Hiding Art, Hiding Codes and the Comic Strategies of Total Disappearing / Yiannis Melanitis

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Artist talkAbstractYiannis MelanitisHiding Art, Hiding Codes and the Comic Strategies of Total DisappearingThe artist, hidden inside the work of artThe paper studies mimesis as a biological and artistic phenomenon. Refers to codes hidden inside artworks,as the technique of hiding human code inside an insect at the The Melanitis leda Project which was about a transgenicmodel of the Leda Melanitis butterfly using one of Yiannis Melanitis genes (optix gene 6). An example ofhidden coding is the encryption of the word BACH within the structure of the fugue by the composer himself in hislatest work (Art of the Fugue / Die Kunst Der Fuge). The third theme of the unfinished quadruple fugue begins withthe sequence of “BACH” notes.Artists’ Name as a Camouflage Tool is apparent in Odyssey also. Outis is a fake, self-invented name given toPolyphemus for deceiving him by its double meaning. In front of Cyclops, Odysseus names himself Οὖτις, usuallytranslated as Nobody or as Noman. Odysseus is also the model of a modern man that Ezra Pound sees himselfentangled to while writing the Cantos, after his imprisonment in a cage in post-war Italy. The code of Outis meansmore than the meaning of the word. His codified camouflage makes him stand “ out of time ¨; quite the same for abiological code that dynamically contains information of a body-it serves as encryption in time. An example is headcodification in animals : Genomic sequences may express body parts; a code corresponds to a body encrypted in atext, as in the Lhx1 genomic sequence 11. If this sequence is removed during embryogenesis in the Lim1 gene, thehead of the organism does not grow.We further examine how mimesis turns comical. The process of disappearing in art or nature requiresthe pre-assumption of a mimesis, a satiric act of deceiving, trick, including an ultimate laughingstock(Greek=περίγελως). Being a fool may save the life of the ridiculer. We may define the act of mimesis by means of information’sdistribution in nature. Ιn my recent works Ι΄m attracted by the Caligo Eurilochus and Caligo Memnonowl butterflies, genus Caligo. Caligo butterflies mimic the image of an owl (by texture and an eye pattern) and at thesame time a snake, at each wing end. So, do butterflies have consciousness of the pattern perplexity? Every case of“ridiculing” a respectable model in nature requires an audience. Butterflies “know” the existence of external monitoring.If butterflies are artists, the artists’ lab as a garden, where butterflies find their own camouflage points and inmy case, return to the dead artists’ body.The performance If You Cannot Be An Owl, Masquerade Like A Butterfly occurred on the Isola di San Michele:Cimitero, Venice, around the graves of dead poets. An artist never dies, she/he encrypts the work inside nature, oreven incorporates it in its mechanisms.
Yiannis MelanitisYiannis Melanitisartist , Greek, b. 1967, Athens, GreeceAssistant Professor , ASFA, AthensPhd Candidate (NTUA), Athens.MA DIgital Arts(ASFA) ,URL: http://www.melanitis.comWikipedia: http://en.wikipedia.org/wiki/Yiannis_MelanitisAcademia. edu: http://asfa.academia.edu/YiannisMelanitisemail: imelanitis@gmail.com38, Kynigon, 14564, N. Kifisia, Athens, Greecetel: 6973 744737 , +30-210-8071365Athens School of Fine Arts/ Sculpture, LAB B’ : +30-210- 4801235Y. Melanitis’s work initiates from a conceptualization on the strategies of contemporary art.Recent research focuses on the role of information on the arts considering “INFORMATION AS THE NEW CON-CEPTUALIZATION. (Latest example is his gene micro-injected into the butterfly named Leda Melanitis for the creationof a trangenic, adult butterfly breed). He derives from philosophy, epistemology and history of art critique to constructartworks from disimmilar analogue or digital techniques. Political speech and philosophy arising from machinesand computers, render humans to mere ‘watchers’ or envisage new roles to society. Melanitis attempts to prognosticatethat even official, state structures of dialectics that will be produced in the future may derive from self-programmingcomputers. He presents an interactive dialectical voice through the computer, which participate in a philosophical dialoguewith the public, remodeling the art of rhetoric through calculation. His other series of artworks reference the mechanicsof speech with the concept of the alienation of logic from the human as its inward administrator. Oilpaintingsand sculptures recast on linkages between philosophy, language and politics.He has published essays on art and philosophy in english and greek. His texts are translated into english, italian, koreanand greek.His artworks include heterogeneous artistic media of installations, performances, bioartworks, theoretical texts, critique,poems, code-based web artworks, sculptures, oil paintings and drawings.Yiannis Melanitis holds degrees in painting, sculpture and digital arts from the Athens School of Fine Arts and is presentlya PhD candidate at the School of Architecture, (NTUA) with a thesis entitled: Biological Dynamics in Art.He has exhibited in Mexico, Brasil, Belgium, UK, Portugal, Switzerland, Greece. Latest work presentations includeMACRO Museum (Rome); at the National Museum of Brasil; Biblioteque of Brasil; Museu D. Diogo de Sousa, Braga,Portugal; the Tongeren Museum and Praetorium, Belgium.As a subject of criticismm, his work is included in international editions as “Art Tomorrow” (Ed.L.Smith), LeonardoMIT, Lomonosov Moscow University, by Seung-Chol Shin, Assimi Kaniari, Mario Savini among others.Keywords: Μimesis, Bio art, comical, Codification, Art-strategiesPresentation title: Hiding Art, Hiding Codes and the Comic Strategies of Total DisappearingWe received your submission to TTT2020 (Taboo - Transgression -
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Hiding Art, Hiding Codes and the Comic Strategies of Total Disappearing / Yiannis Melanitis

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