By Marina Charalambous

An unprecedented incident of vandalism was noted at the National Gallery on Monday, March 10th, where four works by the artist Christopher Katsadiotis They were vandalized by two people, including the party MP “NIKI”, Nikos Papadopoulos.

The incident has sparked strong reactions to the art world, with many describing it as an extreme form of censorship and violence against the freedom of artistic expression. The artist, who is currently in France, spoke to and condemned the attack, characterizing her as a ‘A nasty act of violence’. At the same time, he revealed his source of inspiration and explained the reasons that led him to the creation of these projects.

What was your first reaction when you were informed of the vandalism of your projects in the National Gallery?

Surprise. I didn’t expect that would happen. I thought that if there would be a reaction so great from someone, it would have been in an institutional character. I didn’t imagine that could be done. Because people who believe and are religious people write to me how they were not infected with what they see.

Your projects may be particularly regarded by a public. Do you think this act had a deeper ideological or political character?

There is a deformation in my works. The very thing that exists in Goya’s works. But the distortion in hagiography exists. It starts in 1500 from Barcelona, ​​from Catalan painting and continues in the 17th century where we were particularly distorted by Christ, the Virgin Mary and various Saints. Saint Christopher is the only saint who has a dog in all the churches of Eastern Europe. There is no symbolism in this but we do not magnify everything and see ghosts everywhere.

Do you think this act was an individual expression of extreme behavior or perhaps reflects a broader tendency to censorship and attacks on art?

It was a nasty act of violence to draw interest.

If you could chat directly with the MP who vandalized your projects, what would you like to say to him?

I don’t talk to people who see visions, archangels and Satanades. And of course with people who move uncontrollably with feelings of violence and fanaticism.

Do you think this incident has brought a broader debate about the freedom of art in Greece, or will it be forgotten quickly?

I don’t know if it will be forgotten quickly. But the reaction of the National Gallery to maintain broken glasses and broken works on the floor as a place of crime against democracy and freedom of expression, fully satisfies me.

Do you think that the public of Greece may be conservative towards contemporary art?

There is a portion of the audience that reacts with the slightest, but it is not a phenomenon that is Greek. It is global. There is a portion of a world with superstitions and suspicions permanently.

How did you inspire your projects?

I had never imagined that I would enter the National Gallery. It didn’t get me out of my mind. I didn’t believe how I would be able to participate in a group exhibition that would talk to a Goya engravings. Nothing premeditated or deliberate. My idea begins about religion by listening to politicians during history, talking about wars that we associate with the name of every God, each with his own God. In the pretext of religion reasons, it is proceeding with political acts because religion I consider to be a sophisticated way to control society.

What is it believed to be after this MP’s move?

The National Gallery has moved both by lawsuit and lawsuit against it. I personally talk to lawyers on how to move. But I am pleased with the movement of the Gallery to move legally towards this man.