Nina Papaconstantinou was born in Athens, Greece. She studied Greek literature at the University of Athens and visual arts (drawing) at Camberwell College of Arts, London. She has presented her work in several solo and group exhibitions in Greece and abroad. Recent exhibitions include: My Dear Viscount, Kalfayan Galleries, Athens, Greece; Drawing Time, Reading Time, The Drawing Center, New York, USA; 1st Arezzo Biennial: ICASTICA: Glocal Women, Arezzo, Italy; Pen to Paper, Athr Gallery, Jeddah, Saudi Arabia; La Plasticité du Langage, The Hippocrene Foundation, Paris, France; 2nd Athens Biennial:Heaven, Athens, Greece; Heart in Heart, National Museum of Contemporary Art, Athens, Greece; And Now?, State Museum of Contemporary Art, Thessaloniki, Greece;Transexperiences—Greece, 798 Space, Beijing, China; and In Present Tense, National Museum of Contemporary Art, Athens, Greece. Papaconstantinou is represented by Kalfayan Galleries Athens-Thessaloniki, Greece. She is currently artist-in-residence at the Center for Hellenic Studies, Princeton University.
In Papaconstantinou’s work, the page is at once portal and obdurate matter. Like the black page in Tristram Shandy, with its conflation of the paratext and narrative, the artist’s hand-drawn copies of literary texts draw attention to print as a material object. Copying, for Papaconstantinou, is a means of drawing, and the artist’s “drawing” of words explores the relationship of line to letter, and of text to image. The artist’s use of line may be descriptive, but the accretion of marks, however precise, generates work that subverts both reading and representation.
(By Eva Heisler. Source:
No trabalho de Papaconstantinou, a página é ao mesmo tempo uma porta e uma obturação. Como a página preta de Tristam Shandy, com sua fusão de paratexto e narrativa, as cópias da artista de textos literários desenhados à mão enfatizam a impressão como um objeto material. Copiar, para Papaconstantinou, é uma forma de desenho, e o “desenho” das palavras da artista explora a relação da linha com a letra, e do texto com a imagem. O uso que a artista faz da linha pode ser descritivo, mas o acréscimo de marcas, ainda que preciso, origina um trabalho que subverte tanto a leitura como a representação.
(Translated by Marcelo Reis de Mello. Source:
1. Dante, Inferno, 2007, and Dante, Paradiso, 2007, 220cmx120cm each, conté pencil on mdf. (Installation view at the National Museum of Contemporary Art, Athens, Greece, 2011.
2. Dante, Inferno, 2007 (detail).
3. Standal, Vittoria Accoraboni, Duchess of Bracciano, 2005, carbon copyink on paper.
4. St. John, The Apocalypse, 2004, carbon copy ink on paper.
5. Orestes & Iphigenia, 2013, pin-pricks on paper.
6. Untitled, 2002, permanent marker on tracing paper.
7. Brothers Grimm, The Six Swans, I, 2007, woven strips of printed paper.
8. The Company of Wolves, 2011, detail.