Kostas Gaitanži’s exhibition “Semi-Retrospective / Interruption of Non-Being” presents two distinct aspects of the artist’s work simultaneously. The “Semi-Retrospective” offers an overview of his twenty-year creative journey; however, it is not a complete retrospective, as the artist does not feel mature or deserving enough to organize one. Additionally, considering the formats of Kostas’ paintings, the exhibition would not even fit within the large spaces of the Town Hall. Therefore, it emphasizes self-reflection, representing a midpoint in his artistic evolution.
The exhibited paintings span the period from the mid-2000s, when the artist was captivated by pop culture and the Japanese Superflat movement. He labeled his style during that time as “Transflat,” which combined Superflat ideas with a transhumanist worship of technology and blended painting with elements of computer graphics. These works reveal a distinctive interaction between humanity and machines, prompting reflections on the boundaries of what it means to be human.
Around 2010, Kostas underwent a radical shift in his stylistic approach, abandoning color in favor of tonal painting. Although the series of works were grounded in common concepts, the artist no longer strives to conform to contemporary art standards. He characterizes his work as “weird realism,” merging theories of analytical consciousness with concepts from speculative realism and themes from “cosmic horror” literature, while incorporating elements of classical realism, neo-expressionism, and metaphysical painting.
“Interruption of Non-Being” encapsulates recent artistic periods during which the artist faced significant challenges. It is difficult for him to concentrate on art when the real world sinks into chaotic turmoil. The new works reflect Kosto’s contemplations on existential fragility, the search for solid truths in a sea of post-truth, and the importance of preserving dignity. For him, painting has become a tool for managing anxiety, on par with military service, sports, or physical labor. Additionally, the artist returns to observing and depicting nature; while this theme may appear strikingly contemporary, it increasingly loses relevance in today’s context.
Ultimately, life is but an interruption of non-being.
