Newsletter May 2020

Newsletter May 2020

MaLou Art Consulting NEWSLETTER May 2020

Take a look at  MaLou Art Consulting Newsletters monthly published with an information on art news, new collaborations, exhibitions and art reviews.

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MaLou Art Consulting is very pleased to announce that Konstantinos Mihalos will have a month long solo exhibition “Inner Aspects of Konstantinos Mihalos” on our online gallery 20th of May – 20th of June, 2020

MaLou Art Consulting  is very pleased to announce that Konstantinos Mihalos will have a month long solo exhibition “Inner Aspects of Konstantinos Mihalos” on our online gallery  20th of May – 20th of June, 2020

MaLou Art Consulting  is very pleased to announce that Konstantinos Mihalos will have a month long solo exhibition “Inner Aspects of Konstantinos Mihalos” on our online gallery

 20th of May – 20th of June, 2020

Kostas Michalos belongs to a new artist generation, where personal expression prevails over a stylistic proposition, and thus his artwork is more empirical than depicting a certain technique. 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; K. Michalos’ painting constitutes 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. Dynamic gestures, even though they have grace and finesse… Restrained explosive pictures… Incessantly, the Space-Time of the Paradox caters for Reality with vibrant poetical-supernatural frequencies. There, where the dimensions expand and the distances associate with each other, unprecedented perspectives are designed with unlike shapes creating new forms.




MaLou Art Consulting & Gallery is pleased to present the online solo exhibition ‘’In Between ‘’ by Greek Artist Vassiliki Koskiniotou. Duration: From 17th of April till 17th of May 2020.

Color and I are one”: Paul Klee’s famous phrase is once more evident for this Greek painter who draws her inspiration in the abounding sources of nature’s beauty and energy, but also language and poetry as one of the most significant expressions of human condition.

with mixed media and more often oils, oil pastels, inks and graphite, on cotton papers and handmade prepared canvases, koskiniotou’s pictures,

are usually chromatically balanced to an almost musical harmony, materializing a self-sufficient recognizable visual world.

In her universe we can discern forms with vivid symbolic content such as the moon, the grain, the rain,the arrow, the ladder, the egg and the vessel, signs of the immersion in the self and the world, allegories of creation, transition or evolution and metamorphoses.

As D.Loukidelis notes about her work ‘ we have to do with exceptional painting, with emotive sensitivity and personal vision, in between abstract and representational art, which often draws its inspiration from language and poetry.

In the present era of demythisation, hyper-information and logocentrism, Koskiniotou’s painting proves, in its poetic character, to be particularly relevant, as it communicates discretely, remythologising the ineffable through symbols, metaphors, archetypes

and images from which meaning springs”.




By Olga Venspi,  April 12, 2020, Novi Sad

Zorica  Krstic was born on 3 January 1970 in Sremska Mitrovica, 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. From 1994-2004 she has lived and painted in Greece (Athens), where she was a member of the Greek Chamber of Representative Arts (E.E.T.E.). Since 2004, she lives and creates in Serbia (Novi Sad).

Olga Venspi You were born in family of an artist. Your mother was an Artist. Do you think that your fate was predetermined? How did you start to paint?

Zorica Krstic  My mother was a wonderful woman and artist, with a very lyrical handwriting. Her watercolours were lace-delicate, full of some special poetic experience of the world. Throughout her life, she experienced the world through the eyes of a true artist. Not even the most subtle details, which exude power, beauty and special artistic values ​​that could be seen in them, did not escape to her eye. She brought that experience of the world to me too, drawing my attention to how beautiful, interesting and diverse the world can be, if we just open our eyes a little better. Flashes of light, interesting strings, lines, contrasts, textures in nature, beautiful plants, haze, arabesque … My mother taught me and reminded me how to look forward to it and to imagine that joy can be incorporated into the artistic expression that she did herself in her paintings and works. My mother was a top educator, working as a fine arts teacher. I am aware that we have choices throughout our lives, but I am not sure where the boundary between personal choices and those of fate, or to call it “other circumstances”, may have interfered. I think that my mother’s profession, to a certain extent, determined my choice to compete at the Academy of Fine Arts in Novi Sad, although music and architecture were fields of interest and possible choice. As a kid, I showed a certain fondness for the fine arts, patiently drawing, dotting and painting. This affinity ran throughout my education, and besides my mother who waspainting at home, I could observe the process of the creation of a work of art. Of course I asked her to give me pens, paints and paper.

O.V.  Who where your teachers?

Z.K  My first teacher, of course, was my mother, Borislavka Krstic, and then a primary school teacher who had a special emotional approach to children, and who handled and set artwork with special care, working with each child as a separate being. For a while, I went to the Art Studio of the painter Dragan Martinovic, in my hometown of Sremska Mitrovica, where some pupils were preparing for admission to the Academy of Arts or some university of architecture. My professors on the Academy of Fine Arts in Novi Sad, were Milan Stasevic and Jovan Rakidzic, from Belgrade.

