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Issues of Gender Representation in Modern Greek Art the Case of Thaleia Flora-Caravia’S Photographic Images and Self-Portraits
p Issues of Gender Representation in Modern Greek Art The Case of Thaleia Flora-Caravia’s Photographic Images and Self-Portraits Despoina Tsourgianni ABSTRACT There is a recent trend, mainly in the fi eld of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns writ- ten (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora- Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits. This kind of cross-examination allows the reader to become familiar with the mosaic of roles and identities that constitutes the subjectivity of female artists in Greece in the late nineteenth and early twentieth centuries. KEYWORDS: autobiography, female artist, modern Greek art, photography, self-portrait p Introduction No opening words could be more appropriate to introduce a study on twentieth- century artist representation than the verses of Rainer Maria Rilke on the painter Paula Modersohn-Becker: So free of curiosity your gaze had become, so unpossessive, of such true poverty, it no longer desired even you yourself; it wanted nothing: holy.1 aspasia Volume 13, 2019: 31–64 doi:10.3167/asp.2019.130105 32 DESPOINA TSOURGIANNI It is of key importance to note the way in which this emblematic poet of modernity perceives the ideal depiction of oneself: as one being stripped of any vanity that leads to the beautifi cation of physical characteristics. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title The Greek Body in Crisis: Contemporary Dance as a Site of Negotiating and Restructuring National Identity in the Era of Precarity Permalink https://escholarship.org/uc/item/0vg4w163 Author Zervou, Natalie Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The Greek Body in Crisis: Contemporary Dance as a Site of Negotiating and Restructuring National Identity in the Era of Precarity A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Natalie Zervou June 2015 Dissertation Committee: Dr. Marta Elena Savigliano, Chairperson Dr. Linda J. Tomko Dr. Anthea Kraut Copyright Natalie Zervou 2015 The Dissertation of Natalie Zervou is approved: Committee Chairperson University of California, Riverside Acknowledgments This dissertation is the result of four years of intensive research, even though I have been engaging with this topic and the questions discussed here long before that. Having been born in Greece, and having lived there till my early twenties, it is the place that holds all my childhood memories, my first encounters with dance, my friends, and my family. From a very early age I remember how I always used to say that I wanted to study dance and then move to the US to pursue my dream. Back then I was not sure what that dream was, other than leaving Greece, where I often felt like I did not belong. Being here now, in the US, I think I found it and I must admit that when I first begun my pursuit in graduate studies in dance, I was very hesitant to engage in research concerning Greece. -
Gallery List Basel | February 15 | 2018
GALLERY LIST BASEL | FEBRUARY 15 | 2018 GALLERIES Gallery Name Exhibition Spaces 303 Gallery New York 47 Canal New York A Gentil Carioca Rio de Janeiro Miguel Abreu Gallery New York Acquavella Galleries New York Air de Paris Paris Galería Juana de Aizpuru Madrid Alexander and Bonin New York Galería Helga de Alvear Madrid Andréhn-Schiptjenko Stockholm Applicat-Prazan Paris The Approach London Art : Concept Paris Alfonso Artiaco Naples, Pozzuoli von Bartha Basel, S-chanf Galerie Guido W. Baudach Berlin Bergamin & Gomide São Paulo Galerie Berinson Berlin Bernier/Eliades Athens, Brussels Daniel Blau Munich Blum & Poe Los Angeles, New York, Tokyo Marianne Boesky Gallery New York, Aspen Tanya Bonakdar Gallery New York Bortolami New York Galerie Isabella Bortolozzi Berlin BQ Berlin Gavin Brown's enterprise New York, Rome Galerie Buchholz Berlin, Cologne, New York Buchmann Galerie Berlin, Agra/Lugano Cabinet London Campoli Presti Paris, London Canada New York Galerie Gisela Capitain Cologne carlier gebauer Berlin