Page 102 - Studio International - November December 1975

EIGHT ARTISTS

EIGHT ATTITUDES

EIGHT GREEKS

Institute of Contemporary Arts,
5 November-4 December
Previewed by Christos M.

Joachimides and Norman
Rosenthal

Born
Name First visit Now living
abroad
Stephen ANTONAKOS 1926
1930
New York
U.S.A.
Southern
Greece
1955
1928
Vlassis CANIARIS
Rome Paris, Athens
Athens
CHRYSSA 1953
1933
(New York), Paris
Athens
Paris
1936
1956
Jannis KOUNELLIS
Rome Rome
Pireus
Chryssa Letter B
1930
PAVLOS 1954
Peloponnesus Paris Paris
Art can be perceived from many angles and
1936
1948
Lucas SAMARAS standpoints — surely the more angles that exist the more
U.S.A. New York
Kastoria complex and interesting the work. Presentation, unless
(Macedonia)
in the 'clean' situation of the one-man show, will always
1925
TAKIS 1954 tend to emphasize some aspects and de-emphasize
Paris, Athens
Paris
Athens others. The purpose of an exhibition should be to make
apparent aspects not always hitherto visible. The
1975
1935
Costas TSOCLIS
Rome ambition of this exhibition is to investigate what—if
Paris, Athens
Athens
anything — is held in common in the work of this group
of artists who all originally come from the same part of the
'Where were you born ?
world — Greece ; who have all made ¾ significant
In Macedonia.
Where is that ? contribution to the development of the visual arts as they
In Greek and Byzantine History. are generally understood to have evolved in the last
fifteen years or so ; and who all appear to be continuously
What does that mean ?
I think it says enough.' producing fruitful and stimulating work. These are
therefore not young 'talented artists' just emerging from
academies or art schools, but rather artists of
The above self-examination by the artist Lucas considerable achievement with ¾ substantial output of
Samaras, usually described as American, might well work behind them. They belong to ¾ generation of artists
serve as the motto for the exhibition which is the main which came to the forefront in the late fifties and early
feature of the Greek Month at the ICA. It does not tell us sixties, ¾ generation regarded by many as being one of
everything about Lucas Samaras and his art, but it draws the most exciting and innovative of the post-war period.
attention to one of the most significant factors of his This is the generation which was connected with both
artistic background and one which nolens volens links pop and minimal art and in Europe with nouveau
him with the other artists in this exhibition. For this is not realisme and arte povera, these last being two
an exhibition which can, under the ordinary criteria of
contemporary art, be seen to indicate ¾ direction,
ideology or style. It is an exhibition which tries to
examine the facts of ¾ spiritual as well as an actual
immigration, creating an almost involuntary process
which permits the reality of both past and present to
become transparent in the attitudes conveyed by the art
itself.
Jannis Kounellis Untitled (Regazza) 1969 Lucas Samaras Box
254