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SEPTEMBER - OCTOBER 2013 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation


Georgia Alevizaki, Paraskevi Gerolymatou, Andreas Georgiadis, Maria Koutsomallis, Alexandra Papakostopoulou, Maria Skamaga, Irene Stratis Designed and edited by

Τ +30 210 - 7252896 |




By Kyriakos Koutsomallis, Director of the Basil and Elise Goulandris Foundation.



With Eleni Karaindrou



With Giorgos Koumentakis

I N S I D E T H E F O U N D AT I O N ’ S P E R M A N E N T C O L L E C T I O N


Nikos Ηadjikyriakos-Ghika, Paris roofs



Education programs in Museum of Contemporary Art, Andros


B . E . G . F.


Scholarship results 2013-14



Evangelia Kraniotis

I N T E R N AT I O N A L L I S T I N G S / C U LT U R E A list of major art shows around the world




So here we are, already into the third issue of our online bulletin, a happy occasion on which first and foremost we would like to offer a warm welcome to our readers whose number keeps rising at an impressive rate. It is with great pleasure that we feature interviews from internationally acclaimed composers Eleni Karaindrou and Giorgos Koumentakis. Their readiness in joining the jury that is to judge the work of scholarship candidates in the music composition section of the Foundation’s 29th Scholarship Program (2013-2014) itself ensures that the final selection was truly be based on merit alone. We thank them both for their support and invaluable contribution. Candidates in the music composition section, as well as in the acting and contemporary art (art history, theory, and criticism) sections of the Foundation’s scholarship competition were many and noteworthy. We thank them all for applying and wish both those who did win a scholarship and those who did not all the best with their post-graduate pursuits. The MoCA Andros exhibition Depicting Transcendence: From Byzantine Tradition to Modern Art captured the attention of a significant portion of the Greek and international art-loving public through the summer months, was lauded by critics and the press, and is now nearing its end. Its closing date is Sunday, September 29. The catalogue that accompanied it now constitutes a major reference work. We are especially happy to let you reflect on the compelling thoughts of Ms. Lia Kranioti, a former B & E Goulandris scholar, who excelled as a post-graduate student and now continues to do so as a professional abroad. As always, you can find us on all social media platforms, where you can share with us your impressions and comments. Kyriakos Koutsomallis Director



The Harmony of the Eye It is easy to see that there has always been harmony between your life and work. How did you achieve that? Being in close contact with nature through the early years of my life helped me develop an experiential relationship with all that emanates from it. And that is no more than simple harmony: a harmony of colors and sounds, of images, fragrances, motion; above all, the harmony of the starry sky as seen by a child who learned to ‘count the stars’ on wakeful nights spent in the threshing floors where the women shelled maize all the while singing those glorious polyphonic songs; and then there’s the harmony that infuses the world of beasts – ‘here the bee bumbles, there the hornet’, and, above all, the harmony of the human eye, of looks exchanged between simple, unpretentious, honest men. From early on in my life I was immersed in the harmony of sounds, either in the form of secular music and song, or of the byzantine liturgical chant, or still that of the everpresent music of nature: the song of the rain pattering on the roof tiles, the song of the wind swishing through the thick forest, the song of the waters in every tone and semitone coupled with the elegant melodies of the warbling birds. And then there was grandpa singing and the sound of the mandolin, or the wailing of the clarinet coming from across the village square. All was harmony and leading my soul down a road of no return: the road of music. What would I use to build something along that road if not the raw materials nature itself and my life in its proximity had so generously provided? I was a happy child, a child of the woods running free and barefoot, and nothing could since eradicate in me that sense of self-reliance born of the knowledge that you are in fact a small, an infinitesimal part of the larger universe itself. Even when my mother died, and I was only seven, even then that sense of balance was not upset inside me. I already knew that life and death are a law of nature. The keys of the piano simply became an extension of my body, just like that, no deeper psychological implications involved, no need to analyze or look for ulterior motives. The time had come for me to explore the world of creative expression. The road opening up before me was a long road, fraught with adventure on every side and overflowing with knowledge. But the incorruptible values that took shape within me in those early years have always been with me to this day. Is harmony the best way to describe them? Perhaps. But we could also call them truth, genuineness, honesty, solidarity, love. And throughout my life I have gone to bed every night looking back on a day’s worth of experience and admonishing myself to never lose sight of all that nature has lavished on me, making me who I am. To me, music is a way of life and a road along which I find companionship and love. It is a way of life that helps me share my feelings with others and fills me with strength and beauty. I never had to try for it. Music wells up inside me like water from the spring at the village where I grew up and I am simply grateful for that gift.


