-garde. Probably, it came to him from above, since he did not have an art education. This fact contributed to the fact that he became not just a collector, but the highest professional. He fulfilled this mission to the fullest.

-It seems to me that today the most difficult thing is to find an audience. There are many artists, but the audience (I’m not talking about a get-together) is not enough. Do you have an audience? And is this very audience important for the artist?

Spectators…. Many people visit my exhibitions. The last one at the House of Nationalities in 2016 attracted so many visitors that some could not even get in. We did not finance any of my personal exhibitions, the organizers offered to hold them. Of course, the audience is important, the presence of art critics at exhibitions is very important, because they can evaluate my work. These people visited my exhibitions and their opinions were voiced to the audience and entered the catalogues. For example, the famous art critic Alec Epstein (culturologist, Doctor of Science, Israel) says: “It is a pity that there were no memorable works by Natalia at the large exhibition at the State Tretyakov Gallery, dedicated to her father and the artistic environment associated with him.”

– As it seems to me, Natalia, in your work there is a very strong, but not obvious, religious principles. Isn’t that right? And what influence does religious art have on you?

– I grew up in a room where there was a collection of unique icons collected by my father, subsequently donated to the Andrey Rublev Museum. Since I am a believing Orthodox person, there are subjects in my works that reflect my attitude to religion. These are not canonical images, but my personal perception of being. Religious art is akin to abstraction. But this topic is a very different analysis.

– Nowadays, it is very fashionable to refer to the origins, to try to imitate folk art and its samples. Many rush towards the naive. But the work, as a rule, turns out to be fake, vulgar, far-fetched. Few people succeed in stylization of a high standard. Do you think the influence of this or that national art is important? And are examples of folk art relevant today?

– In my opinion, folk and national art are works created by the talent of many creators, sometimes unknown. And some artists exploit this moment. They imitate folk works and call them folk, national art. I believe that you cannot divide art into any subtypes. If the works of these or other styles are made by talented individuals, it is all art. Each “view” can contain elements of both (but this is not necessary). My works reflect my own view, my own vision of reality. There is a very thin line between one’s own creativity and the use of ideas and perception of reality by other artists (including folk and national). It is very easy to slip into epigonism or outright kitsch. Unfortunately, some modern folk crafts are turning into the production of souvenirs, which has nothing to do with great art. At present, art is taking on the form of a supranational, universal. Therefore, the figure of the master, his individuality, his vision, his thinking, as well as his sensuality are important in art.

– Natalia, is it difficult to combine family life and creative life? How do you manage it?

– I successfully (in my opinion) combine family and creative life. My husband fully supports my endeavors, helps in the design of works, and takes part in organizing exhibitions. Our eldest daughter, a certified designer, composes catalogues of my exhibitions, makes their layouts, and deals with our family affairs. Our youngest son helps in translating catalogue texts into English.

– Does your last name dominate you? After all, being a Kostaki means something. Your father raised the bar in life so high that many people, one way or another, looking at you, may compare and think about Giorgi Kostaki.

– In no case does my last name dominate me. Fact is that my genius father was an outstanding collector, and I am an artist. These two hypostases do not intersect, but can only enrich each other. I am very pleased that my father is a world famous person, art critic, a collector. I wish that fate helps me to success as well, so that my father, if he was alive, would not be ashamed of me.

– Natalia, what are you working on right now? Are you planning an exhibition?

– Today I am working on compositions using the polymer clay technique. This is a new direction that has captured me at this stage. The first works were exhibited at the House of Nationalities in 2016 and were highly appreciated by art critics. I continue to work on relief mosaics and graphics. As I said, I gladly accept offers to hold exhibition, I would like to hold a retrospective exhibition of my works in the future.