Galerie Carzaniga Basel Casas Riegner Bogotá Galeria Pedro Cera Lisbon Cheim & Read New York Chemould Prescott Road Mumbai Mehdi Chouakri Berlin Sadie Coles HQ London Contemporary Fine Arts Berlin Galleria Continua San Gimignano, Beijing, Les Moulins, Havana Paula Cooper Gallery New York Pilar Corrias London Galerie Chantal Crousel Paris Thomas Dane Gallery London, Naples Massimo De Carlo Milan, London, Hong Kong dépendance Brussels Di Donna New York Dvir Gallery Brussels, Tel Aviv Ecart Geneva Galerie Eigen + Art Berlin, Leipzig Konrad Fischer Galerie Berlin, Dusseldorf Foksal Gallery Foundation Warsaw Fortes D'Aloia & Gabriel Rio de Janeiro, São Paulo Fraenkel Gallery San Francisco Peter Freeman, Inc. New York, Paris Stephen Friedman Gallery London Frith Street Gallery London Hong Kong, Paris, Athens, Rome, Geneva, London, Beverly Hills, Gagosian New York, San Francisco Galerie 1900-2000 Paris Galleria dello Scudo Verona joségarcía ,mx Mérida, Mexico City gb agency Paris Annet Gelink Gallery Amsterdam Gladstone Gallery Brussels, New York Galerie Gmurzynska St. -
Laughter from Hades: Aristophanic Voice Today*
51 Ifigenija Radulović University of Novi Sad, Serbia Ismene Helen Radoulovits Petkovits National and Kapodistrian University of Athens, Greece Laughter from Hades: Aristophanic Voice Today The current Greek political situation again brings to light, and on stage, many ancient dramas. Contemporary Greek theatre professionals, not turning a blind eye to reality, have come up with ‘the revival’ of old texts, staging them in new circumstances. Aristophaniad is an original play with a subversive content inspired by Aristophanes and a contemporary street graffito reflecting contemporary Athenian life. It is a mixture of various comic and other dramatic elements, such as ancient comedy, grotesque, pantomime, musical, ballet, opera, standup, even circus. Additionally, staging methods developed by the Greek director, Karolos Koun (1908‐1987) are also evident in the production. Idea Theatre Company, exploiting excerpts from Aristophanes’ plays and starring the comediographer himself, manages to depict a fictional and real world in one. The performance starts with the rehearsal of Aristophanes’ new play, Poverty, which is in danger of being left unfinished since Hades plans to take Aristophanes to the Underworld. The play ends with Plutus. In the meantime, the performance entertains its audience, leading them to experience Aristotelian catharsis through laughter. This collective ‘purification’ of the soul is supposed to be mediated by laughter and provoked by references to serious life issues, given in comic mode and through a vast range of human emotions. The article deals with those comic features and supports the thesis that in spite of the fact that times change, people never cease to fight for a better society. -
We'll Meet Again Bios ΕΝ
ADDITIONAL INFORMATION ON WE’LL MEET AGAIN PARTICIPANTS Agent Mo, Amateurboyz, Giorgio Andreotta Calò, Andreas Angelidakis, Anastasia Ax, AZA, Athens Zine Biblioteque, George-Ikaros Babassakis & Eleanna Martinou, Tjorg Douglas Beer, Angela Brouskou & Parthenopi Bouzouri, Vincent Chomaz, Angela Dimitrakaki, Pakui Hardware, Katerina Kana, Valentinas Klimašauskas, Dimitris Kotselis, Eleni Kotsoni, Mikko Kuorinki, Quinn Latimer, Locus Athens, Pantelis Pantelopoulos, Giorgos Papadopoulos, Natasha Papadopoulou / Giannis Loukos / Eleftheria Togia, Angelo Plessas, Dimitris Politakis, Theo Prodromidis, Lars Siltberg, Mårten Spångberg, Jennifer Teets, Paolo Thorsen-Nagel Agent Mo Marina Gioti (aka Agent Mo, GR, 1972) is a filmmaker / visual artist based in Athens, Greece. She is currently in post production of her first feature length film The Invisible Hands, a documentary set in Cairo, Egypt. Amateurboyz Amateurboyz, Spiros Pliatsikas and Thodoris Dimitropoulos, are a DJ-crew and party collective. For a decade they’ve been one of the most influential contributors to the underground scene in Athens presenting art, music and live events in obscure venues throughout the city. Their organic take on music and DYI-culture has also brought them to several venues across Europe (London, Berlin, Belgrade, Florence, Istanbul, Moscow) and international acclaim. Giorgio Andreotta Calò Giorgio Andreotta Calò research developed though a process of withdrawing fragments from reality and the re-appropriation of architecture, landscape and his own history. His artworks may be interpreted as “active residues” of processes and actions that have take place in a specific time and space. Born in Venice in 1979, he studied at the Accademia di Belle Arti di Venezia (1999-2005) and at the KunstHochSchule Berlin (2003-2004). -
