ΙΣΤΟΡΙΕΣ ΣΤΟ ΜΕΤΑΙΧΜΙΟ

320 σελίδες

21x28 εκ., 

έγχρωμο εξώφυλλο

Ελληνικά

Focusing on project five Greek artists, the book examines aspects of Greek modernism from the post-conflict Cold War period to recent times. The five texts refer to his work and thoughtYannis Haini,of Taki (Panagiotis Vasilaki) in dialogueby Nikolaos Kalas,ofVlasis Kaniaris, herNiki Kanangini andherNellas Golanda.The study attempts to connect the individual with the collective and individual cases with history through the use of sources, archival research and interviews, and brings to light unpublished artworks and other archival material.

Kwine thematic axisin five chapters is the variable relation of art to politics and of modernism tosocial reality, from the Cold War ideological confrontations around art and the role of historical memory, to the relationship of art with science and technology, with the imprint of gender identity and with the humanistic approach to the public space. His inclusionwork and the thought of the creators in the Greek becoming and the comparative study with theinternational, aims to highlightalternativelyo consideredof of the real, of materiality,of realism, of modernismand of new-innovations in Europe. THEartistic practice and discourses of the artistsare examined in the light of and in the light of theoretical and ideological controversiesreceptions them from criticism andfromother institutions,as a degree andtthes relationships them with the purchase of art.

Farthest pinterest is toemerge the complexity of the landscape of post-war Greek art, The understudieds wealths her, as well as thenexus of the relationships that connectthe  individual caseswith the context of the time, Greek and international, with which they interact.

ΠΡΟΛΟΓΟΣ

ΕΙΣΑΓΩΓΗ

ΚΕΦΑΛΑΙΟ 1: ΓΙΑΝΝΗΣ ΧΑΪΝΗΣ: ΑΡΙΣΤΕΡΑ ΚΑΙ ΜΟΝΤΕΡΝΙΣΜΟΣ ΣΤΑ ΔΥΣΚΟΛΑ ΧΡΟΝΙΑ

ΚΕΦΑΛΑΙΟ 2: ΚΑΛΑΣ & ΤΑΚΙΣ: ΤΕΧΝΗ, ΕΠΙΣΤΗΜΗ ΚΑΙ ΤΕΧΝΟΛΟΓΙΑ. ΤΟ ΠΟΙΗΤΙΚΟ ΚΑΙ ΤΟ ΠΡΑΓΜΑΤΙΚΟ

ΚΕΦΑΛΑΙΟ 3: ΒΛΑΣΗΣ ΚΑΝΙΑΡΗΣ: ΜΕΤΑΞΥ ΝΕΟΥ ΚΑΙ ΚΡΙΤΙΚΟΥ ΡΕΑΛΙΣΜΟΥ

ΚΕΦΑΛΑΙΟ 4: ΝΙΚΗ ΚΑΝΑΓΚΙΝΗ: ΑΠΟ ΤΟ ΥΦΑΔΙ ΤΗΣ «ΑΝΟΙΚΕΙΟΤΗΤΑΣ» ΣΤΙΣ ΕΓΓΡΑΦΕΣ ΤΟΥ ΦΥΛΟΥ

ΚΕΦΑΛΑΙΟ 5: ΝΕΛΛΑ ΓΚΟΛΑΝΤΑ: «ΜΟΡΦΟΚΗΠΙΟ» ΥΛΙΚΩΝ ΚΑΙ ΑΙΣΘΗΣΕΩΝ. Ο «ΕΞΑΝΘΡΩΠΙΣΜΟΣ» ΤΟΥ ΔΗΜΟΣΙΟΥ ΧΩΡΟΥ

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