The surrealist Panteion – Reconstruction of contemporary space through the painting world of Nikos Engonopoulos.
by Vassiliou Ioannis
The album includes a series of photographs of the university space, which were transformed into visual works inspired by the richness of colors, motifs and thematic choices of Engonopoulos. This process was based on the study of archival material, the analysis of the characteristics of the artist's work, as well as the use of modern technological image processing tools. Through this practice, work embodies the idea that artistic creation is not just an imitation, but a dialogue with the past, culture, and history (Hooper-Greenhill, 2007, p. 85). The methodological approach of the work combines elements of cultural management, visual analysis and creative composition. On the one hand, it was based on the scientific study of the Engonopoulos archive and on the theoretical understanding of surrealism. On the other hand, it focused on the production of an original cultural product, which functions as a proposal for the artistic reconstruction of a university space. As Bedford (2014, p. 97) points out, artistic interventions in educational settings can enhance inclusivity, activate the imagination, and create new narratives that connect the audience to the space. Overall, the paper attempts to explore how art and cultural management can be combined to create new cultural experiences in the context of higher education. The album is not only an aesthetic proposal, but also a cultural product that contributes to the formation of the collective identity of the University, paving the way for further creative and research actions.
Theoretical and Historical Context
The present work is based on the connection between cultural management, visual creation and historical memory, starting from the work of Nikos Engonopoulos, one of the most important figures of Greek surrealism. The creation of the visual album is not an isolated artistic practice, but is part of a broader theoretical framework that examines the relationship between art, space and cultural identity. The concept of cultural management, as Hooper-Greenhill (2007, p. 84) points out, involves not only preserving and protecting cultural heritage, but also creating new narratives that connect the public to the past and present.
Nikos Engonopoulos (1907–1985) was a central figure of Greek art of the 20th century, with a particular contribution to the introduction and development of surrealism in Greece. He studied at the Athens School of Fine Arts, with teachers such as Konstantinos Parthenis, Dimitris Pikionis and Fotis Kontoglou, who profoundly influenced his artistic career (Karavassili, 2009, p. 52). The encounter of the Greek Byzantine tradition with modern European currents formed a unique visual language, where classical forms, mythological references and surrealist aesthetics coexist. As Skaltsas (2015, p. 93) notes, Engonopoulos' art "bridges the ancient with the modern, the real with the imaginary", creating works that incorporate a multi-layered cultural identity.
The inclusion of Engonopoulos' work in the context of surrealism is crucial for the understanding of his artistic language. Surrealism, as an artistic and literary movement, developed in France in the 1920s, founded by André Breton, and aimed to free the imagination from the shackles of reason (Breton, 1924, p. 16). In Greece, the movement was creatively adopted by the so-called "Generation of the '30s", which sought to redefine the concept of Greekness through dialogue with international artistic trends (Veremis, 2002, p. 117). Engonopoulos, together with creators such as Andreas Embiricos, Odysseas Elytis and Giorgos Seferis, formed a Greek surrealism that combined European experimentation with local cultural references (Ballis, 2012, p. 102).
The study of Engonopoulos' work in the context of cultural management underlines the importance of the archive as a living tool of memory. The archive of the Athens School of Fine Arts, which hosts photographs, manuscripts and personal belongings of the artist, is a key source for the creation of the visual album. According to Derrida (1996, p. 45), the archive is not just a repository of data, but a space for the production of meaning, where access to the past reshapes the identities of the present. In this context, the selection, classification and representation of material acquire particular importance, as they link the creative process with historical documentation (Bedford, 2014, p. 65).
The interpretation of the image is also a central tool for understanding Engonopoulos' aesthetics and developing the creative proposal. As Mitchell (2005, p. 37) argues, the image is not just a representation of reality, but a carrier of narratives and symbolisms that shape the perception of history and culture. In Engonopoulos' works, architectural elements, mythological forms and surrealist compositions invite the viewer to co-shape meaning, highlighting the relationship between art and the viewer as a process of interaction (Falk & Dierking, 2013, p. 105).
Finally, the theoretical framework of the work is linked to the principles of cultural management, which treats art as a tool for the creation of new cultural experiences. As Simon (2010, p. 87) points out, cultural management is not limited to preserving heritage, but encourages public participation in the co-shaping of cultural production. The creation of the visual album works precisely in this way: it draws on the past to produce new forms of artistic experience, repositioning the university space as a living cultural landscape. To sum up, an understanding of the work of Nikos Engonopoulos, Greek surrealism, and theories of memory and cultural management creates the background for the development of a creative work that bridges the past with the present. The visual proposal presented in the work places the artist's work in a new context, highlighting its timelessness and the role of art in the formation of cultural identities.
