In the exhibition I Dreamt About You Last Night, by Alexandros Papathanasiou, some of contemporary art’s most emblematic milestones render their perverse trace. Images seduce their occupying subject and deviate into a morphic sequence, which attributes their modern embossment into the artist’s work. A twofold gesture of expressive hermeneutics, which, at one hand, detects the points of its reference and on the other, exposes them at their poetic spectrum, standing for the only distinctive reason of their manifestation. The works’ entrancement and performative quality in the artist’s studio transfuse a transcendental position, which constantly fulfills its present time. We are not confronted with aesthetic signals that swing aimlessly, but with the possibility of an artistic gesture to revalue constantly its historical time and to rescue therefore its truth.

The internalization of History, with this playful style of Papathanasiou, submits the symbolic form of its work in the inspiration of its creative fantasy. It reaffirms their truth, rescues their transcendental size, but at the same time, subjects them in their interpretative reading. We stand in the field of a secularizing procedure, where holy objects of art’s recent past, actualize their effectiveness into the present, whilst losing their holiness. In this borderline, some milestones reacquire their typological differentiation and stride the limit.