International Journal of Arts and Humanities
Submit Paper

Title:
GREEK ARTISTS IN PARIS DURING THE DECADE OF 1990: THE TRADITIONAL CULTURAL RELATIONSHIP ON A NEW BASIS

Authors:
Sapfo Mortaki, Evangelia Georgitsoyanni

Volume:2 Issue: 12

|| ||

1Sapfo Mortaki, 2Evangelia Georgitsoyanni
1. Post-doctoral researcher, Harokopio University of Athens.
2. Professor of History of Art and Civilization, Harokopio University of Athens.

MLA 8
Mortaki, Sapfo, and Evangelia Georgitsoyanni. "GREEK ARTISTS IN PARIS DURING THE DECADE OF 1990: THE TRADITIONAL CULTURAL RELATIONSHIP ON A NEW BASIS." Int. J. Arts&Humanities, vol. 2, no. 12, Dec. 2018, pp. 623-640, ijah.org/more2018.php?id=41. Accessed Dec. 2018.
APA
Mortaki, S., & Georgitsoyanni, E. (2018, December). GREEK ARTISTS IN PARIS DURING THE DECADE OF 1990: THE TRADITIONAL CULTURAL RELATIONSHIP ON A NEW BASIS. Int. J. Arts&Humanities, 2(12), 623-640. Retrieved from ijah.org/more2018.php?id=41
Chicago
Mortaki, Sapfo, and Evangelia Georgitsoyanni. "GREEK ARTISTS IN PARIS DURING THE DECADE OF 1990: THE TRADITIONAL CULTURAL RELATIONSHIP ON A NEW BASIS." Int. J. Arts&Humanities 2, no. 12 (December 2018), 623-640. Accessed December, 2018. ijah.org/more2018.php?id=41.

