Difference between revisions of "Manos Saklas"
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| − | '''Manos Saklas''' (b. 1998, Athens) is an artist working across visual art, radio productions and electro-acoustic music. Rooted in his studies at the Xenakis KSYME-CMRC & EMS Stockholm, his practice engages with cultural artifacts and methodologies drawn from fields as diverse as conceptual art, greek mythology, modernist compositional developments, and warfare technologies—underscoring their sociopolitical resonances. | + | '''Emmanouil (Manos) Saklas''' (b. 1998, Athens) is an artist working across visual art, radio productions and electro-acoustic music. Rooted in his studies at the Xenakis KSYME-CMRC & EMS Stockholm, his practice engages with cultural artifacts and methodologies drawn from fields as diverse as conceptual art, greek mythology, modernist compositional developments, and warfare technologies—underscoring their sociopolitical resonances. |
In solo exhibition contexts, he often creates listening spaces, combining rigorous and intuitive methodologies, with an emphasis to material agencies and poetic nuances. Far from merely interpreting the sonic, his visual works and writings feed into the audible part and are somewhat sonorous themselves. Akin to his sound pieces, they are situated at the thresholds of perception, where sensory processes are being modulated, felt and observed. | In solo exhibition contexts, he often creates listening spaces, combining rigorous and intuitive methodologies, with an emphasis to material agencies and poetic nuances. Far from merely interpreting the sonic, his visual works and writings feed into the audible part and are somewhat sonorous themselves. Akin to his sound pieces, they are situated at the thresholds of perception, where sensory processes are being modulated, felt and observed. | ||
Revision as of 17:28, 25 June 2025
Emmanouil (Manos) Saklas (b. 1998, Athens) is an artist working across visual art, radio productions and electro-acoustic music. Rooted in his studies at the Xenakis KSYME-CMRC & EMS Stockholm, his practice engages with cultural artifacts and methodologies drawn from fields as diverse as conceptual art, greek mythology, modernist compositional developments, and warfare technologies—underscoring their sociopolitical resonances.
In solo exhibition contexts, he often creates listening spaces, combining rigorous and intuitive methodologies, with an emphasis to material agencies and poetic nuances. Far from merely interpreting the sonic, his visual works and writings feed into the audible part and are somewhat sonorous themselves. Akin to his sound pieces, they are situated at the thresholds of perception, where sensory processes are being modulated, felt and observed.
Saklas' practice seeks to catch a glimpse of the imperceptible, not to exhaust and actualize it, like science, or purely conceptualize it, like philosophy, but by employing aesthetics to embrace the unseen flows, oscillations, and atmospheres that circulate us.[1]
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