The young are shielded in their innocence and armed in their faith. If they carry these into the blessed realm of art, they will never be let down Talking about music in films you once said that what you are interested in is the chemistry between music and image. What are the components of this... chemical reaction, and what is its character? The truth is I never considered the chemistry between music and image when immersing myself in the world of cinema. The chemistry comes at the end, it is something that happens when everything is over and my unerring instinct has been confirmed. Because it is instinct I have relied on to guide me through this great journey, and my instinct is heightened by many things that have to do either with the filmmaker’s own emotional world, or with the heroes of the story, or, mainly, the film’s concept: what was it that prompted the filmmaker, or screenwriter, to make this film? What lies beneath the surface, behind the lines of dialogue? When this search for the film’s deeper meaning is over and I have found its truth then begins my own introspection; then is the chemical reaction inside me set off that instantly translates into a conversation with my piano. That is where I tell all and then I put everything on paper, and then I draw notes, and add color, instruments to usher in the big moment: the moment when everything takes shape and is animated, when the edifice begins to rise, the moment at the studio where I sit with my musician friends whom I love and am indebted to for being there for me, for their love, and faith, and working of magic... It is easy then to see that if chemistry between music and the image does happen after so long a journey, you accept it as an incredible gift that offers justification for your gut feeling... To observe your work is to see the memory and origins of Greek tradition rise effortlessly to the surface of the music. How did you discover all that wealth and how is it to be interpreted in the context of your work? Whether I want it or not the soul of my country courses through my veins and memories of Asia Minor, the Balkans, and the entire stretch of the Mediterranean are locked inside my DNA. It all effortlessly emerges when my mind looks for inspiration across territories that share a common border with those memories. They become manifest through the choices I make, though despite myself, and are so organic to the architecture of my compositions that one can hardly tell them apart. And yet they are distinct from it, to be sure... The truth is I had to leave my native land before I could become aware of the wealth of our musical tradition. Through a comparative study of the oral musical tradition of other nations I discovered and experienced the diversity of our own music. When I eventually returned to Greece after the fall of the junta I embarked on a great pilgrimage, so to speak, across the richness of this music


and took a lot of time studying and archiving it. At the same time my piano was always there to talk to and my soul never stopped travelling to the world of the imagination. The making of art requires inspiration and talent, but it also takes a lot of hard work, experience, and discipline, a concerned mind ready to explore and take leaps. Is this process a thing to be passed on to others, a thing to be shared, or is it rather like a road that’s long, and hard, and lonely? I wouldn’t say that the road to something you love is hard. It is a beautiful struggle. Naturally, the road to art is one of inspiration, but it is also one of self-denial, and discipline, and above all, one of hard work. But it is all part of the journey that is the creation of each work and that journey, which is mainly a journey into the self, is a lonely and arduous experience; however, ultimately it is also a liberating one! It liberates you from your demons and becomes a tool in building channels of communication with other people, who will relate to your work and be in turn liberated through it in some part. On the other hand, more importantly perhaps, it helps create a strong and sacred bond between yourself and those great musicians that will embrace your vision and become your fellow travellers. You have repeatedly expressed your affection and concern for the young and their future. What would you advise a young artist to do today, and what a politician or government official making decisions about art and culture in the present circumstances? The young are shielded in their innocence and armed in their faith. If they carry these into the blessed realm of art, they will never be let down, and they’ll lead a deeply meaningful life. I’d advise them to follow their chosen path and be prepared for a lot of sacrifices, including self-sacrifice. Most of all, I would advise them to go after knowledge and get as many qualifications as possible so they can be carried closer to the light by the wings of their inspiration. As for those who chose to make politics their job and in whose hands lies the fate of this land and of its creative powers, they should realize that culture is an immutable value, one that is forever renewed and breathing, and that every generation has the right to its own Pheidias, to its own poets, and painters... All they need to do is realize the gravity of their decisions regarding the present, and the importance of keeping the torch of creativity alight.




