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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to challenge the certainties of linear presentation adopted in the permanent exhibition of the museum and the rather outdated historiographical scheme it is based on.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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