References
[1]. Eurydice Trichon-Milsani, "L'Art Contemporain en Grece", Ancrages, v. 1, Avril-Mai 1990, pp. 66-67.
[2]. Sapfo Mortaki, The migration of Greek artists in Paris from the 19th to the 20th century. The case of Constantine Andreou, Athens: Papazisis, 2014, p. 287.
[3]. Konstantinos Stafylakis, The new ideological and political platform in Art after "Documenta 11" (Kassel 2002). From late modernism to the boundaries of de-enchantment, unpublished doctoral thesis, Panteion University of Social and Political Sciences, Department of Political Science and History, Athens, 2010, pp. 16-17.
[4]. Angela Dimitrakaki, Art and Globalization. From the postmodern point to the biopolitical arena. Vivliopolion tis Estias, Athens, 2013, p. 91.
[5]. Stafylakis, 2010, pp. 16-17.
[6]. ?oannis Kolokotronis, Art in Transition. The Artist's Will and the Artwork, Athens: Nireas, 2000, pp. 91-99.
[7]. ?oannis Kolokotronis, New Greek Art 1974-2004, Xanthi: Foundation of Thracian Art and Tradition, 2007, p. 20.
[8]. Stavros Tsigoglou, Art in the beginning of the 21st Century, Livanis, Athens, 2005, p. 259.
[9]. Christos Ioakimidis, "Truth should be nice", in Outlook, exhibition catalogue, Christos Ioakimidis (Ed.), OPEP, 2003, p. 13.
[10]. Jean Clair, "Thoughts about the state of visual arts: critique on modernity", Smili, 1993, pp. 17- 18.
[11]. Bonami Francesco, Ed., Dreams and Conflicts-The Dictatorship of the Viewer, La Biennale di Venezia, 50th International Art, Mersilio Ed., Venice 2003, p. 425.
[12]. Charikleia Katsarou, Realisms - the atelier of Cremonini and the Greeks neo - representative painters, unpublished doctoral thesis, Aristotle University of Thessaloniki, Faculty of History and Archaeology, Thessaloniki, 2010, p. 6.
[13]. Theodoros Moutsopoulos, "Painting III, painting in the beginning of this century", in Painting III, European Artistic Synergies, 2000-2015, exhibition catalogue, Ch. Sotiropoulou, Ed., Athens: Fryssiras Museum, 2014, pp. 29-32.
[14]. See Nicolas Bourriaud, Relational Aesthetics, Les Presses du Reel, Dijon 2002; Eva Fotiadi, Participation and collaboration in Contemporary Art. A Game without Borders between Art and "real Life", Dissertation, Amsterdam University, 2009.
[15]. Dimitrakaki, 2013, p. 216.
[16]. Dimitrakaki, 2013, p. 60.
[17]. Nikos Papastergiadis, "The Spectacle and the Cosmopolitan Imagery", in The Spectacle of the Everyday, Xe Biennale de Lyon 16.09.09 - 03.01.10, exhibition catalogue, Les Presses du Reel, Paris 2009, pp. 97-110.
[18]. Nikos Papastergiadis, Spatial Aesthetics: Art, Place and the Everyday, Rivers Oram Press, London 2010, pp. 29-38.
[19]. Papastergiadis, 2010, pp. 16-20; Nikos Papastergiadis, "Everything that Surrounds: Art, Politics, and Theories of the Everyday", Every Day, 11th Sydney Biennale, exhibition catalogue, Sydney 1998, pp. 68-75.
[20]. Manos Stefanidis, "Visual arts, Greek exports, Kyriakatiki Eleftherotypia, 09/03/1997; Emmanuel Mavrommatis, "Pictures from the exhibitions, artists facing history, 1933-1996 (I)", Eikastika, 26/01/1997, p. 36; Centre Georges Pompidou, Face a l'Histoire 1933-1996, engagement, temoignage, vision, exhibition catalogue, 19 decembre 1996-7 avril 1997, pp. 6-11.
[21]. Dennis Zacharopoulos, "People and Places: The Art "Beyond Boundaries" in Post-War Europe", in Art in Europe since 1945. Beyond Boundaries, exhibition catalogue, Athens: Macedonian Museum of Contemporary Art, 2014, p. 33.
[22]. See Niki Loizidi, Greek artists abroad, Athens: Ministry of Foreign Affairs, Directorate of Overseas Greeks, 1983; Emmanuel Mavrommatis, Introductory chapters in modern Greek art. The Greek artists in France. 1960: matter and gesture, system and concept. 1980: historic recapitulations, exhibition catalogue, Rhodes: Municipal Gallery, 1985.
[23]. Areti Adamopoulou, "In the field of ephemeral...thoughts on research methodology in Greek visual scene after 1960", in 1 st Conference of History of Art, History of Art in Greece, conference proceedings, Herakleio, 2003, p. 92 et seq.
[24]. Miltiades Papanikolaou, Greek Art of the 20th Century. Painting-Sculpture, Thessaloniki: Vanias 2006, p. 329.
[25]. Kolokotronis, 2007, p. 16.
[26]. Papanikolaou, 2006, p. 329
[27]. Manos Stefanidis, "Some thoughts around Contemporary Greek Art on occasion and with axis the collection of Blassis Fryssiras" in Fryssiras Collection, Chryssi Pean, Athens, 1990, pp. 33-39.
[28]. Papanikolaou, 2006, p. 361.
[29]. Kolokotronis, 2007, pp. 117-119.
[30]. Mortaki, 2014, p. 58.
[31]. Martha-Elli Christofoglou, "Greeks in Paris", Archeiotaxio, Archives for Contemporary Social History, 10, pp. 23-24.
[32]. Eurydice Trichon-Milsani, 1990, pp. 66-67.
[33]. Cahiers de l'ambassade de Grece a Paris, No. 1, "Artistes Grecs en France", Paris, Ambassade de Grece a Paris, 1995, p. 8, 10.
[34]. Paraskevi Katimetrzi, "Dimitris Andreadakis", Ta Nea, 04/09/1999.
