Is art more than a self-indulgent act? (Manipulation series)

In the 1960s, art, both internationally and in Greece, increasingly ceased to be divided into sculpture and painting, in order to give priority to the object on the one hand, and to gesture on the other.
The internationally acclaimed sculptor Theo was distinguished for his critical attitude towards the commercialization of art. The broad public space with all its parameters - as an urban landscape, as a place of symbiosis, survival and living of the individual-citizen, as an architectural form, as an artistic form, as a field of individual and collective confrontations, as a memory and a monument - is the space in which his work is completed.
As Theo writes in the 1970 Manifesto, "the Manipulations section begins with the exhibition-event at the Goethe Institut in October 1970, entitled Sculpture for public participation - PARTICIPATION IS FORBIDDEN, where Matraque-Phallos intervenes as a means of mediation and communication.
The word Manipulation has its root in 'hand'. The hand as the defining instrument of communication from the beginning of human civilization until the industrial revolution.
The matrack, the club, is the 'key' to activate the consciousness of every action-action, as a primitive tool for survival, as a primary means of communication for creation or destruction."
The play Is art more than a self-indulgent act? belongs to the Manipulation series.