Î·È Ë ∞Ú¯·›· ∂ÏÏ - Blue Star Ferries

CULTURE
√
André Masson
Î·È Ë
∞Ú¯·›· ∂ÏÏ¿‰·
∆Ô ÿ‰Ú˘Ì· µ·Û›ÏË Î·È ∂Ï›˙·˜
°Ô˘Ï·Ó‰Ú‹ ÁÈ’ ·˘Ùfi ÙÔ Î·ÏÔη›ÚÈ
ÂÙԛ̷Û ¤Ó· ıÂÌ·ÙÈÎfi ÂÈηÛÙÈÎfi
·ÊȤڈ̷ ÛÙÔÓ André Masson
ÌÂ Ù›ÙÏÔ «√ André Masson
Î·È Ë ∞Ú¯·›· ∂ÏÏ¿‰·».
¶·ÛÈÊ¿Ë, 1932,
·ÛÙ¤Ï Û ¯·ÚÙ› 49 x 64 ÂÎ.
Pasiphae, 1932,
pastel on paper 49 x 64 cm.
André Masson
and Ancient Greece
This summer, the Basil and
Elise Goulandris Foundation
has prepared a thematic
visual arts exhibition
dedicated to André Masson
and entitled "André Masson
and Ancient Greece."
ª˘ıÔÏÔÁÈ΋ ∆·˘ÚÔÌ·¯›·, 1936,
Ï¿‰È Û η̂¿, 90 à 85 ÂÎ.
Mythical Bullfight, 1936,
oil on canvas, 90 Ã 85 cm.
«∏ ÕÚÙÂÌȘ», 1938.
À‰·ÙÔÁÚ·Ê›· Û ¯·ÚÙ›,
24.2 x 32 ÂÎ.
CULTURE
«∏ ÕÚÙÂÌȘ», 1938.
À‰·ÙÔÁÚ·Ê›· Û ¯·ÚÙ›,
24.2 x 32 ÂÎ.
«√ Ï·‚‡ÚÈÓıÔ˜», 1938.
§¿‰È Û η̂¿, 120 x 61 ÂÎ.
"The Labyrinth", 1938.
Oil on canvas, 120 x 61 cm.
O
‰È·ÚÂ‹˜ °¿ÏÏÔ˜ ˙ˆÁÚ¿ÊÔ˜, ·Ó ηÈ
Û ‰‡Ô ÂÚÈfi‰Ô˘˜ Ù˘ Ì·ÎÚ¿˜ ÙÔ˘
ÔÚ›·˜ (·fi ÙÔ 1924 ¤ˆ˜ ÙÔ 1928
Û ÌÈ· ÚÒÙË Ê¿ÛË Î·È ·fi ÙÔ 1936 ¤ˆ˜ ÙÔ
1945 Û ÌÈ· ‰Â‡ÙÂÚË) ı¤ÏËÛ ÙÔÓ Â·˘Ùfi ÙÔ˘
ÛÔ˘Ú·ÏÈÛÙ‹, ÂÓÙÔ‡ÙÔȘ, ηıÈÂÚÒıËΠӷ Ù·˘Ù›˙ÂÙ·È Ì ÙÔ ÌÂÁ¿ÏÔ ·ÈÛıËÙÈÎÔÊÈÏÔÛÔÊÈÎfi
Ú‡̷ ÙÔ˘ André Breton Î·È ·˘ÙÔ‰Èη›ˆ˜ Ó·
ıˆÚÂ›Ù·È ˆ˜ ÌÈ· ·fi ÙȘ Âͤ¯Ô˘Û˜ ÌÔÚʤ˜
ÙÔ˘ ÎÈÓ‹Ì·ÙÔ˜, Ì ¤ÌÊ·ÛË fï˜ Û ÌÈ·
ÂÚÈÛÛfiÙÂÚÔ «ÂÁÎÂÊ·ÏÈ΋» Î·È «‰ÈÔÓ˘Ûȷ΋»
ÂÎÊÚ·ÛÙÈ΋ ÂΉԯ‹ ÙÔ˘.
