Born in Piraeus in 1974, he graduated from the Athens School of Fine Arts in 1999 with a Diploma in Painting. Since then he accomplished three solo exhibitions while he participates frequently in group exhibitions, with paintings, small constructions and installations. He also gives lectures, and teaches Art and History of Art, while in the past he made stage settings. His work has been acquired by various private collections in Greece and abroad. Lives and works in Piraeus.


Solo Exhibitions

  • 2016 Circle around fire, B. & M. Theocharakis Foundation for the Fine Arts and Music, Athens
  • 2014 What it’s like to be back, 16 Fokionos Negri Str., Athens
  • 2004 KOAN, Ekfrassi-Yanna Grammatopoulou Gallery, Athens


Group Exhibitions (selection)

  • 2008 Group Exhibition at the Royal Palace (National Museum of Romanian Art) Bucharest
  • 2007 Dreams Come True, Zoumboulakis Galleries, Athens
  • 2007 Facets of the Figure, Markings of the Landscape: Greek Painters from the Antonis & Azia Hatziioannou Collection, Municipal Gallery, Hania, Crete (curated by Iris Kritikou)
  • 2007 Athens Video art Festival 07, ‘Technopolis’ of the Municipal of Athens
  • 2007 The Gift, Fine Arts Kapopoulos Gallery, Athens
  • 2007 Once upon a time was Penelope Delta, The Athens College, Athens
  • 2006 Myths, Saint Nicolas Bay Hotel, Crete
  • 2006 Iris Colours, The Art Center, Municipality of Athens
  • 2005 A Table, Skoufa Gallery, Athens
  • 2005 Aquarium, Saint Nicolas Bay Hotel, Crete
  • 2005 Masks-Disguises (like objects or symbols), Peritehnon Gallery, Athens
  • 2005 In praise of the Olive, K.Y.B.E. exhibition center, municipality of Peristeri (curated by the Academy of Athens)
  • 2004 Prayer Book, Ekfrassi Gallery, Athens
  • 2004 The acritans of Europe, Museum of Byzantine Culture (curated by the Academy of Athens)
  • 2004 Aeginian jugs, canvas made of clay, The Aeginian Municipality Museum of History and Ethnography
  • 2004 A little blue, Saint Nicolas Bay Hotel, Crete
  • 2003 205 artists paint for IOLI, Epistrofi Gallery, Athens
  • 2003 Group Exhibition, Ekfrassi Gallery, Athens
  • 2000 Graduates 99’ of the Athens School of Fine Arts
  • 1997 Athens School of Fine Arts exhibition in Maris Hotel Crete


Occupational Experience

Since 2011 Lecturer, at the “Aikaterini Laskaridis Foundation”
2003-2009 Painting and Art History Teacher, at the Cultural and educational Organisation of the Prefecture of Piraeus.
1996-2004 Free-style Drawing, Art Painting and Art History teacher, at the “Art Painting Centre of Athens”.


Events and Publications

Since 2016 “Art and aesthetics in the contemporary world.”

“Art and aesthetics in the contemporary world.” is a series of lectures for high school students that started in the autumn of 2016, organized by “Aikaterini Laskaridis Foundation”. Examines the word "Art" and the meaning of it at the recent decades and explores how the mass culture of music and film industry is affecting public aesthetics and everyday life. Also searches for the contemporary lifestyle and compares it with the past.

2011-2015 “Is this Art?”
“Is this Art?” is a series of lectures for high school students that started in the autumn of 2011, organized by “Aikaterini Laskaridis Foundation”. It’s about how modernism and postmodernism affected the contemporary art practice and pop culture of today.
2011 “Postmodernism for Dummies”

“Postmodernism for Dummies” is a lecture opened to the public organized by student associations and collectives. It’s about contemporary history of art and the way that “it works”.

2012-2013 “If people asked who we were we would say we were Byzantine

“If people asked who we were we would say we were Byzantine” is a series of lectures for high school students that started in the autumn of 2012, organized by “Aikaterini Laskaridis Foundation”. The Phrase of James Warhola (nephew of Andy Warholl), “If people asked who we were we would say we were Byzantine” is the motive for an art journey throughout art history, focusing on the interaction between Byzantine art and contemporary art practice.