O.V.  Which Artist From the Past Would You Like to Meet? And Why?

Z.K.   The painter I’ve always admired is Van Gogh. The joy he instilled in his works and his artistic expression, which is may be at contrast with his own life, is evident not only to art connoisseurs but to most other observers and art lovers alike. The warmth of light, the variety and flicker of pure colours, the beauty of selected scenes, the sense of movement and the flow of energy in the images themselves, cannot leave anyone indifferent. If time travel would be possible, I would love to walk through the wheat field, and stop by the painter and his staff, observe how he paints, and ask him what he feels while painting, joy, sadness, excitement… It is interesting to think about how the conversation would flow and would he even want to talk…

O.V.  Which Artist has inspired your style of painting?

Z.K.   It’s hard to say which artist has inspired me. I believe we are collecting influences from all sides and from many artists. For those who touch our souls, we recognize the “closeness”, and probably adopt in some way as a guideline for our personal formation. Atsome artists we like secrecy, at some of them, clarity or composition, at some flicker or dynamics, in someone a good sense of contrast, in some immediacy in expression… All this is summed up in a complex story from which later it is passed as a wool fibre, thread, and so we start winding our yarn, and then later, throughoutthe process of creativity, we consider and knit our story … I like diverse artists from different eras: Direr, Botticelli, Van Gogh, Paul Gauguin, Klimt, Egon Schiele, Alexander Calder, Miro, Dali… and many others.

O.V.  What is the most enigmatic work of art for you?

Z.K. The works of Giorgio De Chirico evoke enigmatic feelings in myself,  because of their metaphysical view of the world in which reality and dream, meaning and nonsense, joy of colours and light are contrasted with the loneliness of a timeless landscape. The absence of human beings, or faceless figures, are big puzzles. The gloomy anticipation and agitation is contrasted with the colorful elements and cheerfully lighted streets, like contrasting displays of hope and optimism.

O.V. You created an alternative reality that seems exit outside of time. Your artworks have philosophical character, call to the reflection. I wanted to know a bit more about some of your influences aesthetically.

Z.K.  Referring to Chiriko´s work, I partially answered this question as well. The timeless moment in painting is something that attracts me, which goes in the direction of understanding the duration, the eternity. Some elements of the present, the flashes, the moments, placed in these timeless spaces, coincide with my sense of the need to transform reality, and to perpetuate somehow this transient peculiarity of reality.

O.V.  You have very special style of creating, painting. Would you like to tell us about it?

Z.K.  I don’t always paint the same way. Sometimes I research materials and combinations of materials, but I like to build the image in layers thin or thick, thicker or thinner pastes or opaque or transparent colours. I often make colours of pigment and, at that point appropriate, binder (acrylic or egg) depending on what I want to achieve.

O.V.  You have lived and worked in Greece during 10 years. How did it happen that Greece appeared in your life? Maybe this is due to the unique culture of ancient Greece?

Z.K.   I came to Greece after I finished my study, to visit a friend and to spend couple of months painting there.  It happened that I found the galleries that I cooperated with, and I stayed in Greece much longer than I intended.  Some stronger sunlight than in Serbia, impacted my more intensive feeling of colours. And of course, an interesting people, very sincere and opened, an ancient Greek culture, probably were the strong reasons that kept me in Greece for 10 years long.

In some of my paintings appears some scene from Greek mythology as parallels, of some story that is woven in my own life. Like Odyssey for example.

O.V.  Which of your projects are connected to Greece?

Z.K.   I had an Exhibition the Olympic reminiscence, 2004, which was connected with an ancient Greek Olympic games. I was inspired by drawings on an ancient Greek vases, which presented the scenes of ancient games. I painted the serial of those scenes in my way.

Everything I painted in Greece is in some way connected with this beautiful country, even most of the times my presentations were not directly connected with Greek culture. Most of the themes that I was interested to research, had inner source, because my nature is more introspective. Thus, some Greek elements, like columns or temples can be found in the backgrounds or architectural surroundings in some paintings.

O.V.  As an accomplished artist, what would you recommend to aspiring artists?

Z.K.  I do not see myself as an accomplished artist. Creative process lasts during the whole life of an artist, and he is never accomplished, searching for the right expression throughout life. Aspiring artists are taking their inspirations from their surroundings, their inner world or from the other artists that they feel closeness to them. It is important for the young artist to stay sincere in front of itself, consistent in their handwriting, sensibility, experiences of it’s surrounding, and sincere during their “transformations” of reality in their creative process.


Olga Venspi is a journalist based in Athens.