ø˜ ÛÔ˘Ú·ÏÈÛÙ‹˜, ÂfiÌÂÓÔ ‹Ù·Ó Ó· ÚÔÛÙÚ¤ÍÂÈ ÛÙÔ ·ÓÂÍ¿ÓÙÏËÙÔ ·ÔıÂÌ·ÙÈÎfi Ù˘ ÛÔÊ›·˜
ÙˆÓ ·Ú¯·›ˆÓ ÂÏÏËÓÈÎÒÓ Ì‡ıˆÓ, ÔÈ ÔÔ›ÔÈ ÙÔ˘
ÚÔÛ¤ÊÂÚ·Ó ÙËÓ ¤ÌÓ¢ÛË Î·È ÙÔ ¤Ó·˘ÛÌ·
ÁÈ· ÌÈ· ÚÔÛˆÈ΋ ·Ó·‰È·Ú·ÁÌ¿Ù¢ÛË ÙˆÓ
·Ó¿Ú¯·ÈˆÓ, ·fi ηٷ‚ÔÏ‹˜, ıÂÌ¿ÙˆÓ Ù˘
˙ˆ‹˜, ÙÔ˘ ¤ÚˆÙ· Î·È ÙÔ˘ ı·Ó¿ÙÔ˘. ∂ÎÙfi˜ ·fi
ÙÔ˘˜ ̇ıÔ˘˜ Ù˘ ·Ú¯·ÈfiÙËÙ·˜, Ë Î·ÏÏÈÁÚ·Ê›·
Ù˘ ∞Ó·ÙÔÏ‹˜, ÔÈ Ï·˚Τ˜ ·Ú·‰fiÛÂȘ ÙˆÓ
πӉȿӈÓ, Ë Î·ıËÌÂÚÈÓfiÙËÙ· ÙÔ˘ ·ÓıÚÒÔ˘
ÎÔÓÙ¿ ÛÙËÓ Ê‡ÛË, Â›Ó·È ı¤Ì·Ù· Ô˘ Û˘Ó¤ıÂÛ·Ó ÙÔ ÔÙÈÎfi ÙÔ˘ Û‡Ì·Ó.
∞Ú¯¤ÁÔÓÔÈ Ì‡ıÔÈ fiˆ˜ ·˘ÙÔ› ÙÔ˘ ªÈÓÒÙ·˘ÚÔ˘, ÙÔ˘ ™›Û˘ÊÔ˘, ÙÔ˘ √ȉ›Ô‰·, Ù˘ ¶·ÛÈʿ˘, ÙˆÓ ∞Ì·˙fiÓˆÓ, ÙÔ˘ §·‚‡ÚÈÓıÔ˘ Î·È Ë
ÂÌÌÔÓ‹ ÙÔ˘ ÛÙȘ ‰ÈÔÓ˘ÛȷΤ˜ Ï·ÙÚ›˜ «Ù˘
16 OnBlue
¤ÎÛÙ·Û˘ Î·È ÙÔ˘ ÙÚfiÌÔ˘, Ù˘ ·ÁÚÈfiÙËÙ·˜ ηÈ
Ù˘ χÙÚˆÛ˘» fiˆ˜ Ô ›‰ÈÔ˜ ÙȘ ¯·Ú·ÎÙËÚ›˙ÂÈ,
·ÔÙÂÏÔ‡Ó ÙÔÓ ˘Ú‹Ó· ÙˆÓ Ì˘ıÔÏÔÁÈÎÒÓ ÙÔ˘
·Ó·ÊÔÚÒÓ Î·È Î·ıÔÚ›˙Ô˘Ó ÙÔÓ ÓÂ˘Ì·ÙÈÎfi
¯ˆÚÔ¯ÚfiÓÔ ÙÔ˘ ηÏÏÈÙ¤¯ÓË.
∏ ÔÚ›· ÙÔ˘, Ô˘ ÍÂΛÓËÛ ÙÔ 1986 ·fi ¤Ó·
ÌÈÎÚfi ¯ˆÚÈfi Ù˘ °·ÏÏ›·˜ ˘‹ÚÍ ·ÁˆÓÈ҉˘
Î·È ÔÏ˘Î‡Ì·ÓÙË. ªÂٷ͇ °·ÏÏ›·˜, µÂÏÁ›Ô˘,
πÛ·Ó›·˜, πÙ·Ï›·˜ Î·È ∞ÌÂÚÈ΋˜ ·Ó·˙‹ÙËÛ ηÈ
‚ڋΠÙÔÓ Â·˘Ùfi ÙÔ˘ «ÂΛ fiÔ˘ ÔÈ ‰ÚfiÌÔÈ ÙˆÓ
ÔÏÈÙÈÛÌÒÓ Û˘ÁÎÏ›ÓÔ˘Ó Î·È ÔÏÏ¿ÎȘ Ù¤ÌÓÔÓÙ·È».
