In the last years, Panayiotis Michael’s work has been preoccupied with what may be described as, indeed, ‘entitled’, a house. The Künstlerhaus exhibition is less gripped with the social happiness that a structure and its contents may signify, and more pleasurably associative in its flow of forms and metaphors, related, and not, to the artist’s family house, planned and never constructed. Vacant window edges are seductively abstracted in a horizontal line(age) of plank wood, hence, the piece’s title, 7 Window Frames. Entities “belonging” to a house are taken apart into another time when they existed otherwise.
Feather padding quietly fosters the history of a house, in A Second Try, and enigmatic interiors weave remains of future memories in cabinets of curiosities. In the spaces of Künstlerhaus Bethanien, Panayiotis Michael creates an ambience, gracefully evoking moods prompted from what we feel entitled to experiencing.
The show generously offers a leveling kind of playground from which no one seems to be in a favorable position to grasp the boundaries of a house of entitlement. Perhaps, the lost dream house of the child is not imagined as an enduring house of the future but as small, passing gestures of tranquil moods, where we can renegotiate our entitlements.