The DNA of music If our age is largely hostile to inspiration, might we still stand our ground, put up a fight, in the sense of searching for new sources of it, and actually find them? Where do you turn for inspiration these days, and where is it you find it in the end? If you are asking whether our age encourages us to be more creative, I would say that as far as music is concerned it probably doesn’t, but the human element that is integral to music – since music and the human being do not actually represent two different systems, but one – the age itself, and the overwhelming pressure it puts on us have a huge impact on my intellectual and emotional world. And the fact is that my lifestyle and the music I conceive are interdependent. I live and think music in an alternate universe. But the two worlds are tangential: music and my way of life are two routes that overlap at multiple points, at times even merging into one. On the other hand, the time we are given in which to make sense of what’s going on around us is very little, and even so, I am not entirely sure that this time-based reality that surrounds us can send out the sort of vibrations capable of stirring our inner world into creative action. Besides, let us be reasonable: it takes a very long time to compose a piece of music. You may be wrestling with an idea for a composition for a whole year, maybe even two. In the meantime life around you will have changed dramatically: we grow, we think differently, we go through dozens of new experiences, respond to a vast amount of diverse stimuli. Creative expression is not a response to a fleeting stimulus. This is one of the shortcomings of the specific genre of music that I ply, but it may also be one of its strong points, as it sets everything on a different level, within a world that is immaterial but existing nonetheless, because it follows from human nature and life itself. I would say that the adventure that is sound, itself a universe in its own right, is a selfsufficient value which alone can motivate me. Still, most of my work is based on the small things, the humblest ideas. It is the nature of sound that kept me grounded in the insignificant, to which human nature is indispensable for granting it a larger life. Where do you see the truth in music? You can tell the lie right away, not just in music, but in art at large, as in life. You can feel it with your fingers the moment you realize that a work or concept have no reason for being. You can smell it in the air as you observe that there is no energy flowing naturally between a composer and his work, that the two seem to stand on divergent planes. This is where you recognize the intention that lies outside the scope of music. It may be that music is seen as a means of attaining social status, of becoming acknowledged, or making money – the reasons are many. But the only source of truth in music is a sense of rapport between one’s life and the music one makes. The composer is a means through which his material is given a voice, becomes manifest, and is made a record of. It is as if turning on the taps of the soul, and setting into motion this process that allows everything to flow like life itself flows. You must be able to look your music in the eye and feel no shame; to feel that there is a purity and straightforwardness to what you do. It is no easy matter for the outside world will offer you every conceivable opportunity to walk in the opposite direction: politics, money, power, narcissism, egotism, violence, tyranny, bigotry.