Raphael – Seraphic Genius of the Renaissance

Raphael – Seraphic Genius of the Renaissance

Raphael – Seraphic Genius of the Renaissance

6 April marks the 500th death anniversary of one of art genius Raphael. 500 years ago, at the age of 37, one of the greatest painters in history packed up his brushes and shuffled off this mortal coil.
From Vatican frescoes to modest wooden panels, he left behind a significant body of work in both size and importance, which included some of the most famous paintings of all time. Raphael really needs no introduction, and there is no doubt that the Italian artist and architect had an extremely profound influence on the art world that still resonates today, but do the pieces themselves still hold relevance in this modern world of ours?

The Great art historian Vasari wrote:

“We are hungry for beauty in desperate times because it is then that we need it most. Beauty is a sanctuary. It’s a fundamental, not because it may offer escape from reality, but because we discover that the beauty of human virtues is what we desire most when life’s superficialities are stripped away from us. When we live in uncertainty and fear we desire stability and order. We long for the good things of civilization that we might take for granted otherwise. Raphael’s Madonnas remind us of the simple human love of a mother for a child, of the nurturing gaze of all mothers, and the comfort they bring. We see the best of ourselves in them. His impossibly gorgeous but absolutely anachronistic gathering of the greatest philosophers into his School of Athens was painted while Italy was in the middle of a period of chaotic wars, and burgeoning anxieties raised annually by potential resurgences of the pestilence, yet his focus was upon the gathered representatives of the long ideas of Western thought, while also using the greatest artists of his own time as models. Leonardo da Vinci is at the center playing the role of Plato, pointing to the heavenly source of the ideal forms. Michelangelo, front and center as Heraclitus, who said that change is constant; and fresh-faced Raphael himself, peeking from behind the pillar on the right as Apelles, immodestly casting himself as the paramount painter of Ancient Greece.”




“..Moreover, the painting’s true quality was obscured by dirty varnish and overpaint, leading to doubts being cast on its authorship..
Titian 1488-1570
Titian’s sensuous interpretation of Classical myths of love, temptation, and punishment.

In 1551, Prince Philip of Spain, the future King Philip II, commissioned Titian, the most famous painter in Europe, to produce a group of paintings showing Classical myths primarily taken from the Roman poet Ovid’s ‘Metamorphoses’.

The exhibition reunites all six paintings in the series, from Boston, Madrid, and London, for the first time in over four centuries. Included are ‘Diana and Actaeon’ and ‘Diana and Callisto’; works we own jointly with the National Galleries of Scotland.

Combining Titian’s remarkable talent as both artist and storyteller, the mythological scenes capture moments of high drama; a fatal encounter, the shameful discovery, a hasty abduction. Titian expertly manipulates paint and colour to dazzling effect; capturing luminous flesh, sumptuous fabrics, water, reflection, and atmospheric, almost enchanted, landscapes.

We see gods and goddesses, yet their faces show very human, and very relatable, emotions: guilt, surprise, shame, desperation, and regret.

Titian called these works his ‘poesie’ because he considered them to be visual equivalents of poetry. This is a rare opportunity to enjoy some of the greatest paintings in European art.
Perseus and Andromeda, Rape of Europe, Danae, Diana and Callisto, Diana and Actaeon, Venus and Adonis



MaLou Art Consulting & Gallery is pleased to present the online solo exhibition “The Society of the Spectacle” by Greek Artist Sophia Papadopoulou. Duration: From 16th of March till 16th April 2020.

“Culture… is the sense of a world which hardly makes sense”
Guy Debord “The Society of the Spectacle”, 183.

The exhibition “The Society of the Spectacle” is not only a collection of images, but a social relation among people, mediated by images. Through her work, Sophia Papadopoulou creates new narrations connected to memories, seeking the personal element and how it relates to the collective. The Artist has her own a gestural vocabulary in which each line and color is infused with energy, spirituality and meaning.  She creates created works that are simultaneously personal and mythological, allowing narrative, language, and inner visions to erupt from his intimate, abstract notations.  Zoomorphic forms, metaphors, allegories, and demons surface from a timeless, inept narrative.  These are monsters born of herown social identity. The heroes are transformed, recreated, and turn into personas deconstructed and revealed before the viewer. The suffering wounded body becomes the canvas which embodies all nightmares and transforms to holy and profane, familiar and unknown.

Form, past, present, one permeates the other. Simultaneously, the art work is open to interpretation and interaction with the viewer aiming to sensitize, provoke and reflect on.

A conversation with Theo Chronis about his series of mixed media paintings “New Originals”, newspaper Russian Athens

A conversation with Theo Chronis about his series of mixed media paintings “New Originals”, newspaper Russian Athens


Tео Хронис: «Новые оригиналы»


Тео Хронис: «Новые оригиналы»

Галерея MaLou Art Consulting&Gallery представляет выставку «Новые оригиналы» современного греческого художника Тео Хрониса, посетить ее можно с 20 января по 20 февраля 2020 года.

