"Large Table From Nikos Kessanlis 1957"Nikos Kessonlis was born in Salonnico in 1930. He studied painting at the School of Fine Arts in Athens with Professor Yannis Moralis and also worked as an assistant in the workshops of N. Nikolaou and G.Spiropoulou. 1955 moved to Rome, where he continued his studies at the Central Institute of Restoration, he worked at the Cappella degli Eremiani in Padua where he painted the walls. In 1958, his solo exhibition at the gallery Obelisk presented by Giulio Carlo Argan, the same year, he participated in the Venice Biennale with an informal work. With Dimitris Kontos, Kostas Tscolis, Yannis Gaitis and Vlassis Caniaris form the Sigma group. In the late fifties, he created the series Walls, compositions he made by sticking and scraping a multitude of thick layers of color coagulation. In 1959, he won the first prize Amedeo Modigliani in Livorno and decided to settle in Paris, where he could compare himself to a dynamic and avant-garde environment and stay in close contact with Pierre Restany, who has always followed the work of the artist. In 1961, he won the Lissone Prize and the honorable mention of the São Paulo Biennale in Brazil. These are years full of visibility in Paris and Italy (Rome, Venice, Florence). During this period, he begins to use found objects, objects and various materials to create the Gesti series. The culmination of this series is the provocative Grand gesture blanc, with which he appears at the La Fenice theater, in the exhibition Three Propositions for a New Greek Sculpture, organized by Pierre Restany, as part of the 1964 Venice Biennale. The same year, he joined the group Mec Art with Di Bello, Rotella, Mariani and Bertini and the French Beguier and Jacquet under the direction of Pierre Restany. . It is these years that also develop photographic works by implementing the intervention of the image through photomechanical reproduction experiments, participating in the exhibition Tribute to Nicéphore Niépce at gallery J with his work Phantasmagorias of identity. In 1966, he progressed in his photomechanical research through the Riforma series. In Meta-Structures, he works on as many ways as possible to deconstruct the image, intervening and repainting on photographs of classic reproductions. From the 80s, he rejuvenated his pictorial style through walls, portraits and calendars. In 1996, he reprinted the photographs from the previous series of Ciments. In 1981 he was elected professor at the Athens School of Fine Arts and in 1991 he was elected head of the Faculty of Fine Arts in Athens for a period of four years. In 1988, he represented Greece at the Venice Biennale. In 2000, he designed the Coda artwork for the Omonia metro station. He has participated in numerous biennial exhibitions of Venice (1958, 1976, 1988) and Biennales of San Paolo (1961 and 1963). Biennale of Young Artists (1963 and 1965), retrospective from 1955 to 1997, Macedonian Museum of Contemporary Art Thessaloniki, 1997. A posthumous exhibition by Nikos Kessanlis is devoted to the Biennial of Athens, 2007: Da Matiere all'Immagine, National Museum of Contemporary Art. He died in 2004.