Alexey Shulgin, art critic and writer

(Photos is from the Natalia’s  archive: Georgi Kostakis’s family, Natalia Kostaki –student at Stroganov Academy, Georgi Kostakis in Moscow with his friends artists,  meeting of friends and artists at Kostaki’s apartment, Natalia Kostaki at exhibitions)


Article on Dwelling and Habitation.To retreat, in order to receive. Levinas’ take on dwelling, the separated self and welcoming the other By Maja Berseneva, MA Philosophy

Article on Dwelling and Habitation.To retreat, in order to receive. Levinas’ take on dwelling, the separated self and welcoming the other By Maja Berseneva, MA Philosophy


Article on Dwelling and Habitation.To retreat, in order to receive. Levinas’ take on dwelling, the separated self and welcoming the other

                        By Maja Berseneva, MA Philosophy

Maja Berseneva was born and raised in Moscow. She is a philosopher, translator and language teacher, currently living and working in Athens, Greece. She studied philosophy, political theory and Greek philology in Berlin and Athens. Her passion is writing poems on travelling, inclusion, exclusion, moods, ageing and loss, while her current most inspiring  research area is the vulnerable self and the ethics of the welcome in Levinas’ work. Maja Berseneva has held presentations on the topic of Machiavellianism, love as vulnerable, existential vulnerability and the transformative power of vulnerability at conferences in the universities of Panteion in Athens (Machiavelli in perspective), Tromso (Love in philosophy, literature and philology), Oxford (Figuring Existence) and Exeter (Engaged Phenomenology). Her further research interests entail philosophy of mind, affectivity, self-experience, empathy, personhood, phenomenology, alterity, ethics of embodiment, vulnerability and the human condition, intentionality, philosophy of medicine and mental health, politics in the feminine, philosophy of sexual difference, embodied female subjectivity, violence, and feminist life.

Article on Dwelling and habitation october 2020 The journal Études Phénoménologiques

Solo exhibition Primavera by artist Caterina Marouda

Solo exhibition Primavera by artist Caterina Marouda

Solo exhibition Primavera by artist Caterina Marouda

MaLou Art Consulting is pleased to announce Primavera, an exhibition featuring 16 works by artist Caterina Marouda, 20 October-20 November, 2020.

Caterina Marouda was born in Athens where she lives and works. She studied at the Academy of Fine Arts in Florence to the teacher Fernando Farulli.

‘’The main ability presented in Caterina Marouda’s works is that they have an authority of objective and unhindered performance, whose source may be the renaissance murals in Italy, where she studied. We will initially observe that her images have the following quality of those murals: that they retain the force of the color that does not burst unto diffusion of the emotional frenzy, but on the contrary it remains entrenched in the independent units, each time of a special authority in the geographical area which they define’.

Emmanuel Mauromatis,

Professor of Art History, Fine Art School of Thessaloniki.

Caterina Marouda has exposed her work in 17 personal exhibitions (Athens, Cologne, Thessaloniki, Bern) and she has also exposed her work in numerous group exhibitions (Greece, Canada, Italy, Spain, Chicago, Brussels, Russia and Paris – Salon des Artistes Independents and Salon des Artistes Français, Grand Palais).

Caterina Marouda’s works may be found in the collections of the Vorres Museum, the National Gallery, the Ministry of Culture, the Macedonian Museum of Modern Art, the Gallery of the Cyclades, Ch. Antoniou, General Bank, French Institute of Thessaloniki and National Bank of Greece, Tula Museum of Fine Arts, Russia.

She is a member of the Greek Visual Arts Chamber.

Caterina Marouda has worked at the European Cultural Center of Delphi and as a visual arts consultant at the National Bank of Greece for 27 years.

8 International Contemporary Cosmoscow Art Fair

8 International Contemporary Cosmoscow Art Fair

Press Release

MaLou Art Consulting is pleased to announce its participation at the 8th International Contemporary Art Fair Cosmoscow.


The gallery introduces three contemporary artists, showcasing their work for the first time in Moscow.