English Website Competition DBAJ 2021
Website "concours-debachaujazz.com" – Home page 2021 Online Edition – June 2021 De Bach au Jazz - alternating with: Online Edition for Classical Piano and Jazz Piano International Piano Competition 2021 Classical Piano - Jazz Piano Welcome to the site of the International Piano Competition 2021 "De Bach Au Jazz - From Bach to Jazz" Created by the Cultural Association "Nathalie" (www.association-nathalie.com) and after the very successful previous editions in Paris and in Athens, the 2021 edition will also be held Online again under the auspices of the "Athens Conservatoire" (Odeion Athinon) and will welcome candidates of all levels and horizons with the aim of promoting all musical styles from J. S. Bach to our day, including a NEW separate full fledged section for JAZZ PIANO. In relation to the current special conditions due to the health pandemic, we have decided to make this edition online, over the Internet. The most basic priority for artists in this difficult situation is to be able to keep the "musical spirit" alive. This competition aims at providing a vehicle for young artists to improve their skills and maintain their interest and love for all kinds of music. This edition of "De Bach Au Jazz" competition is organised in two independent sections, one for classical piano and one for jazz piano. The Cultural Association "Nathalie", active both in France and abroad, was setup by the internationally renowned pianist Lilia Boyadjieva in memory of her daughter Nathalie, killed at the age of 20 by an irresponsible car driver. We will always remember her tender and cheeky smile, her "joie de vivre" and her love of all music. -
IFK Apologismos 2015-ENG Web.Indd
THE J. F. COSTOPOULOS FOUNDATION ESTABLISHED IN 1979 ANNUAL REPORT 2015 ATHENS IIFK_ApologismosFK_Apologismos 22015-ENG_web.indd015-ENG_web.indd 1 113/7/163/7/16 66:21:21 μ.μ. The J. F. Costopoulos Foundation would like to thank DDB for graciously offering the design of the Annual Report 2015. 2 IIFK_ApologismosFK_Apologismos 22015-ENG_web.indd015-ENG_web.indd 2 113/7/163/7/16 66:21:21 μ.μ. ANNUAL REPORT 2015 Portrait of John F. Costopoulos (Engraving by A. Tassos) IIFK_ApologismosFK_Apologismos 22015-ENG_web.indd015-ENG_web.indd 3 113/7/163/7/16 66:21:21 μ.μ. Brief History The J. F. Costopoulos Foundation, a non-profit charitable institution, was founded in 1979, on the occasion of the centenary of the Alpha Bank, then operating as Credit Bank, in memory of its founder John F. Costopoulos by its then Chairman, the late Spyros Costopoulos and his wife Eurydice. In accordance with its purpose, as it is stipulated by its Articles of Association and Operation, the Foundation continuously supports the safeguard and promotion of the Greek culture, literature and the arts both in Greece and abroad. 4 IIFK_ApologismosFK_Apologismos 22015-ENG_web.indd015-ENG_web.indd 4 113/7/163/7/16 66:21:21 μ.μ. The Board of Trustees Yannis S. Costopoulos Chairman Anastasia S. Costopoulos Vice-Chairman Demetrios P. Mantzounis Treasurer Thanos M. Veremis Trustee Theodoros N. Filaretos Trustee Hector P. Verykios Director Athanassios G. Efthimiopoulos Financial Services Assimina E. Strongili Magda N. Tzepkinli Secretariat Alpha Private Banking Financial Advisor Irene A. Orati Dimitra I. Tsangari Special Advisors 5 IIFK_ApologismosFK_Apologismos 22015-ENG_web.indd015-ENG_web.indd 5 113/7/163/7/16 66:21:21 μ.μ. -
Think Teen 2Nd Grade of Junior High School