[35]. Contrat d'accord between Ecole Superieur des Beaux-Arts d'Athenes and Ecole National Superieure des Beaux-Arts, Athenes, 30 juillet 1990. Archives Nationales de Paris, site Pierrefitte-sur-Seine, Dossier 20100186/72 : Relations Internationales, Activites pedagogiques, Programme Erasmus 1988-1998, Ecole National Superieure des Beaux-Arts.
[36]. Archives Nationales de Paris, site Pierrefitte-sur-Seine, Dossier 20100186/72 : Relations Internationales, Activités pédagogiques, Programme Erasmus 1988-1998, Ecole National Superieure des Beaux-Arts.
[37]. Roula Gaki-Panteli, "Exhibition of contemporary Greek sculpture in Paris", Sima, July/August 1991.
[38]. Zoumboulakis Galleries, FIAC Paris, stand D3, 08-16 October 1994, exhibition leaflet.
[39]. Eurydice Trichon-Milsani, "Exhibition of Contemporary Art F.I.A.C.-Paris 1994, Gypsy Art", ANTI, 11/11/1994.
[40]. Hera Feloukatzi, "The great art bazaar", Eleftherotypia, 08/10/1996.
[41]. "Seventeen Greeks in Paris", Vima, 13/03/1990.; Marina Lambraki-Plaka, "Pedagogy of the gaze and the young Greek painting. An exhibition as cause of a conversation with the painter Leonardo Cremonini", Vima, 13/05/1990.
[42]. Marina Lambraki-Plaka, Vers Un Nouvel Humanisme-Jeunes peintres grecs a Paris, exhibition catalogue, Espace des Esselieres, 10-23 Mars 1990.
[43]. Galerie Flak, Manifeste Pour Trois Jeunes Peinters Grecs : Hadoulis-Rorris-Veroukas, Mars 1992 ; Galerie Flak, "Jeune Presence Grecque", Invitation to the exhibition, 17 Mars-4 Anril 1992).
[44]. 100 Bronzes et Peintures de petits formats, 27 Novembre-29 Decembre 1990, Galerie Sculptures, Invitation to the exhibition.
[45]. Galerie Sculptures, Aventures de la matiere, peintures-sculptures, invitation to the exhibition, 2 fevrier-27 fevrier 1999 ; Galerie Sculptures, Aventures de la matiere, peintures-sculptures, press release for the exhibition, 2 fevrier-27 fevrier 1999.
[45]. Josette Meleze, "Karavousis: au-dela du visible >>, Pariscope, 21/03/1990 ; "The silent world of Sarandis Kravousis >>, Taxydromos, 26/04/1990, p. 194.
[46]. Georges Savvidis, << Visual Arts, Karavousis in Paris", Apogevmatini, 25/05/1997
[47]. "Exhibitions in Greece and abroad. Painting and sculpture of Greek artists in Athens, Paris and Poland", Kathimerini, 25/11/1992
[48]. Emy Panagou, "Exhibition of Maria Filopoulou in Paris", Mesimvrini, 9 April 1991, p. 16.
[49]. "Visual Arts, Alexis Psychoulis", Analogio, December 1994.
[50]. Selana Vrondi, "Iremi kinisi in the galleries in the end of the season", Kathimerini, 22/05/1996; "Athens in...Paris. Exhibition of Georges Rorris in France", Apogevmatini, 06/06/1996; "A Greek painter in Paris", To Onoma, 06/06/1996; "Les ciels electrises de Georges Rorris", Le Figaro, 11/06/1996; "When a city made of concrete becomes art", Apogevmatini, 09/06/1996; "Georges Rorris", La Gasette de l'Hotel Drouot, v. 22, Mai 1996; "Rorris's work in Paris", Adesmeftos Typos, 26/05/1996; "Georges Rorri's painting exhibition", Eleftheri Ora, 18/05/1996; "Georges Rorris peintures", Jugements de Valeurs, v. 473, Mai 1996; "Georges Rorris", The Art Magazine (The Art Heineken Agenda), v. 23, April-May 1996.
[51]. Iakxos, "Iakxo's week, Lazongas in Paris", Taxydromos, February 1991.
[52]. Papanikolaou, 2006, p. 331.
[53]. Efi Strouza, Emfietzoglou Colletion: Modern and Contemporary Greek Art, Athens: P. S. Emfietzoglou, 1999, p. 42.

Keywords:
Greek artists in Paris, art exhibitions, contemporary art, art and globalization

Abstract:
The global social and economic processes that took place in the 1990, known as globalisation, exerted a decisive impact on the mechanisms of art production and circulation. The concept of nationality is redefined and contemporary art, now on an international level, continues to draw inspiration from national cultural symbols. The political version of neo-avant-garde in the1960s and 1970s was the last significant period of Parisian contribution to Greek art modernization, appearing to complete its course around 1980. Until the last decade of the 20th century, though, many young Greek artists still visit Paris, as it transpires from the French National Archives. We shall research the causes of this artistic practice, the origins of their artistic background and their relation with the previous generations that created a European consciousness and artwork defining a critical attitude and perception of the world as well as mobility of space and meaning. As far as the presence of Greek artists in Paris is concerned, the decade of 1990 finds representatives of all ages and artistic currents coexisting and creating together. Their artistic activity is evident through their participation in major artistic events, while their publicization is depicted in the Greek and Parisian magazine press of the time.

Download Full Text