On a more personal level I am immensely drawn to the new as a value in itself, to the suspense of the new. I worry about things that seem to have settled inside me lest they mire in habit, and I keep wanting to go back to them, look them over, and change them

We have often come across your name in juries and scholarship committees, at the school wave festival, and across a wide range of activities focused on young artists and young people in general. Tell us about this side of yours. The young offer ample reason for hope. I find that they have a very good grasp of complex structures, and that a new ethic is already visible on the horizon. Groups no longer need a leader. They can perfectly develop their own dynamics in a spirit of collectivity. And if frivolity, money, and a life away from all things spiritual were glorified in the past, the younger generation seems today more prepared to relate to something more meaningful, more spiritual. The internet may consume much of their time, and yet it may just as well be a creative democratic tool with which to shape new patterns of behavior and expression. Greek reality is to all intents and purposes a product of chance rather than the working of functional institutions. This has been a crucial consideration in creating The Kyklos ensemble together with Dimitris Desyllas and a select group of musicians. We felt that a protective nucleus, so to speak, a shield against contemporary reality was missing. What institutions in Greece have so far commissioned composers to create new work eventually failed to stand by their side as their work evolved and to follow their subsequent careers. They believed their duty to have been fulfilled through that single commission and composers were thenceforth left to their own devices for years on end. Greek musicians shared the same fate. But in the absence of contemporary production what remains is only the institutional packaging of a thing bound sooner or later to fade into oblivion. And this is what happened with those incredibly arrogant institutions that turned their backs on creative work and are now left high and dry. To announce beautiful ideas is not enough. They have for years upheld the same academic aesthetic, effectively shutting the door on contemporary expression and personal quests. They did nothing to build on the possibility of promoting another musical idiom. I have recently come to realize that the process of creating new structures must be purged from the conceit of knowledge, from things done hastily and perfunctorily, otherwise you cannot allow for the time it takes the new to register. Structures need time before they can be effective; and that’s structures and operations within a system that is not ruled by panic. You must give time the room it deserves and you are in turn granted the gift of distance which rids you of all illusions. This end seems also to be furthered by the desire


for change, among other things, of a despairing generation of middle-agers who feel responsible for the current mess. The thought that there may someday be a mature debate, a dialogue to include and support the young makes me feel whole inside. I can see myself committing to an organization aimed at creating the necessary infrastructure to permit the young access to artistic work, and to following the course along which they evolve as artists, though not so much through a conservatory education as through its practical implementation. You see, by now all we ever see in Greece is the individual isolated case, the solitary ‘fireworks’ rather than a generation and its evolution. I am drawn to this cause because of innocence, which moves me, and which I consider a symbol of the unfulfilled nature of childhood memory. And then there’s my experience of people and teachers that put a lot of time and energy into showing me that moving on was worth the effort. On a more personal level I am immensely drawn to the new as a value in itself, to the suspense of the new. I worry about things that seem to have settled inside me lest they mire in habit, and I keep wanting to go back to them, look them over, and change them. Even within a system bent on belittling you, you can build a microcosm of your own complete with cracks to let the light shine through. Do you worry about the future? No, I don’t. The future will always be there. It is the present that needs orchestras, musicians, conservatories, universities, instructors. There is great ease to how music is actually devalued by the state and I am sorry to say it but no-one seems to protest against it. The social value of music is lost, and it is not just classical music I am referring to. Soon there will be no institution to formally represent musical culture, no centers to promote musical thought. What must be preserved is the sequence of the DNA of music- the free spirit of music. Tomorrow, when all the roads to music will be closed, it is we ourselves who must become the keepers of our tradition, who must strive to ensure our continuity, keep from slipping into obscurity and inertia. We must shelter the thought of young people who hope to put arrogance and narcissism aside and pick up the thread of art, the thread of Music, where it was last broken.