Detailed Description of the Creative Work
The creation of the visual album was based on the study of the work of Nikos Engonopoulos and the aesthetic reconfiguration of a selected university space. The aim was to produce a cultural product that combines the creator's personal artistic style with the principles of cultural management, creating a dialogue between art, space and the public. As Bedford (2014, p. 94) states, the success of an artistic intervention depends on its connection to cultural references, the historical context, and the identity of the audience experiencing it.
The album includes photographic material from the selected space of Panteion University, which was visually transformed to reflect the aesthetic principles of Engonopoulos. The aim was to create a new visual narrative, where the present of the space meets the past of artistic heritage, redefining the way students, faculty and visitors perceive the university environment. The study of the archival material of the Athens School of Fine Arts played a decisive role, as it provided access to documents, manuscripts, notes and photographs that allowed an in-depth understanding of the artist's artistic identity (Karavassili, 2009, p. 53).
The structure of the album is divided into three thematic sections. The first section focuses on Engonopoulos' relationship with Greek surrealism, presenting compositions that combine architectural elements, mythological figures and bright colors. The aim was to convey the sense of inner tension that characterizes the artist's works, while highlighting the influence of the Greek tradition on modern artistic expression (Ballis, 2012, p. 104). The second section of the album focuses on the artistic relationship between space and identity. The photographic evidence of the university has been transformed into visual compositions that follow the style of Engonopoulos, incorporating characteristic motifs from his paintings: geometric forms, strict contours, intense color contrasts. This treatment did not seek the simple imitation of style, but the creation of a creative dialogue between the original material and the artist's elements (Skaltsas, 2015, p. 95). The third module focuses on memory, representation and management of artistic heritage. The album incorporates photographs and documents that come from the archive of Engonopoulos and are linked to the idea of the timelessness of art. As Derrida (1996, p. 49) argues, the archive is not a static space, but a place of continuous renegotiation of memory. Through this creative practice, the album functions as an artistic "archive", highlighting the potential of art to reconstruct the past in the context of the present.
The choice of the photos that were processed was also decisive. The images of the University were selected based on criteria related to the composition, lighting and dynamics of the space. They were then digitally transformed to adopt the surrealistic aesthetic: harsh shadows, flat color surfaces, clear contours. This process aimed not only at artistic processing, but also at creating a new way of viewing the University, proposing a different relationship between the viewer and the space (Mitchell, 2005, p. 39). Indicatively, one of the album's works presents the central atrium of the University, where the photograph has undergone a complete reconstruction in terms of the color palette. The cold grays of cement were replaced by warm, saturated shades of red and ochre, referencing the intense color contrasts that characterize works such as "To Bordeaux" by Engonopoulos (Skaltsas, 2015, p. 97). In the same composition, the human figures are presented depersonalized, with strict contours, creating a surrealistic result that combines the real with the imaginary. The choice of this aesthetic language is linked to the concept of cultural memory management. The visual processing of the photographs aims not only at artistic representation, but at the creation of new interpretative tools that allow the public to reflect on the university space and its identity. As Hooper-Greenhill (2007, p. 90) argues, cultural interventions in educational spaces enhance collective identity, activating the participation of students and staff in shaping the cultural experience.
The album is not a static work, but is proposed as a dynamic tool of artistic communication. The possibility of presenting it in physical or digital form paves the way for the University's participation in exhibitions, educational programs and artistic workshops. Bedford (2014, p. 105) points out that cultural products that combine traditional artistic practices with contemporary media succeed in expanding the audience's experience, enhancing cultural identity and social cohesion. Overall, the visual album is a proposal for cultural management that utilizes the work of Nikos Engonopoulos to reconstruct the experience of the university environment. Through the reinterpretation of the artist's aesthetics, a meeting place is created between the past and the present, the real and the imaginary, highlighting the role of art as a tool for the active formation of identities.
Description of the Creative Process
The creation of the visual album was a multi-layered process that combined research study, artistic practice and technical application. The aim of the thesis was to produce a cultural product that utilizes the aesthetics of Nikos Engonopoulos, reinterpreting it through the modern perspective of cultural management. The process was organized into four main stages: research and analysis, material collection and classification, visual design and final processing.
In the first stage, extensive research was carried out in the archive of the Athens School of Fine Arts (ASFA), which includes photographs, manuscripts, personal belongings and works of Engonopoulos. The study of archival material has been decisive, as it provides access to evidence that illuminated the sources of inspiration, the color choices and the artist's visual strategies. As Derrida (1996, p. 47) points out, the archive is not just a storage space of memory, but a dynamic field for the production of new meanings. The integration of archival study into the artistic process strengthened the connection between the past and the present, which is a fundamental axis of the album's creation.
