{"id":1157,"date":"2026-04-16T20:15:53","date_gmt":"2026-04-16T20:15:53","guid":{"rendered":"https:\/\/woodsartinstitute.com\/homo-ludens-copy\/"},"modified":"2026-04-16T23:09:51","modified_gmt":"2026-04-16T23:09:51","slug":"what-paradise","status":"publish","type":"post","link":"https:\/\/woodsartinstitute.com\/en\/what-paradise\/","title":{"rendered":"Current Exhibition"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":1173,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"class_list":["post-1157","post","type-post","status-publish","has-post-thumbnail","hentry","category-work"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [],\r\n \"frameMargin\": 0,\r\n \"topFrameMargin\": 200,\r\n \"bottomFrameMargin\": 200,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 61\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

MAY 2026 - JANUARY 2027<\/span><\/span><\/p>

WHAT PARADISE!?
<\/span><\/p>

DIMITRIS TZAMOURANIS IN DIALOGUE WITH THE REINKING COLLECTION<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 65,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n },\r\n {\r\n \"type\": \"elementgrid\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 3,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 67,\r\n \"config\": {\r\n \"desktop\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 1,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 200\r\n },\r\n \"tablet\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 1,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 150\r\n 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Works by the following artists are exhibited:<\/span>
Janis Avotins, Richard Billingham, Alexandra Bircken, Sarah Braman, Daniele Buetti, Jake Chapman, Jimmie Durham, Henrik Eiben, David Falconer, Kendell Geers, Gelitin, Maria Gilbert, Miriam Goerdt, Jessica Jackson Hutchins, Folkert de Jong, Mike Kelley, Toshiya Kobayashi, Terence Koh, Douglas Kolk, Magda Krawcewicz, Nino Longobardi, Daniel Man, Matthew Monahan, Dermot O\u2019Brien, C.O. Paeffgen, Seung Ah Paik, Jon Pylypchuk, Gerwald Rockenschaub, Markus Selg, George Segal, Shen Shaomin, Agathe Snow, Daniel Spoerri, Jan Smejkal, Filippos Tsitsopoulos, Dimitris Tzamouranis, Wolf Vostell and Zhang Yuan.<\/span><\/p>\",\r\n \"align\": \"onethird\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 3,\r\n \"spacebelow\": 5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 70,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n }\r\n ],\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 64,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In times of social and political tension, with fragile certainties and an uncertain future, the concept of paradise initially seems strange. And yet, it is precisely now that a more intensive engagement with this idea is worthwhile. Not as a place of refuge, but as a conceptual framework: as a question of how and where we locate ourselves.<\/p>

The Italian theorist Antonio Gramsci described such transitional phases of social reorientation as moments in which the old is passing away, but the new has not yet taken shape. In this state of limbo, phenomena emerge that are difficult to categorize. A feeling of confusion arises within us, often described as \\\"monstrous.\\\" This does not refer to a concrete threat, but rather to a reality that has lost its familiar order.<\/p>

What Paradise!?<\/span> begins precisely here.<\/p>

The exhibition brings the paintings of Dimitris Tzamouranis into a deeper dialogue with works from the Reinking Collection. Shaped by existential questions and an understanding of art as a mirror, the exhibited paintings and sculptures are transformed from mere exhibits into confrontations that challenge viewers to seek self-discovery: Where am I in my life? Where do I come from? Where do I want to go? What is important to me?<\/p>

Tzamouranis' paintings also revolve around this form of self-encounter. His figures are present yet withdrawn, often introspective. They defy clear narratives, instead opening a space for contemplation. His visual worlds are characterized by quiet melancholy, physical presence, and a latent uncertainty: spaces appear remote, relationships undefined, identities in flux.<\/p>

This approach enters into an open dialogue with works from various artistic strategies and generations: sculpture, photography, painting, and works on paper meet in a field of tension defined by physicality, social reality, memory, and media transformation. The participating artists explore questions of belonging, identity, and social construction through fragmentation, exaggeration, or unflinching directness. In juxtaposition with the works in the collection, a dialogue emerges that focuses less on collective interpretation than on personal experience.<\/p>

The WAI sees itself as a place where something becomes possible that is easily lost in everyday life: the encounter with oneself. Not as an escape, but through a conscious engagement with fundamental questions and a pause in an increasingly complex present.<\/p>

The WAI is embedded in a landscape and sculpture park where plants, animals, and the changing seasons can be experienced directly. The outdoor space, with its deer, peacock, and bees, with its growth and transience, does not constitute a counter-design to the exhibition, but rather extends it. The conceptual and visual self-positioning that begins in the exhibition space continues outside as a physical and temporal experience. This creates a movement between inside and outside: between image and landscape, between intellectual reflection and sensory perception.<\/p>

Perhaps a great power lies precisely in this movement\u2014in the interplay between contemplation and experience, between self-examination and engagement with the world.<\/p>

What Paradise!?<\/span> remains a question. Its possible answer lies not in the images themselves, but in the experience they evoke within us.

