Daisies,urated by A.Kapsali

Πρόεδρος - Καλογιάννης Απόστολος

Αντιπρόεδρος - Ψάρρα-Περίφανου Άννυ

Λύτρα Βικτωρία

Βελησσαρίου Κωνσταντίνος

Ζησόπουλος Βάιος Μωυσή Αλίνα Σιλιντζή – Λέκκα Αγορίτσα

Ξηρομερίτης Μάριος

Σάββας – Γκαντάκας Κωνσταντίνος

Σούλτης

Συντονισμός και οργάνωση - Ιωάννα Δεληγιάννη

Αν. προϊσταμένη διοικ. & οικ. υπηρεσιών

Λογιστήριο - Χρυσούλα Παναγοπούλου . Μαρία Βαλιώτου

Ταμίας - Αθανασία Φοφίκου

Τεχνική υποστήριξη - Δημήτρης Μουρτασάγας

Φωτισμοί ηλεκτρολογικά - Θανάσης Μαϊμάρης

Γ. Παπανδρέου 2, Λάρισα 41334 Τ. 2410 616266 www.katsigrasmuseum.gr

μουσείων

The George Katsigra Collection which constitutes the core of the Municipal art Gallery of Larissa, G.I.Katsigra Museum, is an important cultural reserve whose range extends further than the bounds of the city of Larissa, as it documents and develops the historical evolution of modern Greek art from the nineteenth century to the mid twentieth century The artistic movements that developed during that period in Europe are represented in the works of the Greek artists in the Collection.

The role of museums and artistic collections today are important for numerous reasons They represent the national culture and at the same time the connections to a greater European culture.The promotion of these common elements of European art, form collective sensitivities, developing a sense of belonging at a national and European level.

In the framework of external thinking and European orientation, the connectivity and cooperation with corresponding institutions in Europe, the Municipal Ar Gallery of Larissa is participating in the program, Cultural Routes of the Council of Europe, “Impressionism Routes” with the program “Daisies/Μαργαρίτες”. The program ”Daisies/Μαργαρίτες'' is based on the work of the same name by Thalia Flora-Karavia from the permanent Katsigra collection, and it attempts to take the art loving community on a trip along the colourful paths of Impressionism.The aim of the program is to connect our museum with similar museums in Europe, which have Impressionist works in their collections The innovative program of the Katsigra Collection will be supported by the Directorate of International Relations and European Union of the Ministry of Culture which will be the contact point or the Cultural routes Program, Council of Europe

would like to warmly thank all those involved in the realisation of this important exhibition: the curator Antigoni Kapsali and the Larissa artists who were inspired by the artwork “ Daisies”, and contributed their work thus enabling the Municipal Art Gallery Larissa, G.I.Katsigra Museum to participate in the “Impressionism Routes” program.

Prime Minister of Larissa / President, Municipal Art Gallery of Larisa, G.I. Katsigra Museum.

προγράμματος. Μιας πραγματικά σπουδαίας γυναίκα που ξεχώρισε τόσο με την ιμπρεσιονιστικής της εργασία, όσο και με την δυναμική της προσωπικότητα. Το έργο της είναι εκείνο που δημιουργεί το πλαίσιο, για να ταξιδέψει το κοινό, πίσω στο χρόνο και παράλληλα

The Municipal Ar Gallery of Larissa, G.I. Katsigras Museum presents the program ”Daisies/Μαργαρίτες” which is based on the work of the same name by Thalia Flora-Karavia from the permanent Katsigra collection.Through a variety of events such as the ar exhibition, presentations and talks, it attempts to take the art loving community on a trip along the colourful paths of Impressionism.

The program was designed taking into consideration the principles of the Council of Europe whose target was, on this occasion, the promotion, the utilisation and the passing on of work of ar museums and Greek artists who are connected to the Impressionist movement.

In the male dominated world of impressionist artists of the nineteenth century, there were a few female artists who overcame the restrictions of their gender.The program, “Daisies” is a tribute to the female artist who is inspired, without restrictions leaving her own impression in the art world.

Thalia Flora-Karavia's work is the reference point for the event in the Municipal Gallery in the framework of the program. She was a truly impressive woman who stood out or her Impressionist work, as well as being a strong individual. It is her work that provides the framework that allows us to tell the story of Impressionism through the emale artist's eye

Heartfelt appreciation is offered to all those who worked on the realisation of the program ”Daisies/Μαργαρίτες”, opening up the work of the Municipal Gallery to extending it to a European level, connecting and working with similar institutions in Europe.

