DEMOSTHENES AGRAFIOTIS Worthless / Valuable 2008 Paris [R/V] - x +

CN: AgrD2008wort

MT: digital prints on paper glazed in clipped frames 5(18x13x1 / T:70x13x1)

TX: inscribed with fountain pen at rear upper center <[serial number]>, signed lower right in Greek <d·a 08>

DN: Dr. Demosthenes Agrafiotis - 2008

LC: ACG - Xerox Room, DC500

CM: Demosthenes Agrafiotis' Worthless / Valuable is a work consisting of five pictures in a horizontal row on a small and consistent distance between them. The photographs show various images of the artist's everyday life in Paris: the first the photographer's knee in a car; the second the shadow of an empty flower stand in a niche of a hotel; the third posters and graffiti on the wall of the street; the fourth the moving away from a text panel; and the fifth items in a store window that uses sculptures made of books as an attraction. In an article entitled Easy (though not worthless) formalities Agrafiotis writes: "1. Is the 'precious' as opposed to the 'cheap' a necessary condition for art? In some societies the stones, the shells and the pigs are regarded as core values, symbolical and exchangeable, just as in Western societies the gold and the diamonds. A gold statue here is a worthless object there. A necklace with shells there is a poor gift. Should we then look for raw material in quarries for white fine grained marble or inside urban waste buckets? 2. Can the 'cheap' lead to the 'perfect'? This depends on the question and the challenge imposed on the worthless of course in the name of art. The raw material partly determines, but does not specify the aesthetic scope of the final work. King Midas does not reign (yet) in the field of art. 3. The 'cheap' associates with the 'everyday', but what would be the outstanding and the unique if it was not compared to the ordinary? Doubtless until recently in bankrupt capitalism the order and repetition ruled and the 'everyday' was organized without metaphysical tensions. After all, what is wothless today, the material or the immaterial? 4. Is the society of mass or the society of plenty based on the abundant reproduction and the useful/less product, and might the transformation of the latter into a work of art functions as a 'spell'? 5. The worthless object may perhaps refer to the worthless subject and the overcrowding of products may compete with the overcrowding of people." In closing, the distinction between worthless and valuable is a subjective matter. The Worthless / Valuable was presented in a group exhibition entitled The Aesthetic Activation of Worthless Materials, curated by Christos Theofilis at Fizz Galery in Athens in 2008. [Megakles Rogakos 12/2008]