The second stage concerned the collection and classification of photographic material from the university. The selection of the photography points was made based on the composition, the architectural peculiarity and the atmosphere of the space, in order to identify areas with special artistic potential. The photographs were then organized into thematic units, which corresponded to the three main categories of the album: surrealist influences, aesthetics of space and artistic memory. This method, as Hooper-Greenhill (2007, p. 85) points out, allows for the creation of a coherent narrative, where the material is organized in a way that makes it easier for the viewer to connect with the content.
The third stage involved the visual design and the processing of the photographs. The aesthetics of Nikos Engonopoulos were the main guide: the pure forms, the flat color surfaces, the intense contrasts and the depersonalization of the figures were creatively adopted in the processing of the images. The choice of the color palette was based on the analysis of the artist's works, such as "Bordeaux" and "The Poetry of Byzantium", where warm shades and sharp contrasts dominate (Skaltsas, 2015, p. 96). This aesthetic does not seek to faithfully copy the artist's style, but to create a creative dialogue between the university space and the surrealist visual language.
In the fourth stage, the final editing of the album involved combining photographic and archival material into a single narrative. The resulting compositions were designed to function as visual narratives, offering the viewer multiple levels of reading. The digital techniques used included image processing, line redesign, color highlighting, and incorporating archival elements, such as excerpts from manuscripts or details from Engonopoulos' works. As Mitchell (2005, p. 42) points out, the image is not just a representation, but a "meeting place" between the viewer, the past and memory.
The creative process, however, was not linear but reflective. During the production, challenges arose related to the choice of material and the balance between artistic freedom and historical accuracy. The incorporation of elements from the archive requires special attention in order to preserve the integrity of the primary documents, avoiding the alteration of the historical content. As Bedford (2014, p. 101) notes, every visual reinterpretation of a cultural item must respect its dual nature: as a material object and as a carrier of memory.
This work also incorporates the concept of cultural management of space. The university environment was treated not only as a functional space, but as a cultural landscape that bears historicity, memory and symbolism. The creation of the album aims to strengthen the connection of members of the academic community with their field, redefining their relationship with the University. As Simon (2010, p. 90) argues, participatory management of cultural heritage strengthens collective identity and creates new forms of social interaction.
Finally, the creative process was not limited to the production of a visual work, but functioned as a tool for personal and scientific development. The study of Engonopoulos' work and the practical application of his artistic principles contributed to the understanding of the relationship between art, memory and identity, while the connection with the university environment highlighted the potential of art to function as a means of cultural management and educational empowerment.
Indicative Example:
Conclusions
The creation of the visual album, inspired by the work of Nikos Engonopoulos, is a complex process that combined artistic practice, archival research and principles of cultural management. Through the analytical study of the artist's work, Greek surrealism and the relationship between art, memory and identity, the possibility of contemporary visual creation to function as a tool for re-meaning the university space was highlighted. As Hooper-Greenhill (2007, p. 89) points out, cultural interventions within educational environments contribute to the formation of collective narratives and strengthen the connection of the academic community with its field. The production process of the album highlighted the importance of using archival material as a means of revisiting the past. Nikos Engonopoulos' archive was a fundamental source of inspiration, as his manuscripts, photographs and personal belongings contributed to the development of an artistic proposal based on real evidence. According to Derrida (1996, p. 50), the archive is not just a carrier of historical memory but a field of constant dialogue between past and present. Through the creative processing of this material, the work utilized the artistic legacy of Engonopoulos to produce a new cultural product. At the same time, the development of the album highlighted the dynamics of art as a tool for cultural management. The transformation of the University's photographs into surrealistic compositions based on the artist's aesthetics offered a new visual approach to the university space, proposing alternative ways of understanding his identity. As Simon (2010, p. 91) points out, participatory forms of cultural management activate the audience, creating relationships of intimacy with the space and enhancing experiential learning. The work, through the connection between art and the university environment, confirms that cultural heritage can be a starting point for innovative creative practices. Dealing with the work of Nikos Engonopoulos had not only scientific value, but also a personal dimension. The study of his aesthetics, the understanding of his surrealist choices and the practical application of his principles led to a deeper awareness of the role of art in social and cultural life. The creation of the album was an exercise in dialogue with the artistic tradition and at the same time a way of redefining the university space as a field of cultural production. Overall, the work proved that art can act as a bridge between history and contemporary experience, memory and creativity, archive and innovation. The album's premise is not only aesthetic, but also exploratory; invites the University to reconsider its role as a cultural institution and to encourage further actions that exploit artistic heritage. As Bedford (2014, p. 106) notes, cultural products that are part of the educational context contribute to the strengthening of collective identity, strengthening the relationship between institutions, community and cultural memory.
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