Konstantinos Michalos, Greece

Kostantinos Michalos belongs to a new Greek artist generation. He expresses through his paintings his psychological drives as well as his philosophical, spiritual and social concepts. His art is deeply person-centered even in its most abstract form, and traces of human presence are evident in all of his works, either in the form of abstract elements or as symbolic correlations. According to Klee’s statement: Art does not reproduce the visible; rather, it makes visible; Michalos’ paintings constitute an intrusive look in his internal obsessions, where by retracting them, they transform into images; these images are then processed and formed into art signals or symbols, according to the concepts in the artist’s mind. Sensitively strong, exposed, divested like a reptile which lost its skin, but aristocratically dressed in his paradox expressionism, Michalos observes new psychic aspects which reflect in the traces of his painting actions. The Ocean and the Earth utopically mingled… Assimilated areas of the visual arts as “Down – Up” and “Rear- Front”… Elongated sensitive environment… There are no borders anywhere in this expansionist paradoxical expressionism, without blatant colors but with enigmatic purples and blacks, deep reds and blues.

Sophia Papadopoulou,  Greece

Sophia Papadopoulou was born in Athens, where she currently lives and works. She is a graduate of the Athens School of Fine Arts. As part of her studies, she has attended various workshops, including Painting, Scenography, Photography, Mosaic & Sculpture. During her Bachelor studies, she participated in the Erasmus Student Exchange Program, spending a semester at the Faculty of Fine Arts, University of Barcelona. In the series of mixed media paintings “Without” she tries to touch the psychological aspect of human feelings and actions. She creates her own language writing and technique, in which every line and every shade of colour have a certain meaning. Sophia Papadopoulou said:“My abstract works inviting the viewer to a multi-reading process, deliberation and dispute. My abstract writing presents a modern creative proposal that reflects the trends of contemporary art.’’

Zorica Krstic,  Serbia

The words of G. F. Watts ‘’I paint ideas, not things’’ fully express the concept of Zorica’s art. The distinct style of Zorica’s imaginative paintings is a blend of surreal, symbolic and metaphysical elements. She uses mythological and dream imagery. The symbols she uses are not familiar emblems but intensely personal and ambiguous philosophical references. Each painting by Zorica is deliberately saturated with a mass of amazing details. All this details in her creations help to understand the artist’s vision. She strives to follow her own nature and wants to express her perception of the world. Rich colors, graceful lines and subtle textures characterize her varied work. Each of her paintings is a real masterwork. Zorica Krstic is a Serbian artist. She was born in Sremska Mitrovica in former Yugoslavia where as a child she first studied painting at the side of her Artist mother. At sixteen, she was working in the Art Studio of the hyper-realist Dragan Martinovic. From 1988 to 1993, she attended the Academy of Fine Arts in Novi Sad, graduating in the painting class of Professor Jovan Rakidzic and in the drawing class of Professor Milan Stashevic.

The inaugural online edition of the Cosmoscow International Contemporary Art Fair is an opportunity to discover works by contemporary artists selected in accordance with Cosmoscow principles and traditions:

  • Expert selection of galleries and artists represented at virtual booths,
  • Direct communication with the galleries and an opportunity to book artworks online,
  • Besides the booths of galleries featured in the Main, Frame, Editions, and Design sections, the online fair also includes special projects of partners and the Cosmoscow Foundation,
  • Access to the online program of discussions.
  • September 7–10  Online Preview for privileged guests of the Fair
  • September 11–15 Online Cosmoscow is open for the public

Online Cosmoscow features both the galleries presented at the offline Fair and an expanded range of galleries, each represented by a virtual booth with works by selected artists. This platform is intended to become an additional tool for building direct communication between galleries and clients during the Cosmoscow fair in order to increase art sales.

“The Images” Solo Exhibition by Natalia Kostaki

“The Images” Solo Exhibition  by Natalia Kostaki

Solo Exhibition “The Images” by Natalia Kostaki

MaLou Art Consulting & Gallery is pleased to present the online solo exhibition “The Images”, an exposition of paintings and works on paper by Natalia Kostaki.Natalia is an artist in her own right depicting religious and mythological images, but in a very unusual modern reading.She works successfully in various techniques. She is not only a master painter with acrylics but also an artist in ceramics, graphics, smalt mosaics, creating unique objects of applied art. She is the creator of new styles in graphics /illustrations and painting.