Nikos Hadjikyriakos-Ghika (1906-1994)

Paris Roof

Oil on canvas, 130 x 97 cm, 1952

That it should appear “beautiful” to us is only thanks to art, where a series of happy coincidences seem to impose upon it a form of order – what we, humans, understand as order that I, which is none other than geometric order. […] Contemporary life brought about an inevitable change in the expressive language of painting. The nature of representation becomes more fluid; the object itself becomes less visible than before. […] It is no simple whim that drives it to break up the object, to tamper with perspective, to liberate anatomy, but a personal, truthful insight the painter has arrived at. Some law is obeyed, be it of nature or of the work itself, or of emotion even. […] Regular shapes are rare as are vivid colours. In fact, there are colours resembling a vast palette of greys. Therefore, the use of real colour is the intentional work of man. Yet there are different shades to every colour and every colour is so absolutely dependent on its neighboring ones, on the quality of the light, on quantity, on the ratio that goes into the mix, that it ultimately becomes almost impossible to talk about colour with any degree of authoritative certainty. At best, all one can do is suggest a few general ideas – and so, blue always recalling the sea or sky. – Reflection, calm, depth, dream, moonlight, mellowness, height. – Angelic. red lead fire, violence, intensity, presence, action. – It jumps, it flies. – Mature. Hot. (After working in a shed with red glass windows for a while, workers, ended up fighting every day. - The bull’s proverbial red rag.) yellow light, it screams, it shrieks, it shines. – Trumpet. – Precious. - Unripe. Sour. earth pigments somber like dirt, like wood. Opaque. Inflexible. amaranth transparent. Lightweight. – Contemplation, melancholy. – Distant. purple blood. - Hidden, subterranean, unexpected, husky. – Diabolical. Regal. ash-grey the absence of colour: potentiality. – A foil to the vividness of other colours. black this too is never pure black, but always a gradation of grey. – Stability. Nobleness. Austerity. Criterion. The tragic. Lack, hole, cave. – Black is not an easy colour. Blending two or more colours often produces unexpected and indefinable results, though these are definitely mellower and perhaps somewhat brighter than the usual, solid colours. The vividness and vibrancy of a given colour on a canvas varies depending on the colours that surround it, as much as on the work’s general atmosphere. The manner of application, the brushstroke or number of layers may make a colour more or less transparent. Pale and dark hues, the former gentler, the later graver, deep colours and colours of the surface, the vivid and the dull, the ethereal and the tactile, colours of varied intensity, thickness, passion – to handle you takes neither knowledge nor experience, but an innate skill. […] So, instead of imitating the natural world to elicit emotion in the viewer, the modern school attempts to produce a similar emotional response by representing the very source of such emotion. […] From N. Ηadjikyriakos-Ghika, “Nature and Art. Elements of a Visual Language”, To Trito Mati magazine, issue no. 2-3, November-December 1935.




MUSEUM OF CONTEMPORARY ART e d u c at i o n p r o g r a m S


On the occasion of its recent exhibition at MoCA Andros, entitled Depicting Transcendence: From Byzantine Tradition to Modern Art, the Basil and Elise Goulandris Foundation once again organized an education program that was carried out in the month of August (131 August, 2013). Children were placed in two age groups (6-9, and 10-13) and were first taken through an interactive guided tour of the exhibition, followed by a creative workshop entitled: Learning to draw using an anthivolon. All participating groups in this year’s edition of the MoCA, Andros Education Program responded, as always, with great enthusiasm, which is visible in their highly imaginative drawings. We warmly thank them.




B . E . G . F.

S C H O L A R S H I P R E S U LT S 2 0 1 3 - 1 4 In memory of Basil and Elise Goulandris and Pantelis P. Karadontis

After carefully and thoroughly evaluating all applications submitted on time, the Scholarship Committee of the Basil and Elise Goulandris Foundation, which consists of Fleurette Karadontis, HÊlène Ahrweiler, Costas Gavras, Panayotis Tetsis, and Kyriakos Koutsomallis, has announced the following successful candidates who have been offered a scholarship for the academic year 2013-14: Mr. Giorgos Zambaklis has been granted a scholarship for postgraduate studies in Music Composition. Applications in this section of the competition were assessed with the help of Mr. Giorgos Koumentakis and Ms. Eleni Karaindrou. Ms. Stella Noulis has been granted a scholarship for postgraduate studies in Acting. Applications in this section of the competition were assessed with assistance from Mr. Costas Gavras. Ms. Myrto Katsimichas and Ms. Maria-Kyveli Mavrokordopoulos have both been granted a scholarship for postgraduate studies in Contemporary Art: history, theory, and criticism.



