Page 55 - Studio International - November 1967

agreed to erect a building to house this collection `I'll go on, I'll deliver the speech because I want have also been seen in a mixed exhibition at the
as a permanent amenity to the Greek public to, but tomorrow I'll be in prison.' He was ! DRIAN GALLERY. As a group it reflects the pedantic
and visitors. Designs were chosen after a national The visual arts provide no such opportunities and uninspired attitude of Government committees
competition but despite many promises no further for protest. The new Government, like all previous in Greece; only perhaps the younger painter
progress was made. The last elected Government, Greek Governments, or for that matter the Greek Xenakis may prove of some interest.
however, provided a site close to the Hilton Hotel public, have little interest in modern art. Thus the The Athens Sculpture Biennale inaugurated by
and last year work commenced. new rulers have not concerned themselves with the Tony Spitteris in 1966 will certainly not be re-
So far as resident Greek artists are concerned the earlier choice for the 1968 Venice Biennale. There peated this year and may well die a natural death.
situation, however, has greatly deteriorated. Of will be the sculptor Apergis (who has held one- Despite the criticism of the first exhibition it was
the active commercial galleries, the MERLIN has man shows at the DRIAN GALLERY in London) always hoped that each two years a major sculp-
already closed. Founded three years ago it had and Madame Spitteris (wife of Tony Spitteris, ture collection would be shown in Athens, bringing
courageously brought the work of modern French the secretary of Aica) ; the painters are Lafakis, important modern works to a city and a public
artists to the country and in a series of exhibitions who teaches at the University of Salonika, and which has little direct contact with 20th century
presented some of the most talented younger Xenakis, an architect, brother of the well-known art. The new regime has no interest in such matters
Greeks—including Georgiadis, Kanaginis, Fassi- musician who lives in Paris. Both these painters and will certainly not provide the necessary funds.
nos, Kokinides, etc. The gallery was always
financially precarious but it managed to interest
new Greek collectors. With the unsettled economic
situation since the revolution its clientele virtually
disappeared. The HILTON GALLERY, luxuriously
ensconced in the hotel, was previously the most
successful in Athens. It specialized in sculpture,
showing the work of the most prominent Greeks,
and found in the hotel's largely American residents
a valuable body of patronage. It had also made
some efforts to introduce foreign artists, including
Michael Ayrton and John Carbige, as well as
occasional experimentalists, such as Caloutsis. The
two ladies who founded the gallery have with-
drawn their support since the revolution, and their
former secretary, now in control, reports that no
abstract work will be shown in view of official
disapproval. The NEW FORMS and ASTOR galleries
remain. The former intends to continue hiring its
premises to artists, although the demand is un-
likely to last. The Astor Gallery opened last year
with brave hopes but it's doubtful whether its
interest in experiment will find backing.
Local artists least affected are those with estab-
lished international reputations who show or sell
regularly abroad. Yannis Spyropolous is the leading
figure in this small group. He has exhibited
successfully in London, Paris, New York, and has
never depended on a Greek gallery. His studio
maintains a permanent exhibition of his work,
regularly visited by foreign visitors. Of the other
local artists Tsaroukis, well known as a stage
designer, retains considerable popularity with
Greek collectors but his picturesque folklore is
hardly likely to find a market abroad.
The sharp decrease in tourism, particularly from
the United States, has had a serious effect on all
the arts. The theatre, however, although under
puritanical control, survives. The Athens Festival
lost virtually all its foreign attractions and was a
rather dull affair. The regime, however, concerned
to put up a brave tourist front, made efforts to fill
the gaps. There have, however, been one or two
remarkably brave demonstrations at the Herod
Atticus Theatre beneath the Parthenon. During a
performance of `Agamemnon' the audience burst
into thunderous applause at references to freedom, Above top Ghika Blood red sun 1957
23 x 26 in.
the largest round when the chorus, welcoming
Agamemnon back to Mycenae, warned him to
Above Xenakis Painting 1960
beware of the evil people at the Palace. On another
39½ x 27½ in.
occasion an actor who hesitated before delivering a
famous speech on freedom was urged on by the Left Apergis Variant 1
audience. `Alright' he said facing the audience, bronze, 23 in. high