Vice President, Municipal Art Gallery of Larisa, G.I. Katsigra Museum.

ιδίωμα ιμπρεσιονιστικής υφής,⁴ και παρά τη συγκαταβατική του θεματολογία, κρύβει μια δεύτερη, βαθύτερη ανάγνωση. Η σύγχρονη εικαστική έκθεση δανείζεται τον τίτλο «Μαργαρίτες», από την ομώνυμη ανθογραφία της ζωγράφου, και επαναπροσεγγιζει το έργο της, δημιουργώντας έναν οπτικό γραμματισμό, προσδίδοντας του,έτσι,μιασύγχρονηκαλλιτεχνικήυπόσταση. Δεκατρείς καλλιτέχνιδες τιμούν την σπουδαία ζωγράφο, κατασκευάζοντας «εντυπώσεις» του έργου της. Οι Μαργαρίτες, που παρουσιάζονται στο αίθριο του μουσείου, πειραματίζονται με τις αισθητηριακές εμπειρίες του θεατή. Έχουν ως στόχο να διεγείρουν την κριτική του σκέψη, εξερευνώντας έναν

Χαρίκλεια Γλαύκη Γκότση, Ο λόγος για τη γυναίκα και τη γυναικεία καλλιτεχνική δημιουργία στην Ελλάδα:(τέλη 19ου αιώνα - αρχές 20ου αιώνα), διδακτορική διατριβή, Θεσσαλονίκη 2002 ]

[ Δημήτρης Παπαγεωργόπουλος, Βένια Παστάκα, Θάλεια Φλωρά - Καραβία & Σοφία Λασκαρίδου 113 χρόνια μετά, ΣΤΟart ΚΟΡΑΗ Χώρος τέχνης της Εθνικής Ασφαλιστικής, Αθήνα, 2019 ]

[ Δέσποινα Μ, Τσουργιάννη, Θάλεια Φλωρά - Καραβία,Peak Publishing, Αθήνα 2018

[ Gombrich, E H.The Story of Art. London: Phaidon Publishers, 1952. ]

[ Lippard, Lucy, 6th AICA - USA distinguished Critic Lectureat the New School [ Myers, Nicole “Women Artists in Nineteenth Century France “ In Heilbrunn Timeline of Art History, [ New York :The Metropolitan Museum of Art,2000. ]

http://www.metmuseum.org/toah/hd/19wa/hd_19wa.htm (September 2008)

dai sies

Wandering along the steep winding paths through the story of art there emerges in front of us art movements that praise the female presence. Impassable, lonely and abandoned, like overgrown country walkways are the routes that lead to female creators Those that managed to discard the smothering veil of themuse createdthemselvestheimagethattheywishedtoportray.

Throughout the history of art, likewise in the permanent collections of museums, the absence of women creatorsechoeswithitswailofbarreness.

Many are the women who over the passing of centuries have been involved in the arts Their lack of inclusion however from the pages of history and the temples of culture is due to political, social and cultural inequality in a male dominated world. In the patriarchal Greek society in the beginning of the twentieth century the position of women continued to be considered as lower than that of her male compatriot, whilst in America and Europe, the emergence of “New Woman” had already started to take hold. In spite of the threatstotheirlives,someGreekwomenheldnofearwhenfightingforequalrightswithmen.

Amongst them was a rising young artist,Thalia Flora-Karavia.Her talent glowed, and quickly she made her markontheartisticcanvasoftheage Herar wasconsideredtobeequaltothatofmaleartists

“The artistic honesty of Miss Flora is rare even rare among artists The artist does not exaggerate to bribe impressions. In front of every painting the observer feels that he is in touch with nature without excessive ornamentationthatotherartistsusetoenhancenature ”¹

Her age however insisted on seeing men as superior and more able and so was not able to accept her artistic equality.Ar critics of the time frequently re erred to her in sexist phraseology, demoting her womanly natureandherrightasawomantocreate

When the male dominated world of art dictated the topics that a female artist was “permitted” to work on, Thalia Flora- Karavia carved out her own path. She studied Fine Arts in Munich² along with famous artists such as Nikolaos Guzis (1842-1901) and Georgos Iakovidis, (1853-1932). She exhibited her work in the most popular exhibition halls of the time, acquiring a large commercial following. She worked as a war correspondentduringtheABalkanWarandtheAsiaMinorCampaign.

In the Katsigra Collection, her work with the title “Daisies” is categorised as an agrarian idiom of Impressionism³whichdespiteitsconventionaltopic,hidesasecond,deepermeaning.