Evangelia Kraniotis Sholar B.E.G.F., 2004-2006, Cultural Photography

Although science (law) was the first step in your studies, art eventually won you over. What caused this turnaround? It is actually that first part of my academic life that I consider a turnaround, or detour, a period during which I was fortunate enough to realize what I did not want to do with my life. Art was a return to a familiar road, a path where I could trace my own footprints. When I decided to really go into art nothing was clear or seemed easy. I was in a state of emotional turmoil, and overwhelmed by countless desires all vying at once for my attention. By now the noise has subsided and I can finally take pleasure in that endless quest that is the kind of everyday life I chose for myself. It is the most sincere and useful thing I can offer others without compromising my own truth. Claude Grunitzky wrote that your work is like news from the future to browse through. His description seems to cast a long and heavy shadow. How do you experience this search for the new and what is your vision of the future of this world, where, it is often claimed, everything has already been said? The future has no choice other than to be profoundly human, and I feel this is the lens through which Claude Grunitzky has looked at my work. He has himself often been concerned in his work with the notion of transculturalism, a humanistic reading of the world in which the concept of migration, an intermingling of cultures and respect for diversity are all implicit. Personally, I do think that everything has already been said, just not in all possible ways. We already have a basic grasp of the fundamental concepts since we all live, and love, and die. But each life, each romance, each death are a universe unto themselves. Each of us – not just the artist or writer – can perceive something that others will overlook. This is what the new is to me: the way each man confronts the reality of this world, which is by definition unrepeatable. Personal histories. Do you ever think about or perhaps wish for an ‘ideal audience’ for your work, and if yes, how would you describe it? I would say that the ideal viewer is the surprised viewer. In my work I am interested in eccentrics and pariahs, and in simple, unassuming people, and, conversely, it is their emotional response to the work that honors me the most – it is I think the most genuine one, and the most enigmatic as far as I am concerned. To my mind, viewers do not necessarily need to have an education in art as long as they know how to fall in love.


Living and working abroad can be at once a privilege and an obstacle, in the sense of the distance between yourself and Greece. How, if at all, is this distance mirrored in your work? Distance as a sufficient and sensuous condition is integral to my definition of Greekness. I enjoy being a stranger in strange places. Or a Greek away from Greece if you like. It is a lifestyle that grants me many moments of rare bliss and constantly reminds me that nothing is meant to last, neither people nor their destinations. The whole point, to my mind, is to be aware of our transience. It is distance and travelling that have helped me keep an open mind. And if ultimately I feel a stranger even in my own home, I am content to find pieces of myself in the many homes of this world. Besides, my creative work thrives on distance: a significant portion of it to date is actually an investigation of the condition of distance. This year I expect to complete a long research on the lives of Greek seamen. Their stories speak of desire and transcendence, of nostos (homecoming), memory, and loss: concepts that are being examined through the prism of distance. Travelling to 18 countries for the purpose of this project was an opportunity for me to map my own world and its dark seas. And I have now come to understand life as one long journey, arrivals and departures alternating in a perpetual monumental cycle of shifts.


We came across a project of yours online that seems to open with a movie, and then give way to an installation and, finally, a book. What prompted you to use these different narrative means? Do any of the three operate as supplements, or are all parts organic to the narrative? Does the medium ultimately determine a project’s gist? You are referring to my work on Greek sailors, which started out as a book, and then developed into a movie. These complementary narratives aim at recounting, each in its own way, my 8-year-long adventure to the four corners of the world. As might be expected, it was such a long period of time that a shift in my approach became necessary after a while; I grew and the expressive means I used had to change. I moved from photography to film almost without noticing. But the gist has remained the same, as has my desire to follow the heroes of my story to the end of the world. 400 hours of video time and the thousands of pictures I brought back from my travels are but select fragments of a very personal journey. In a sense, what best documents this research, its thoroughest archive so to speak, is myself, for I am the basic link between the different stages in this experience. And although embarking on this quest may have been something I did for myself to begin with, the time has now come for me to share it.