001-004.qxp:01-18.qxp 11/13/08 6:16 PM Page 1 Think Teen 2nd Grade of Junior High School TEACHER’S BOOK (ΠΡΟΧΩΡΗΜΕΝΟΙ) 001-004.qxp:01-18.qxp 11/13/08 6:16 PM Page 2 ΣΥΓΓΡΑΦΕΙΣ Αλεξία Γιαννακοπούλου, Εκπαιδευτικός Γεωργία Γιαννακοπούλου, Εκπαιδευτικός Ευαγγελία Καραμπάση, Εκπαιδευτικός Θεώνη Σοφρωνά, Εκπαιδευτικός ΚΡΙΤΕΣ-ΑΞΙΟΛΟΓΗΤΕΣ Ουρανία Κοκκίνου, Μέλος ΕΕΔΙΠ 1, Πανεπιστημίου Θεσσαλίας Διονυσία Παπαδοπούλου, Σχολική Σύμβουλος Ανθούλα Φατούρου, Εκπαιδευτικός ΕΙΚΟΝΟΓΡΑΦΗΣΗ Ιωάννης Κοσμάς, Σκιτσογράφος-Εικονογράφος ΦΙΛΟΛΟΓΙΚΗ ΕΠΙΜΕΛΕΙΑ Χρυσάνθη Αυγέρου, Φιλόλογος ΥΠΕΥΘΥΝΟΣ ΤΟΥ ΜΑΘΗΜΑΤΟΣ Ιωσήφ Ε. Χρυσοχόος, Πάρεδρος ε.θ. του Παιδαγωγικού Ινστιτούτου ΥΠΕΥΘΥΝΗ ΥΠΟΕΡΓΟΥ Αλεξάνδρα Γρηγοριάδου, Τ. Πάρεδρος ε.θ. του Παιδαγωγικού Ινστιτούτου ΠΡΟΕΚΤΥΠΩΤΙΚΕΣ ΕΡΓΑΣΙΕΣ Γ´ Κ.Π.Σ. / ΕΠΕΑΕΚ II / Ενέργεια 2.2.1. / Κατηγορία Πράξεων 2.2.1.α: «Αναμόρφωση των προγραμμάτων σπουδών και συγγραφή νέων εκπαιδευτικών πακέτων» ΠΑΙΔΑΓΩΓΙΚΟ ΙΝΣΤΙΤΟΥΤΟ Δημήτριος Γ. Βλάχος Ομότιμος Καθηγητής του Α.Π.Θ. Πρόεδρος του Παιδαγωγικού Ινστιτούτου Πράξη με τίτλο: «Συγγραφή νέων βιβλίων και παραγωγή υποστηρικτικού εκπαιδευτικού υλικού με βάση το ΔΕΠΠΣ και τα ΑΠΣ για το Γυμνάσιο» Επιστημονικοί Υπεύθυνοι Έργου Αντώνιος Σ. Μπομπέτσης Σύμβουλος του Παιδαγωγικού Ινστιτούτου Γεώργιος Κ. Παληός Σύμβουλος του Παιδαγωγικού Ινστιτούτου Αναπληρωτές Επιστημονικοί Υπεύθυνοι Έργου Ιγνάτιος Ε. Χατζηευστρατίου Μόνιμος Πάρεδρος του Παιδαγωγικού Ινστιτούτου Γεώργιος Χαρ. Πολύζος Πάρεδρος ε.θ. του Παιδαγωγικού Ινστιτούτου Έργο συγχρηματοδοτούμενο 75% από το Ευρωπαϊκό Κοινωνικό Ταμείο και 25% από -
When Crisis Becomes Form: Athens As a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis
When Crisis Becomes Form: Athens as a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis Documenta 14 in Athens: a glossary Documenta 14 (d14) was an undoubtedly important exhibition which triggered endless debate and controversy that continues today.1 The choice of Athens as a topological paradigm by Adam Szymczyk, an ingenious curator with expected and unexpected virtues, initially fired people’s appetite and enthusiasm. Yet what it ultimately managed to do was demythicize the event itself in a way, as well as demonstrate a series of dangers in the operation of the institution. At the same time it brought to light a series of innate ailments and fantasies of contemporary culture in Greece, which manifested themselves in a distorted and sometimes aggressive fashion. This is not without significance, since it functioned complementarily to—rather than independently of—the exhibition. In short, d14 served as a kind of double mirror with which we could see the cultural relation of Greece with Europe and the world, but also the reverse: that of Europe with Greece. So what was d14 in Athens? For now we must necessarily sidestep its contribution to making Athens and Greek culture a temporary center of international attention in order to focus on what must not be overlooked. The series of arguments below can be read individually or successively as a network of alternating commentary, but also through their diagonal intersections, ruptures, disagreements, and connections, where meaning is produced in a syncretic or dialectical way. D14 is the symptom from which all discourse around it begins. 1/11 A political metonymy The critical reception of d14 in Greece focused mainly on the institution and its operation; on its discursive and political context rather than the works, concerts, or lectures— generally speaking, the actual art and discourse presented by the exhibition. -
Greek Australian VEMA What’S New - N.S.W
JUNE 2002 2/22 TO BHMA Greek Australian VEMA What’s new - N.S.W. Historic visit by Greek President The President of the Hellenic Republic, Mr the two countries’ excellent bilateral relations Archbishop of Australia, Stylianos and historic, Etruscan and Roman objects. Constantinos Stephanopoulos, was in and the prospects presenting themselves on attended an official welcome service. It must There he spoke at a reception attended by Australia for an official visit early this month, development once more, as is appropriate be mentioned that at the grounds of the political, religious and academic leaders as and was warmly welcomed by the Greek between two republics connected with