Natalia was born into the family of an outstanding collector of the Russian avant-garde, George Kostakis. She grew up in an amazing house where an atmosphere of great love for the art reigned, where paintings by Wassily Kandinskiy and Kazimir Malevich, Lyubov Popova and Natalia Gocharova were hung up on the walls. But this Modernistic environment did not affect Natalia greatly and she with talent developed her own imaginative artistic style.

Natalie’s artworks are obtainable in many public and private collections per the Department of Private Collections the Pushkin State Museum of Fine Arts (Moscow) as well as in the collection of the Kolodzei Art Foundation / USA.

Moreover Natalia Kostaki is a Member of the International Art Fund, the Center for Spiritual and Moral Unity “Future”, and the Greek-Slavic Community “Paradigma”.

Don’t miss to visit our Newsletter July 2o2o

Don’t miss to visit our Newsletter July 2o2o

Dear Friends,

Don’t miss to visit our Newsletter July 2o2o

Click here: https://malouartconsulting.com/wp-content/uploads/2020/07/Newsletter-July-2020.pdf


In a tumultuous world, art matters

In this issue MaLou Art Consulting highlights the role of

art in everyday life and aesthetics. Read the latest world

art news, articles, interviews and exhibitions that truly

matter, and gain in-depth insight into the pivotal role of

Art in our lives. Whether big or small, sidewalk chalk art

or community murals, art makes a difference in the way

we live. Now, more than ever, art matters.

You have a great opportunity to read about :”Prophet Artist” Carl Dobsky, the outstanding personality and gallerist Alexander Iolas, found out who is Mathew Wong and why his painting was sold for $1.82 million, visit virtual exhibitions of our excellent artists and more…

Be a Part of our Community

Subscribe to our NEWSLETTER : https://malouartconsulting.com/newsletters/

Art exhibitions in Athens Open Now!

Art exhibitions in Athens Open Now!

Art exhibitions in Athens –Open Now!

These art exhibitions are already here after a long period of the COVID-19 pandemic. So hurry up to see these Exhibitions before they close!

Our Greek contemporary artist Sophia Papadopoulou is presenting her new paintings in Athens at Alma Gallery in a group exhibition under the title “Encounters’’, from 11th of June till 11th of July 2020. The emerging Greek artists Ira Vitali, Andreas Ganas, Christos Katsinis and Andreas Spiliotopoulos also present their work at the exhibition.

Alma Gallery: Ypsilantou 24, Kolonaki 10676, Athens Greece

The exhibition is curated by George Kazazis.

For more information on Sophia Papadopoulou’s artworks visit her profile in our gallery.

Don’t miss our Newsletter June 2020

Don’t miss our Newsletter June 2020

In this issue: Solo exhibition “Inner Aspects of Konstantinos Michalos” by Greek contemporary artists.’’ The article “A room where metaphysical questions arise’’ by Maja Berseneva, MA Philosophy, Philosophical research in the areas of embodiment, subjectivity, vulnerability and engaged phenomenology. Freie Universität Berlin, Panteio University of Athens. Art in our home. Art World News:The Money in Imagination. Sotheby’s offer magor until 2022  works by 20th century. Female artists in 50$m Ginny Williams. Venice Art Biennale delayed until 2022. Great art emarged from traumas of the past –will pandenemic prove different.

Discussion “Art is Logos”

Discussion “Art is Logos”

Discussion “Art is Logos”

 Malouart Consulting Gallery has been conveying its online activities and remains faithful to its tradition to have art exhibitions, round table dialogues with artists, as well as with art historians.

One of the discussions “Art is Logos’’ was held on May 3, 2020 through web connections. The discussion was dedicated to art exhibition “In Between’’ successfully presented by Greek Artist Vassiliki Koskiniotou. Koskiniotou’s art is a source of innovative artistic ideas, styles, philosophical thoughts and what is more, its deep reflection of the various cultural heritages in time and space.

The web gathering was a very useful, energizing and effective experience which served a useful purpose. This means that in it desired outcomes were achieved relating to interesting topics discussed, great demonstrations of artistic achievements and establishment of numerous opportunities for future networking among art historians, philosophers and artists from different countries. It left everybody with the feeling that really somewhat was accomplished.