There is enough room in a book for a significant amount of disparate content, for an abundance of images, characters, and stories. On the contrary, editing a movie forces you to make specific choices with regard to a story’s structure, its characters, and tempo, and total running time. And yet nothing compares to the power of film. Director Claire Denis, with whom I first collaborated while still a student at Fresnoy, Studio National des Arts Contemporains, would tell me that a film will always be more heroic than an installation. Of course, the archive of audiovisual material now in my hands is seemingly inexhaustible and I may just consider working on a video installation in the future, with a view to experimenting with higher frame rates than in my film. But at this stage, my most significant contribution is my first film that will be completed this year. Art’s humanist mission seems to become all the more crucial for the world in its current state of crisis. How would think art may serve the everyday lives of people, especially those who suffer the most? I would be inclined to ask the opposite: how may people serve art. Art is not an abstract concept. It is a way of acting and living; it is a way out. And at times of hardship, the great works of art may change not only our aesthetics but also, more importantly, our ethics, hence our everyday lives.







Exhibition runs from 8 June through to 6 Oct. 2013

Organized in collaboration with Musée Rodin, Paris. Exhibition runs from 29 March through to 27 Oct. 2013

A major retrospective of the Russian artist bringing together more than sixty works painted in Paris in the years leading up to WWI, during his stay in Berlin in 1914, and in the years he spent in Russia around the time of the Revolution in 1917. It is the time during which Chagall’s vision takes shape and the core concerns of his long career in art emerge.


TATE MODERN Paul Klee: Making visible

Paintings, drawings, and watercolors by the famous artist from collections around the world are on display with a focus on the three most productive periods in his career. Exhibition runs from 16 Oct. 2013 through to 9 March 2014


It is the first time such a significant group of Rodin’s works is presented alongside the work of Henry Moore in a way that fosters dialogue between the two masters. The exhibition draws its material from the Musée Rodin, Paris, as well as public collections such as those of the Victoria and Albert Museum, London, and the Fitzwilliam Museum, Cambridge.


Thyssen – Bornemisza Museum Surrealism and the Dream

The exhibition features paintings, drawings, collages, sculptures, and photographs by artists such as André Breton, Salvador Dalí, Paul Delvaux, Yves Tanguy, René Magritte, André Masson, Max Ernst, Jean Arp, Claude Cahun, and Paul Nougé. To the Surrealist mind the dream and automatic writing were both fundamental to liberating the human soul. Exhibition runs from 8 Oct. 2013 through to 12 Jan. 2014


Centre George Pompidou Lichtenstein: A Retrospective

After London’s Tate Modern it is now the Centre Pompidou’s turn to host the most extensive retrospective to date of the major twentiethcentury American artist. The exhibition brings together as many as 125 seminal paintings and sculptures. Organized in collaboration with The Art Institute of Chicago. Exhibition runs from 3 July through to 4 November 2013


Orangerie Frida Kahlo – Diego Rivera

Legendary art couple Diego Rivera and Frida Kahlo is the focus of this exhibition, whoms originality lies in juxtaposing their work as if to confirm at once their clashing personalities and complementary lives, the shared starting point of their art in their strong ties to the Mexican homeland, their individual investigations into shared themes such as the cycles of life and death, religion and revolution, realism and mysticism, the life of workers and peasants. Exhibition runs from 9 Oct. 2013 through to 13 Jan. 2014