the Archdiocese the President received a very well as many members of the Greek commu- communities of Melbourne, Canberra and holiest of ties, those of blood, as well as a thriv- warm welcome from hundreds of students nity of Australia. Sydney. ing Greek community, contributing to the from the three Greek Orthodox Colleges of On the same night, the President attended a consolidation of a bridge of friendship Sydney, and a large number of people that State Dinner hosted by the Honourable Bob In Melbourne between their birthplace and their new gathered there to welcome him. Carr, MP, Premier of NSW and Mrs Helena home. His Eminence welcomed the President with Carr, at the Four Seasons Hotel ballroom. Greek President Constantinos Stephano- On Saturday morning, Mr Stephanopoulos poulos referred to issues of national impor- opened the new wing at St Basil’s Retirement tance, Greece’s position in the Balkans and Homes in Lakemba, and later he visited and the united Europe speaking before represen- toured the Sydney 2000 Olympic Games site tatives of the Greek-Australian community at Homebush Bay. -
The Heritages of the Modern Greeks
The heritages of the modern Greeks PROFESSOR PETER MACKRIDGE Introduction poetry from the Mycenaeans, because they could make a fresh start with a clean slate. He presents the heritages of the What makes the heritages of the modern Greeks unique? modern Greeks as a burden – and in some cases even an They stand between East and West in the sense that they incubus – since their legacies from ancient Greece and belong neither to the Catholic and Protestant West nor to Byzantium continually threaten to dominate and the Muslim East; their Roman heritage is more eastern than overshadow them. western; yet they have been dominated by Catholic as well as Ottoman occupiers. Although I am against the concept of Greek (or any other) exceptionalism, I believe that when The nationalisation of the past foreigners deal with modern Greece they need to be sensitive The Greeks of the last 200 years have possessed ample to cultural differences, which are the result of specific historical material with which to form their national historical experiences. Especially in times of crisis such as identity. Compare the Germans, who for their ancient past the one the Greeks are going through today, the world – and have only Tacitus’ Germania, a brief and impressionistic especially Europe – needs to show sympathy and solidarity ethnography written by an outsider who warned that his with their plight. Nevertheless, this shouldn’t inhibit us aim was to comment on the Romans of his time as much as from looking critically at what Greeks – and I mean chiefly on the Germans. Tacitus left the modern Germans a great Greek intellectual and political elites – have made of their deal of leeway to invent and imagine their own antiquity. -
Performances of Ancient Greek Tragedy and Hellenikotita: the Making O F a Greek Aesthetic Style of Performance 1919-1967
Performances of Ancient Greek Tragedy and Hellenikotita: The Making o f a Greek Aesthetic Style of Performance 1919-1967 Ioanna Roilou-Panagodimitrakopoulou M.A. in Theatre Strudies M.A. in Modem Drama Submitted for a Ph.D thesis Department of Theatre Studies Lancaster University March 2003 ProQuest Number: 11003681 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003681 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Performances o f Ancient Greek Tragedy and Hellenikotita: The Making o f a Greek Aesthetic Style o f Performance 1919-1967 Ioanna Roilou-Panagodimittakopoulou M.A. in Theatre Studies, M.A. in Modem Drama Submitted for a Ph.D thesis Department a Theatre Studies Lancaster University March 2003 Abstract This t hesis s tudies t he p henomenon o f t he p roduction o ft ragedy i n G reece d uring t he period 1919-1967 in relation to the constitution of Greek culture during this period and the ideologem of hellenikotita. It argues that theatre in Greece through the productions of tragedy proposed an aesthetic framework of performances of tragedy that could be recognised as ‘purely Greek’ within which the styles of productions moved.