<\/p>

About Dimitris Tzamouranis<\/span>:<\/span>
Born in Kalamata and living in Berlin since 1990, Dimitris Tzamouranis is a leading figure in contemporary figurative painting. His artistic career is closely linked to the cultural dynamism of post-Wall Berlin, where, after studying in Thessaloniki and completing his master's studies at the Berlin University of the Arts, he developed his distinctive visual language. <\/span><\/p>

Tzamouranis has gained international recognition through numerous exhibitions in institutional and gallery settings. His works have been presented at documenta 14, among other venues. Important solo exhibitions include Mare Nostrum (Galerie Michael Haas, Berlin), No one is righteous by his own will (Parnassos, Athens), and Playground (Galerie Monica Ruppert, Frankfurt am Main). A comprehensive retrospective of his work was presented in 2013 at the Frissiras Museum in Athens and the Kunsthalle Osnabr\u00fcck. Furthermore, his work has been featured in numerous international exhibitions across Europe, including those in Bern, Zurich, Milan, and Thessaloniki.<\/span><\/p>

Tzamouranis' large-format paintings combine classical painting techniques with a multifaceted, narrative visual language. His figures appear in meticulously composed, often theatrical scenes, whose gestures and constellations draw upon art historical, mythological, and religious traditions, translating them into contemporary contexts.<\/span><\/p>

Technically, he adheres to the tradition of oil painting, using canvas, wood, or copper as his support. The precise execution, combined with nuanced lighting, creates an intense, almost cinematic visual effect. The depicted spaces often remain ambivalent, existing somewhere between real perception and inner imagination. <\/span><\/p>

Thematically, his work revolves around fundamental questions of human existence: love, loss, longing, and the search for meaning. Historical and symbolic references intertwine with contemporary themes that reflect political and social realities. <\/span><\/p>

Technically, he works with a focus on fundamental questions of human existence: love, loss, longing, and the search for meaning. Historical and symbolic references intertwine with current issues that reflect political and social realities. <\/span><\/p>

Technically, he draws on the tradition of oil painting and uses canvas, wood, or copper as his support. Tzamouranis' painting exemplifies a renewed turn towards figuration in contemporary art. It represents a dialogue between tradition and the present, between technical virtuosity and psychological depth. His paintings defy straightforward interpretations and open up a multifaceted space for exploration.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 63,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 1,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n \"10\",\r\n \"10\",\r\n \"10\"\r\n ],\r\n \"frameMargin\": 5,\r\n \"topFrameMargin\": \"10\",\r\n \"bottomFrameMargin\": \"10\",\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 74\r\n },\r\n {\r\n \"relid\": 73\r\n },\r\n {\r\n \"relid\": 72\r\n },\r\n {\r\n \"relid\": 71\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

MAY 2026 - JANUARY 2027<\/span><\/span><\/p>

WHAT PARADISE!?<\/span>
<\/span><\/p>

DIMITRIS TZAMOURANIS IN DIALOGUE WITH THE REINKING COLLECTION<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": \"0\",\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 65,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n },\r\n {\r\n \"type\": \"elementgrid\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 67,\r\n \"config\": {\r\n \"desktop\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 1,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 200\r\n },\r\n \"tablet\": {\r\n \"colCount\": 4,\r\n \"colGutter\": 1,\r\n \"rowGutter\": 1,\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"elementHeight\": 150\r\n },\r\n 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\"\/wp-content\/uploads\/2026\/04\/IMG_3941-265x315.jpeg\"\r\n },\r\n \"w\": 2835,\r\n \"h\": 3372,\r\n \"ar\": 1.1894179894179895,\r\n \"alt\": \"\"\r\n }\r\n ],\r\n \"addtostart\": false,\r\n \"randomOrder\": false\r\n },\r\n \"absolute_position\": false,\r\n \"dosync\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n }\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In times of social and political tension, with fragile certainties and an uncertain future, the concept of paradise initially seems strange. And yet, it is precisely now that a more intensive engagement with this idea is worthwhile. Not as a place of refuge, but as a conceptual framework: as a question of how and where we locate ourselves.<\/span><\/p>

The Italian theorist Antonio Gramsci described such transitional phases of social reorientation as moments in which the old is passing away, but the new has not yet taken shape. In this state of limbo, phenomena emerge that are difficult to categorize. A feeling of confusion arises within us, often described as \\\"monstrous.\\\" This does not refer to a concrete threat, but rather to a reality that has lost its familiar order.<\/span><\/p>

What Paradise!?<\/span> begins precisely here.<\/span><\/p>

The exhibition brings the paintings of Dimitris Tzamouranis into a deeper dialogue with works from the Reinking Collection. Shaped by existential questions and an understanding of art as a mirror, the exhibited paintings and sculptures are transformed from mere exhibits into confrontations that challenge viewers to seek self-discovery: Where am I in my life? Where do I come from? Where do I want to go? What is important to me?<\/span><\/p>

Tzamouranis' paintings also revolve around this form of self-encounter. His figures are present yet withdrawn, often introspective. They defy clear narratives, instead opening a space for contemplation. His visual worlds are characterized by quiet melancholy, physical presence, and a latent uncertainty: spaces appear remote, relationships undefined, identities in flux.<\/span><\/p>