The contemporary ar exhibition borrows the title “Daisies” from the painting of the same name, and revisits theworkoftheoriginalartistcreatingavisualliteracy therebyelevatingittoasynchronousartisticstatus

Thirteen emaleartistshonourthegreatartist,creating“impressions”ofherdaisies

The Daisies that are exhibited in the atrium space of the museum experiment with the aesthetic experiences of the observer, having as their ocus the awakening of their critical thinking, exploring a tangled social paletteandextendingtheirexperientialdelightthoughanabundanceofimageandtextures.

Through a post-modern aesthetic approach, the wild flowers of Thalia's painting are brought up to date, utilising allegorical symbolism.Tumbling between revolutionary ideas of Impressionism and their“debt”⁴ as contemporary female artists to embrace current artistic freedom, the artists in the exhibition bring to light the adversarialconditionsinwhichfemaleartistsofothertimeslivedandworked.

Βibliography

Gombrich, E H.The Story of Art. London: Phaidon Publishers, 1952.

Gotsi, Chariklia-Glafki. “The Reason or The Woman and Women's Artistic Creation in Greece: (End of 19th Century, star of 20th Century) PhD thesis Thessaloniki,2002.

Lippard, Lucy 6th AICA - USA distinguished Critic Lectureat the New School

Myers Nicole “Women Artists in Nineteenth Century France “ In Heilbrunn Timeline of Art History, New York The Metropolitan Museum of Art,2000.

http://www.metmuseum.org/toah/hd/19wa/hd_19wa.htm (September 2008)

Papageorgopoulos, Dimitris Pastaka Venia. “Thalia Flora-Karavia and Sophia Laskaridou 113 years Later”.

STOArt Korai Art Space National Insurance, Athens 2019.

Tsourgianni, Despina. “Thalia Flora-Karavia”. Peak Publishing, Athens 2018.

Art Historian / Visual Artist

Αntigoni Kapsali

Flora - Karavia Thalia (1871-1960)

Daisies*

Δήμητρα Οικονόμου Σουλτούκη Βασιλική

Post Human Ε καστική εγκατάσταση, performance P ex g ass, σίδερο, χώμα, φώς Μεταβλητές δ αστάσε ς

2020

εγκατάσταση/ performance συμπληρώνουν π νελ ές θρησκευτικού, πολιτ κού, φιλοσοφ κού κα ανθρωπολογικού χαρακτήρα. Τα όρια, ο πόνος, η επιθυμία, η μνήμη, η κάθαρση, η απελευθερωση και ο αυτοερωτισμός ξεχύνοντα σαν σκιές κα κυριεύουν το σύμπαν. Το χώμα, η γεωμετρ κη σύνθεση και το φως αποτελούν έναν σύγχρονο ε καστικό διάλογο με το έργο της Θάλε ας Φλωρά Καραβία

Oikonomou Dimitra, Soultouki Vassiliki

Post Human

ns a at on - Performance P ex g ass, ron soi , l gh Var ed Dimensions

2020

The nsta lation, assemb ed through a geometr cal compos tion and transparent textures, consti utes a symbol c encounter The bodies within re enact a woman and her different aspec s At the same time, the performance resemb es the optica narrative of women s posit on through t me. Her recognit on as a person through t me and exper en ial r tua s focusses on reinvent ng and revers ng stereotypes of the identity of the female gender.The instal at on-performance s completed w th rel gious, po itica , ph losophica and anthropologica touches The lim ta ions, the pain, the desire, the memories, the purg ng, the release and se f des re spi l out ike shadows and consume the universe The so , the geometrica composition and the l ght resu t n a contemporary d a ogue with Thal a F ora Karavia's work.

A br ght ght box protects wh lst at the same time il um nates the de icate go d paper. The cut - out halo forms six hundred and thirty three transparent petals of da sies around the portra t of a young woman. Low around her throat there is a rea ist c pencil drawn swan shredding a r pped out petal. The swan s a reference to the Anc en Greek myth of the transformation of Zeus into a swan, Lyda and the Swan W thout her real sing, and being too feeb e to res st, the wil of the god dominates Lyda's mortal body. The art p ece relates to the portrai s of both Western and Byzantine trad tion, where sa nts pose as witnesses to pass ve fate, wh ch they accept n ncomparable sto cism, simi ar to, at t mes, women s passivi y to inequal ty and unfa r treatment which is de berately created and preserved by patr archal Greek soc ety

The art work approaches the freedom of thought through the vibrant co ours of Karavia's creat on “Daisies” and simu taneously focuses on the depicted flowers which are being strangled in the spacial confines of the vase. Cont nu ng a v sua dialogue, it offers an altered version of the wi d flowers of Karav a. A bouquet of hist es is p aced on the floor, free but exposed to the forces of time A w ld flower fu of thorns tel s you,”Don t touch me” Forcefu n ts v brant co ours, mmediate but at the same t me unapproachab e and a one, it stands against everyth ng and everyone.