The Grand Palais Georges Braque

This retrospective, dedicated to the major 20th century artist Georges Braque, will survey all the periods of his artistic creation, from Fauvism to his final works culminating in the magnificent art studios and birds series. The exhibition will focus on highlights in his career, such as Cubism, the Canéphores (Basket Carriers) of the 1920’s, and his final landscapes. Exhibition runs from 18 Sept. 2013 through to 6 Jan. 2014


FONDATION PIERRE GIANADDA Modigliani et l’ Ecole de Paris

The exhibition is the result of a renewed collaboration between the Foundation and the Centre Georges Pompidou. Among the works on show Modigliani’s portraits and nudes hold pride of place. Works by Chaim Soutine, Jules Pascin, Marc Chagall, and Moïse Kisling among others are included. Emphasis is placed on the friendship between Modigliani and Constantin Brancusi. Exhibition runs from 21 June through to 24 Nov. 2013





The exhibition features some 140 works by Henri Matisse and other Fauves who are largely considered the precursors of Modernism. Works by these artists have never been shown in Austria before. Apart from Matisse himself, members of the movement include artists André Derain, Maurice de Vlaminck, Georges Braque, and Kees van Dongen. Exhibition runs from 20 Sept. 2013 through to 12 Jan. 2014



The museum features a retrospective of the work of acclaimed French photographer HenriCartier Bresson. Exhibition runs from 22 June through to 3 Nov. 2013.



The 55th edition of the Venice Biennale, entitled The Encyclopedic Palace and curated by Massimiliano Gioni, opens its doors at such traditional venues as the Arsenale and Giardini, as well as at a series of unexpected sites across the city of Venice. Exhibition runs from 1 June through to 24 Nov. 2013


PALAZZO STROZZI The Russian Avant-garde

It’s the first international exhibition to examine the fundamental importance of the Oriental and Eurasian connection to Russian Modernism. Neolithic stone figures, Siberian shaman rituals, popular Chinese prints, Japanese engravings, Theosophical doctrine and Indian philosophy are some of the elements which inspired Russia’s new artists and writers. Exhibition runs from 27 Sept. through to 19 Jan. 2013



THE MUSEUM OF MODERN ART American Modern: Hopper to O’Keeffe

The exhibition draws on MoMA’s collection of modern American art to survey American Modernism between the years 1915 and 1950. Showcased artists include George Bellows, Stuart Davis, Edward Hopper, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and Andrew Wyeth among others. Exhibition runs from 17 Aug. 2013 through to 26 Jan. 2014


THE MUSEUM OF MODERN ART Magritte: the Mystery of Ordinary, 1926-1938

The exhibition is the first to deal exclusively with the artist’s radical Surrealist period. Bringing together as many as eighty works, including paintings, collages, and objects, a selection of photographs and periodicals, as well as some of the artist’s early commercial works, the show sheds new light on Magritte’s identity as a modern painter and Surrealist artist. Exhibition runs from 28 Sept. 2013 through to 12 Jan. 2014


NEUE GALLERIE Kandinsky: from Blaue Reiter to Bauhaus

Vasily Kandinsky’s art (1866-1944) had a pivotal transformative effect on modern art history. Kandinsky rejected the easel and the painting tradition it represented and moved on to develop a revolutionary method of abstract painting. The exhibition connects art, music, and theater, exploring the artist’s work from his Blaue Reiter period to the large-scale environments of his Bauhaus years.



The exhibition brings together some of the artist’s most striking works. It focuses on paintings dated from the mid-30s through to the 1950s. From 1936 to 1939 Balthus painted his famous portraits of Thérèse Blanchard, a young neighbor of his in Paris, who posed alone, or with her cat, or her two brothers. Exhibition runs from 25 Sept. 2013 through to 12 Jan. 2014

Exhibition runs from 3 Oct. 2013 through to 10 Feb. 2014


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B E Goulandris Foundation Ίδρυμα Β Ε Γουλανδρή 28

g- the 3rd volume of B. & E. Goulandris Foundation  

The bimonthly electronic journal of the Basil and Elise Goulandris Foundation

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