This approach enters into an open dialogue with works from various artistic strategies and generations: sculpture, photography, painting, and works on paper meet in a field of tension defined by physicality, social reality, memory, and media transformation. The participating artists explore questions of belonging, identity, and social construction through fragmentation, exaggeration, or unflinching directness. In juxtaposition with the works in the collection, a dialogue emerges that focuses less on collective interpretation than on personal experience.<\/span><\/p>

The WAI sees itself as a place where something becomes possible that is easily lost in everyday life: the encounter with oneself. Not as an escape, but through a conscious engagement with fundamental questions and a pause in an increasingly complex present.<\/span><\/p>

The WAI is embedded in a landscape and sculpture park where plants, animals, and the changing seasons can be experienced directly. The outdoor space, with its deer, peacock, and bees, with its growth and transience, does not constitute a counter-design to the exhibition, but rather extends it. The conceptual and visual self-positioning that begins in the exhibition space continues outside as a physical and temporal experience. This creates a movement between inside and outside: between image and landscape, between intellectual reflection and sensory perception.<\/span><\/p>

Perhaps a great power lies precisely in this movement\u2014in the interplay between contemplation and experience, between self-examination and engagement with the world.<\/span><\/p>

What Paradise!?<\/span> remains a question. Its possible answer lies not in the images themselves, but in the experience they evoke within us.

<\/span><\/p>

About Dimitris Tzamouranis<\/span>:<\/span>
Born in Kalamata and living in Berlin since 1990, Dimitris Tzamouranis is a leading figure in contemporary figurative painting. His artistic career is closely linked to the cultural dynamism of post-Wall Berlin, where, after studying in Thessaloniki and completing his master's studies at the Berlin University of the Arts, he developed his distinctive visual language. <\/span><\/p>

Tzamouranis has gained international recognition through numerous exhibitions in institutional and gallery settings. His works have been presented at documenta 14, among other venues. Important solo exhibitions include Mare Nostrum (Galerie Michael Haas, Berlin), No one is righteous by his own will (Parnassos, Athens), and Playground (Galerie Monica Ruppert, Frankfurt am Main). A comprehensive retrospective of his work was presented in 2013 at the Frissiras Museum in Athens and the Kunsthalle Osnabr\u00fcck. Furthermore, his work has been featured in numerous international exhibitions across Europe, including those in Bern, Zurich, Milan, and Thessaloniki.<\/span><\/p>

Tzamouranis' large-format paintings combine classical painting techniques with a multifaceted, narrative visual language. His figures appear in meticulously composed, often theatrical scenes, whose gestures and constellations draw upon art historical, mythological, and religious traditions, translating them into contemporary contexts.<\/span><\/p>

Technically, he adheres to the tradition of oil painting, using canvas, wood, or copper as his support. The precise execution, combined with nuanced lighting, creates an intense, almost cinematic visual effect. The depicted spaces often remain ambivalent, existing somewhere between real perception and inner imagination. <\/span><\/p>

Thematically, his work revolves around fundamental questions of human existence: love, loss, longing, and the search for meaning. Historical and symbolic references intertwine with contemporary themes that reflect political and social realities. <\/span><\/p>

Technically, he works with a focus on fundamental questions of human existence: love, loss, longing, and the search for meaning. Historical and symbolic references intertwine with current issues that reflect political and social realities. <\/span><\/p>

Technically, he draws on the tradition of oil painting and uses canvas, wood, or copper as his support. Tzamouranis' painting exemplifies a renewed turn towards figuration in contemporary art. It represents a dialogue between tradition and the present, between technical virtuosity and psychological depth. His paintings defy straightforward interpretations and open up a multifaceted space for exploration.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 63,\r\n \"absolute_position\": false,\r\n \"textAnimation\": {\r\n \"enableTextAnimation\": false\r\n },\r\n \"dosync\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Works by the following artists are exhibited:<\/span>
Janis Avotins, Richard Billingham,
Alexandra Bircken, Sarah Braman,
Daniele Buetti, Jake Chapman,
Jimmie Durham, Henrik Eiben,
David Falconer, Kendell Geers, Gelitin,
Maria Gilbert, Miriam Goerdt,
Jessica Jackson Hutchins, Folkert de Jong,
Mike Kelley, Toshiya Kobayashi, Terence Koh,
Douglas Kolk, Magda Krawcewicz,
Nino Longobardi, Daniel Man,
Matthew Monahan, Dermot O\u2019Brien,
C.O. Paeffgen, Seung Ah Paik, Jon Pylypchuk,
Gerwald Rockenschaub, Markus Selg,
George Segal, Shen Shaomin, Agathe Snow,
Daniel Spoerri, Jan Smejkal,
Filippos Tsitsopoulos, Dimitris Tzamouranis,
Wolf Vostell und Zhang Yuan.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 70,\r\n \"absolute_position\": false,\r\n \"dosync\": false\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/posts\/1157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/comments?post=1157"}],"version-history":[{"count":0,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/posts\/1157\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/media\/1173"}],"wp:attachment":[{"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/media?parent=1157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/categories?post=1157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/woodsartinstitute.com\/en\/wp-json\/wp\/v2\/tags?post=1157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}