The instal at on depicts a balanced, upside-down assemb ed shoot, made of wood They wear their t ghts and they search for courage, power and an unorthodox ground ng to survive and ach eve the change that others could not “ I don t care for blossoms, they are for those who focus only on beauty. I am concerned w th the l fe and power that s w th n the shoot of th s p ant, wh ch when it stops fight ng w l gift me dais es”.

SeitaniZoe Pillar

Wood,plexiglass,light,XRays 3x(50x50x50)cm 2020

The work takes ts form from chi dhood bu ld ng b ocks The cube is used in tandem as a symbol of male dominance, due to its robustness, within which is the mage of a woman from a different era Two sides of the pi lar depict the woman as fragi e, with a g rl l ke aura and a h dden face. t s a woman who s ncapab e of defining her dent ty.Each s de of the cube displays ob ect symbo s linking the woman to the posit on of women n the soc ety of her t me The vase represents a decorative object of sti l i e, an accepted topic for thefema eart statatimewhenarttopicsweresegregatedintoma eandfemaletopicareas.

The gloves, an essent al accessory of women s dress and of the lady of good society, represent both the restriction o women and theircreativ ty

δυσκολίες που αντιμετώπιζε, στην ανάγκη της να δημιουργήσει καλλιτεχν κό έργο, ήταν πολύ χειρότερες από τις υλικές Όταν ένας Φλωμπέρ αντιμετώπιζε την αδιαφορία του κόσμου, μια γυναίκα αντιμετώπ ζε τον χλευασμό. Έτσι, ε τε παραδεχόμενη «τα όρια του φύλου της», είτε σε μ α προσπάθε α να δημιουργήσε «σαν άντρας», αναγκαζόταν συχνά να αλλο ώσει την αξία της,συμμορφούμενημετηνγνώμητωνάλλων. Πώς μετριέται άραγε η επίδραση της αποθάρρυνσης στο μυαλό του καλλιτέχνη; Πόση δύναμη και ακεραιότητα χρε αζεται ενάντ αστηνκρτικήμ ας,ακόμακα σήμερα,βαθειάπατριαρχκήςκοινωνίας; Γυναίκαστοδωμάτιο:ΜαρίαΚυρμά

A Room of Her Own Vdeo Art 2020

A woman must have money and a room of her own f she is to write fiction.”Virginia Woof Up unti he beginnng of the nineteenth century, for a woman to have her own room was an unusual phenomenon. However, the nner dfficulties whch she had to deal with in creatng art, were more substantial than the matera obstaces Whereas Faubert faced indfference from the world, a woman faced mockery. So, whe her she accepted the “imts of her gender” or she created n a more “mascu ne” way, she was forcedtodilutehervalue,anddefertotheopinionofothers How does one measure the effect of discouragement on the spirt of the artist? How much wll-power is needed in order to stand againstacrtcal,andst l nourdays,deepypatrarchalsociety?

TheWoman ntheRoomisthedancerMaraKyrma.

Karaferi Roula

Τσιόγκα Βιβή

Free The Nipple Ύφασμα (βελούδο, χειροποίητες δαντέλες, οργάντζα), γυάλινες χάντρες, ημιπολύτιμες πέτρες, αλουμίνιο,χαλκός Εγκατάσταση, μεταβλητές διαστάσεις 2020 Οι σύγχρονες μαργαρίτες είναι υβρίδια, αποτέλεσμα εικαστικής «γονιμοποίησης» λουλουδιού και γυναικείου στήθους, που δίνουν έμφαση στο σημείο της θηλής.Είναι εμπνευσμένες από τη δυναμική και αιρετική Θ. Φλωρά-Καραβία που ερχόταν σε ρήξη με τα πρότυπα της αστικής κοινωνίας της εποχής της.Παράλληλα, εκπροσωπούν το παγκόσμιο κίνημα “FreeThe Nipple”, στηρίζοντας την «τόπλες επανάσταση» και διεκδικούν το δικαίωμα ελεύθερης έκφρασης του γυναικείου σώματος, ισότιμα με τον άντρα.Οι μαργαρίτες - στήθια στέκονται πολύχρωμες και ποικιλόμορφες,συμβολίζονταςτηναυτοδιάθεσηκαιτοσεβασμότουγυναικείουσώματος.

