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|Authors:||Annie Malama: National Gallery – Alexandros Soutzos Museum, Greece|
|Publication title:||Greek Modernism: A National Scenario. Experiences and Ideological Trajectories|
|Conference:||Great Narratives of the Past Traditions and Revisions in National Museums: Conference Proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Paris 28 June – 1 July & 25–26 November 2011|
|Publication type:||Abstract and Fulltext|
|Abstract:||This paper aspires to comment on the idea of suggesting an alternative scenario concerning the national narrative about Modern Greek Art, in the context of the curatorial approach I personally followed for the exhibition Versions of Greek modernism: experiences and ideological trajectories (actually one of the sections of a broader temporary exhibitional project, entitled Unknown Treasures from the National Gallery Collections, that took place in the National Gallery-Alexandros Soutzos Museum in Athens from October 2011 to January 2012).|
Choosing the works for this particular section I was responsible for, was a great opportunity to challenge the certainties of linear presentation adopted in the permanent exhibition of the museum and the rather outdated historiographical scheme it is based on. More specifically, instead of continuing the reproduction of long perpetuated stereotypes, motivated by a sometimes compulsive need to showcase masterpieces, to demonstrate an unbroken continuity in space and time, exclusively based on superficial formal comparison of the output of the Greek visual arts production and its international counterparts, I suggest it is about time that we enrich the issues posed and focus on broader cultural, historical contexts.
In other words it is essential to discuss the terms of modernity in Greece wondering about the specific artistic production and reception conditions, the broader social and institutional reality, the viewing of art itself as a means of constructing certain social identities, the connection of various social and national identities, the notions connected with image production, the creation eventually of le champ artistique (to borrow Pierre Bourdieu’s term).
|No. of pages:||13|
|Series:||Linköping Electronic Conference Proceedings|
|Publisher:||Linköping University Electronic Press, Linköpings universitet|
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