David Panos

Dark Pool

Untitled (The Dark Pool), 2014, video, 3’48” [still]

Untitled (The Dark Pool), 2014, video, 3’48” [still]

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Dark Pool is an opaque forum for financial trading where transactions are invisible to the public. This video work uses digital compositing to conjure an obscured dream-like domain where febrile human movements are embedded and interpolated into everyday objects.

Les Fantômes and Zero Strokes

Les Fantômes (3D), 2018, HD video

Les Fantômes and Les Fantômes (Transcribed), 2018, HD video

Installation view, The Searchers, Hollybush Gardens, London, 2019

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Les Fantômes is a three channel video presented as part of the 2019 exhibition The Searchers. It brings together three views of an improvised choreography which emerged in response to a 3D volumetric video camera and a green screen process created by the artist which abstracts human movements to fleshy, graph-like vectors. 

Also presented in the show were a series of gif-like videos, Zero Strokes, which highlight gestures of anxiety and unease in daily life as well as during street protests. 

The exhibition draws together different ways that gesturing bodies express and respond to the increasingly abstracted social relations of the 21st century. 

Zero Strokes (Demo), 2018, HD video
Zero Strokes (Anxiety), 2018, two channel HD video

Green Goo Gallerte / Table of Gestures

Green Goo Gallerte [left] and Table of Gestures [right], 2014, double un-sync video, 6′ 55” and 11′ 23”, installation view, The Dark Pool, Hollybush Gardens, London, 2014

Green Goo Gallerte / Table of Gestures, is a two-screen video work. The screens loop out of sync, producing a shifting array of juxtapositions between live performers and digitally mediated compositing. Stage performers shift everyday objects into sculptural arrangements while the same objects are shown disappearing into a abstracting green haze. Dancer’s hands pull and stretch at ropes and tape. 

This video was part of the exhibition The Dark Pool—a combination of videos and related sculptures that gestured towards the transposition of vital physical energy into reified objects, the world of haunted commodities set out in Marx’s theory of production and exchange.  

Green Goo Gallerte/Table of Gesture, 2014, double un-sync video, 6′ 55″ sec and 11′ 23″ [loop]

Soft Return

Soft Return, 2016, HD Video, 4’31” [still]

Time Crystals

Installation views, Time Crystals, Pump House Gallery, London, 2017. Photo: Eoin Carey

Installation views, Time Crystals, Pump House Gallery, London, 2017. Photo: Eoin Carey

Installation views, Time Crystals, Pump House Gallery, London, 2017. Photo: Eoin Carey

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Time Crystals combines a number of video works that use the commodification and recycling of youth culture in the 21st century as a metaphor for a dislocated experience of time. 

Working with fragmented images of fashion and dancing bodies, the artist explores embodied expressions of the different ideologies proposed by goth and rave culture. The show points to an endless loop alternating between romanticism and techno utopianism, a kind of deadlock that could either be contained or broken by the furious energies unleashed by subcultural expression. 

Fast Fashion: Declining (Signs/Sharpened Contradictions), 2016, HD Video, 9′ 15″ [loop]
Fast Fashion: Event Strike ’89, 2016, HD Video,
13′ 10″ and 12′ 50″ [loops]

Sculpture

Installation view, Time Crystals, Pump House Gallery, London, 2017. Photo: Eoin Carey

Fast Fashion #1, 2016, product display, stands, laser cut plywood, H & M / Primark clothing

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Aspic Ratio I, 2014, photographic print, perspex, 59 x 59 cm

Aspic Ratio II, 2014, photographic print, perspex, 59 x 59 cm

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Untitled (The Dark Pool), 2014, camping mat, Ikea table, perspex, 116 x 60 x 50 cm

Untitled (The Dark Pool), 2014, camping mat, Ikea table, perspex, 116 x 60 x 50 cm

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Vertical Integration II, 2014, Ikea table, photographic print, perspex, stainless steel, 55 x 106 x 83 cm

Vertical Integration II, 2014, Ikea table, photographic print, perspex, stainless steel, 55 x 106 x 83 cm

Vertical Integration II, 2014, Ikea table, photographic print, perspex, stainless steel, 55 x 106 x 83 cm

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Lack, 2014, Ikea table, yoga mat, photographic print, perspex, 55 x 106 x 83 cm

Lack, 2014, Ikea table, yoga mat, photographic print, perspex, 55 x 106 x 83 cm

Lack, 2014, Ikea table, yoga mat, photographic print, perspex, 55 x 106 x 83 cm

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CBD (Central Business District), 2014, photographic print, perspex, Ikea table, stainless steel,
87 x 55 x 60 cm

CBD (Central Business District), 2014, photographic print, perspex, Ikea table, stainless steel,
87 x 55 x 60 cm

CBD (Central Business District), 2014, photographic print, perspex, Ikea table, stainless steel,
87 x 55 x 60 cm

CBD (Central Business District), 2014, photographic print, perspex, Ikea table, stainless steel,
87 x 55 x 60 cm

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EXHIBITIONS at Hollybush Gardens

Kirschner & Panos: living truthfully under imaginary circumstances 

9 September – 16 October 2011

BIOGRAPHY

David Panos (b. 1971 in Athens, Greece) lives and works in London, UK. Selected exhibitions include David Panos: Time Crystals, Pumphouse Gallery, Wandsworth, London, (2017), (solo); Sculpture on Screen. The Very Impress of the Object, Gulbenkian Museum, Lisbon, Portugal (Kirschner & Panos), (2017); Nemocentric, Charim Galerie, Vienna, (2016); Atlas (De Las Ruinas) De Europa, Centro Centro, Madrid, (2016); The Dark Pool, Albert Baronian, Brussels, (2015), (solo); The Dark Pool, Galeria Marta Cervera, Madrid, (2015); Whose Subject Am I?, Kunstverein Fur Die Rheinlande Und Westfalen, Düsseldorf, (2015); The Dark Pool, Hollybush Gardens, London, (2014), (solo); A Machine Needs Instructions as a Garden Needs Discipline, MARCO Vigo, (2014); Ultimate Substance, B3 Biennale des bewegten Blides, Nassauischer Kunstverein, Wiesbaden, (Kirschner & Panos solo), (2013); Ultimate Substance, CentrePasquArt, Biel, (Kirschner & Panos solo), (2013); Ultimate Substance, Extra City, Antwerp, (Kirschner & Panos solo), (2013); The Magic of the State, Lisson Gallery, London, (2013); HELL AS, Palais de Tokyo, Paris, (2013).

 

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