Tsiogka Vivi

Free The Nipple

Fabric (velvet, handmade lace, organza) glass beads, semi precious stones, aluminium, copper Installation, varied dimensions 2020

The contemporary daisies are hybrids, the result of the artistic “fertilization” of flowers and the female breast, which emphasise the position of the nipple They are inspired by the dynamic and hereticalThalia Flora-Karavia who came into conflict with the standards of civil society of her time. In a similar manner, they represent the universal movement“Free the Nipple”, supporting the right to the free expression of women's bodies to be equal to the male, and the“topless revolution”.The daisy-bosoms stand colourful and diverse, symbolising the self-disposition and respect for the femalebody.

οι μορφές τεσσάρων γυναικών, εκπροσώπων του ζωγραφικού ιμπρεσιονισμού, των Γαλλίδων Eva Gonzalès και Berthe Morisot, της Αμερικανίδας Mary Cassatt, και της Ελληνίδας Θάλειας Φλωρά Καραβία. Οι γυναίκες αυτές, μέσα σ΄ έναν ανδροκρατούμενο χώρο, κατάφεραν να κερδίσουν μια επαγγελματική σταδιοδρομία, να διαμορφώσουν το προσωπικό καλλιτεχνικό τους στυλ, και να αντιμετωπίσουν, όχ μόνο τις προσωπικές τους προκλήσεις, αλλά και αυτές που έθετανοισυμβατικέςιδέεςαποδεκτήςσυμπεριφοράςγιατιςγυναίκεςτηςεποχήςτους. Η σύνθεση πλαισιώνεται με κίτρινες μαργαρίτες, αναφορά στο έργο «Μαργαρίτες» της Θάλειας ΦλωράΚαραβία.

SdoukouIphigenia

“Thalia,Mary,EvaandBert” Cottonfabric,techniquedye,handembroidery 300x60cm 2020

The piece uses as a canvas a white dress, a reference to that which the “ Women's Social and Political Union,” the leading power behind the suffragette movement, chose to wear at their meetings at the beginning of the twentieth century.The dress is embroidered using applique, with the forms of four women, representatives of Impressionism- French Eva Gonzales and Berthe Morisot, the American Mary Cassatt and the Greek Thalia Flora-Karavia.These women,ina male dominatedworld,managed togain professional careerstatus,toshape their personal artistic style and to stand up to not only their personal challenges but to face the challenges of a society that was unaccepting of their lack of recognition of the role and position ofwomenofthetime.

SarliEleni

FlowerPress Paper,ricepaper,Chinesepaper,charcoa ,acrylics,drieddaisies 200x100cm 2020 A fema e form s p aced amongst dr ed da sy blossoms The yel ow flowers surround her body, as symbo s of innocence and purity and the forerunners of new beginnings. Her form is almost in motion, dropp ng l ke a fa len ange and becoming reborn instant y Her body re ates o the circle of fe of a flower rather than ts decorative e ement.She s reborn, reinvents herself and c a ms her co existencew ththenew dent t esofequal tyandpower

Καραβία.

KraniotouLiana Figure

Canvas, acrylics, aquarelle paper, charcoal pencils, collage 100x140cm 2020

“My figure looks straight into the eyes of the observer and brings herself to the world with disarming honesty”. A figure that breaks out of the gender framework is depicted in the centre of the work.The figure is portrayed as a peaceful juxtaposition which combines clean forms with symbolism which redirect to the art piece “Daisies”.The work is a comment on the explosive - for her time- personality of Thalia Flora-Karavia.

Tsiatsiou Theodora Female

Clay stoneware, metal Installation, varied dimens ons 2020

The female body presents a time ess topic for crit cism, dat ng from ant qu ty to todayThrough art, commercials and pop culture, the fema e body must conform o the unreasonable demands of every era. The nstallat on approaches this topic, presenting a “memorial” to the wounded female body which finds itself exposed to the demands o patr archa soc ety Theclayfemaleforml esontheground,asif thas been penetrated by camouflaged flowered arrows of society that ki l anything d fferent that comes its way.The po nts of he arrows p erce he do s, wh ch represent vers ons of diverse fema e bodies.

Ο κατάλογος της έκθεσης ‘ Μαργαρίτες’ σχεδιάστηκε και τυπώθηκε στη Λάρισα σε 500 αντίτυπα τον Μάιο του 2021 ‘ Daisies ’ exhibition catalog was designed and printed in Larissa in 500 copies in May 2021