Τέχνη και Design στην Ελλάδα του 1950 και 1960
Angeliki Antonopoulou in collaboration with Peggy Loutou (Artefacts of Value), member of the Association of Antique Dealers and Art Dealers, co-curates the exhibition «Abstract form. Art and Design in Greece of the 1950s and 1960s», which will open on December 12th, 2019.
Within the international context of redefining the identity of museums and art galleries, with exhibitions focusing on fashion, design, historical archives etc., a.antonopoulou.art has organized exhibitions such as «The Diary of a Seamstress», «To construct the gender», etc.. This time, the current group show approaches the 1950s and 1960s in Greece in a different way.
The art space is transformed into a multi-modular interior living space of the 1950s-1960s. The visitor will have the opportunity to see combinations and comparative works of important Greek representatives of postwar Abstraction. The artworks are framed by furniture by Varangis, lamps (Gaetano Sciolari), design objects, handmade carpets and books and are surrounded by texts that refer to significant facts of that period and with music of that time.
One of the first artists to turn to Abstraction was Alecos Condopoulos, who was also a theoretician. In 1949 he founded together with the self-taught Yiannis Maltezos and their friend, and then a graduate of the School of Fine Arts, Yannis Gaitis, the “Extremists” group, interacting with the European artistic movements of the time. They write in their manifesto:
[…] In the name of this boldness of imagination (the word fantasy is not enough) of this boldness of artistic creation, the contemporary artist has conquered his freedom not to be obliged to express only his surroundings and his time. And we must begin to see within the best representatives of contemporary art a sincere attempt to free us from a world of classical form that was left empty and purely metaphorical, and into a world of vulgar realism that has become unbearable. […] “The Extremists“, “Our century” magazine, Athens, November 1949, pages 349-350.*
In the period 1950-1960 the first appearances of purely Abstract – non – virtual postwar art were placed. Yiannis Spyropoulos, having conquered abstraction, since 1954, gradually begins his transition to Abstraction and in 1960 represents Greece in 30th Venice Biennale, where he wins, together with the Italian, Zoran Antonio Mušič, the UNESCO Prize.
Meanwhile, the expressive capacities of the Abstract Form were established by passionate artists such as Nikos Kessanlis, Vlassis Caniaris, Dimitris Contos, Valerios Caloutsis, Nafsika Pastra, Chryssa Romanos, Dikos Vyzantios, Christos Karas,Gerasimos Sklavos, Costas Tsoclis and Costas Coulentianos, Thanos Tsingkos. Finally, artists such as Constantinos Yannaco were experimenting, trying to incorporate abstract forms into their art.
Abstraction is not an artist’s incapability to represent the world naturistically but is a conscious choice to change the perception of space, time as a field of energy and rendering the invisible as imperceptibly visible.
It is an attempt to liberate the spirit and embellish the political and social instability of the time through the heretical form and the impetuous brushstroke in Greece that is modern and at the same time paradoxical regressive.
Curators: Angeliki Antonopoulou & Peggy Loutou
Co-curators: Ioli Ioannou & Anna Maria Franco Afonso
Valerios Caloutsis, Vlassis Caniaris, Alecos Condopoulos, Dimitris Condos, Costas Coulentianos, Yannis Gaïtis, Christos Karas, Nikos Kessanlis, Yannis Maltezos, Nafsika Pastra, Chryssa Romanos, Gerasimos Sklavos, Yiannis Spyropoulos, Costas Tsoclis, Dikos Vyzantios, Constantinos Yannaco
Opening: Thursday, 12 December 2019, at 19:00
Duration: 13/12/2019 – 01/02/2020
Operating hours: Wednesday – Friday 2:00 – 8:00 pm.
Saturday 12:00 – 4:00 pm.
Sunday: Sunday 15/12 & 22/12, 12:00-16:00.
Διεύθυνση: Αριστοφάνους 20, 105 54 Ψυρρή-Αθήνα
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