Since 2010 started at May 2010. It has two categories “Hard and Soft Art Issues” and “Heavy Mental”. The First is about art and “how it works” and the second is about social issues and personal thoughts.

The Hours

Suddenly, you open your eyes and the whole picture unfolds
on your hands.

You used to say: head on! I must look ahead.

You always said: the world is changing!

You felt in love with progress and everything new.

You said: technology, education, communication would
change the human course.

But, at the end, a single crack was enough to bring people in
their former state.

You know, the solution will be found. It always does. Those
who are to blame will finally walk the “Ancient road of the impertinent”.

Then, I’m thinking: walking forward might not be the way.

Backwards! I should turn around and follow my own trail.

And there I should face man.

Here it is. My human being, painted through time and rust.

I’m recreating it as long as it has to be recreated: again and
again, until all these figures become one.

The one.

The accuser and the accused, the hunter and the prey,
united into the same person, while we all are standing
aside, watching the altar, watching the fire and thinking
that we ‘re on the righteous side, unable to perceive that
the same fire burns in each one of us.


K. Kostouros
In memoriam: René Girard

* from the Circle around fire, 2016, B. & M. Theocharakis Foundation for the Fine Arts and Music, Athens



The defense of painting

It is a perception which frequently appears in the world views of painters and especially Greek ones: Painting should defend its “purity” –whatever that means. What is peculiar in Greece is this: the artists who profess something of the sort are not, as one would expect, devotees of some kind of self-referential abstraction which is entrenched in the orthodox tuition of High Modernism, but representatives of an unusual, by international standards, faith in the capability of the medium to do anything. In fact, if one was to look for their role models, under no circumstances would he discover Barnet Newman or Morris Louis, but instead he would come across the potent figure of Paul Cézanne. Furthermore, very little do they seem to realize that the interpretation of Cézanne’s painting in the context of the “purity” of the medium owes more to what happened in New York after the Second World War than to anything the nutty master did in Aix-en-Provence.

Our era has, if anything, dissolved any sense of “purity” –a fact that is rather positive. (It has also dissolved any whatever tendency for hierarchy or evaluation– facts that are rather negative, but this is another issue). Naturally, it could be observed that many Greek painters’ obsession with such articulations has more to do with the –belated– native conflict between institutional factors about the “value” of figurative painting in general (if one can believe this), rather than with a clear position in relation to the goals of their art. That this obsession is just a complex arises also from the fact that the painters of the world who can present powerful and poignant art, after the Second World War and up until today, by no means have remained barricaded behind the defense of their medium: Francis Bacon, Balthus, Giorgio Morandi, Lucian Freud, Gerhard Richter, David Hockney, Ronald Kitaj, Ken Kiff, Euan Uglow, Marlene Dumas, Jenny Saville, Neo Rauh. One can easily perceive how unlike they are, and how their common ground is the fathomless existential depth and the disposition to speak not only about the world but also about their art. In actual fact, these two are inseparable, and if Euan Uglow is not a storyteller but a “cosmic geometrician”, Jenny Saville is a storyteller with all the might of her art.

The reason I write all this is to say that Konstantinos Kostouros shows through his paintings a completely different intention to the one someone would expect from a graduate of A.S.F.A (Athens School of Fine Arts), who remembers very well the conflict between painting-worshippers and painting-fighters. His interest in an implicit and not a literal narration, which is built by drawing, colour and the geometry of the surface makes him, beyond doubt, a painter. The fact, though, that he doesn’t struggle to defend some unique way of looking at the world, but is inspired by Koans and doesn’t suppress his disposition to refer to things outside painting and outside art, makes him contemplative –a characteristic which is indispensable to an artist, regardless of the medium he uses. For someone to presuppose his course would mean clipping his wings, and it would be good for everyone to observe him in all the breadth of his pursuits and not to think that the key to his idiosyncrasy is the fact that he uses oil or watercolours. I will content with just reminding you what Nicolas Bouriaud wrote: “When we stop defending painting, there will be many good painters”.


Augustine Zenakos