Тео Хронис родился в Афинах (Греция) в 1981-м году. Он принадлежит к новому поколению греческих художников, которые постоянно формируют новую силу на современной сцене изобразительного искусства. Его картины выставлялись в галереях Лондона, Нью-Йорка, Голландии, Греции.


Выставка  «Новые оригиналы» представляет собой серию выполненных в смешанной технике картин, в которых художник исследует границы, существующие между реальным изображением и абстракцией.  Если проследить весь процесс создания художником  какой-либо из его  работ, то это, скорее, похоже на путешествие во времени — он как  бы двигается  назад во времени, начиная с абстрактного и продвигаясь к фигуративному.

Работы Хрониса являются скульптурно-либидинальными, очень личными и мучительно самоаналитическими. Тела в его работах являются выражением концепции тела, как мира и мира, как тела. Художник не ограничивается традиционной живописью.


«Я считаю себя в первую очередь фигуративным живописцем, который глубоко понимает ограничения и «западни», существующие в фигуративном изображении, да и в живописи в целом. Все мои картины начинаются совершенно абстрактным, случайным и свободным способом — просто я зарисовываю поверхность картины экспромтом, абсолютно теряя  контроль над тем, что делаю, используя брызги, капли, жесткие линии углём. Я  рисую с закрытыми глазами и вообще стараюсь всё делать на подсознательном уровне. С этого момента начинается долгий процесс попытки «обнаружить» картину из тех многочисленных абстрактных элементов, которые отобразились на холсте или бумаге. Я бы сказал, что больше наблюдаю, изучаю, размышляю над картиной, чем рисую. В результате взаимно связанных преобразований начинает вырисовываться картина, обычно это изображение тела или множества тел. Я изначально никогда не задумываю картину заранее (и поэтому результат иногда удивляет меня тоже). Поэтому картина всегда является продуктом медленного и глубокого аналитического процесса обнаружения доминирующих форм среди абстрактных элементов, хаотически  разбросанных на поверхности холста.


Отсюда и название этой серии: «Новые оригиналы». Аристотелевская концепция мимесиса в более современной форме является центральной в этом подходе. Я вижу мимесис, как способность человеческого разума воспринимать образы известных объектов из не соответствующих действительности знаков. Я считаю, что работа художника как раз и заключается в том, чтобы создавать такие знаки. Они дают возможность творить. И я пытаюсь сфокусировать свою работу в этой зоне, где освобожденные пластические элементы становятся знаковыми в достаточно большом количестве, чтобы вызвать в воображении мир или тело. Мир — тело.


Изображение тела является центральным лейтмотивом этих работ, связанных с либидинальным бессознательным мышлением. Процесс, которому я следую, работает как своего рода автоматическое письмо, как непосредственные экспрессивные отпечатки на поверхности картины, являющиеся отпечатками моего собственного бессознательного ума. И то, что я «вижу» в них, обычно является проекцией моего собственного творчества, хотя и не осознанного. «Найденные» изображения частей тела, всего тела или многих тел раскрывают переживания, связанные с рождением, сексуальностью, захваченной плотью духовностью, понятием смерти и других чувств, которые невозможно выразить словами, но которые переживает всё человечество. Картины  предлагают зрителю  сделать свой индивидуальный просмотр, свою личную интерпретацию того, что изображено, и раскрыть смысл. Названия работ —  это только мои предложения. У вас они могут быть другими».





The MaLou Art Consulting & Gallery is pleased to present an exhibition  “New Originals” by Theo Chronis.
Duration: From 20th of January till 20th of February, 2020.

Press Release: New originals are a series of mixed media paintings exploring the boundaries of representation and abstraction. They aspire to engage in dialogue with modernist artistic thought and their creative process could be considered as a rewinding of the abstraction of the image (and especially the image of the human form) that took place in western modernism, following a path of eclectic affinity starting with Cezanne and ending with the abstract expressionists. Seeing the process of the development of one of his works is usually like a walk back in time starting from the abstract and going towards the figurative.

Born in Athens, Greece, in 1981 Theo Chronis belongs to a new generation of Greek artists who are steadily shaping a new force in the contemporary visual arts scene. The artist’s mixed media paintings using drawing and painting materials that he makes himself are a contemporary answer to what can figurative painting be today. Organically fusing contrasting references of western academic, contemporary figurative and traditional far-eastern painting practices, Chronis’ work is sculpturally libidinal, intensely personal and painfully self- analytical. The bodies in his works are expressions of the concept of body as world and of the world as body. Known as a chameleon of style, Chronis’ interest in image creation does not stop in traditional painting


Merry Christmas!

Merry Christmas!

Best wishes for a wonderful  Christmas and a Happy New Year. May peace, love and prosperity follow you always.

Merry Christmas!

From all of us at MaLou Art Consulting