∆ËÓ ÚÒÙË ·˘Ù‹ ¤ÎıÂÛË ÙÔ˘ André Masson
ÛÙË ¯ÒÚ· Ì·˜, Û˘Óı¤ÙÔ˘Ó ¤ÚÁ· Ù· ÔÔ›· ÚÔ¤Ú¯ÔÓÙ·È ·fi ÌÔ˘Û›·, ȉڇ̷ٷ, ÙËÓ Û˘ÏÏÔÁ‹ Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜ ÙÔ˘ ηÏÏÈÙ¤¯ÓË Î·È ¿ÏϘ
ÁÓˆÛÙ¤˜ ȉȈÙÈΤ˜ Û˘ÏÏÔÁ¤˜ Ù˘ ∂˘ÚÒ˘ ηÈ
Ù˘ ∞ÌÂÚÈ΋˜. ™˘ÓÔÏÈο ı· ÂÎÙÂıÔ‡Ó 85
¤ÚÁ·: Ï¿‰È· Û η̂¿, Û¯¤‰È·, ̷ΤÙ˜ ÁÈ·
ı·ÙÚÈΤ˜ ·Ú·ÛÙ¿ÛÂȘ Î·È ÁÏ˘Ù¿.
∆ËÓ ¤ÎıÂÛË ¤¯Ô˘Ó ÂÈÌÂÏËı› ·fi ÎÔÈÓÔ‡ Ô Î.
Didier √ttinger, ∂ÈÎÂÊ·Ï‹˜ ∂ÈÌÂÏËÙ‹˜ ÙÔ˘
∂ıÓÈÎÔ‡ ªÔ˘Û›Ԣ ™‡Á¯ÚÔÓ˘ ∆¤¯Ó˘ Ù˘
°·ÏÏ›·˜- ∫¤ÓÙÚÔ Georges Pompidou, Ë Î˘Ú›·
Guite Masson, ̤ÏÔ˜ Ù˘ ∂ÈÙÚÔ‹˜ André
Masson ÛÙÔ ¶·Ú›ÛÈ Î·È Ô Î. ∫˘ÚÈ¿ÎÔ˜ ∫Ô˘ÙÛÔÌ¿ÏÏ˘, ¢È¢ı˘ÓÙ‹˜ ÙÔ˘ ªÔ˘Û›Ԣ ™‡Á¯ÚÔÓ˘ ∆¤¯Ó˘ ÙÔ˘ π‰Ú‡Ì·ÙÔ˜ µ·Û›ÏË Î·È ∂Ï›˙·˜ °Ô˘Ï·Ó‰Ú‹.
Ÿˆ˜ ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔÓ›˙ÂÈ Ô Î. ∫. ∫Ô˘ÙÛÔÌ¿ÏÏ˘ «Â˘ÂÏÈÛÙԇ̠fiÙÈ Ë Û‡ÓıÂÛË Î·È Ë
‰ÔÌ‹ ÙÔ˘ ıÂÌ·ÙÈÎÔ‡ ·˘ÙÔ‡ ·ÊÈÂÚÒÌ·ÙÔ˜ ı·
˘ËÚÂÙ‹ÛÂÈ ÙÔÓ ÂȉȈÎfiÌÂÓÔ ÛÎÔfi ÒÛÙ ӷ
ηٷٷÁ› ÛÙȘ Û˘ÓÂȉ‹ÛÂȘ Ì·˜, Ô André
Masson ˆ˜ ¤Ó·˜ ÂÎ ÙˆÓ ÛÙÔ¯·ÛÙÒÓ ÊÈÏÂÏÏ‹ÓˆÓ ÔÈ ÔÔ›ÔÈ Ì ÙȘ Û‡Á¯ÚÔÓ˜ ÚÔÙ¿ÛÂȘ
ÙÔ˘˜ ¿ÓÔÈÍ·Ó Ó¤Ô˘˜ ‰ÚfiÌÔ˘˜ ÚÔÛ¤ÁÁÈÛ˘
ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ Ì·˜».
∏ ¤ÎıÂÛË ı· ‰È·ÚΤÛÂÈ ¤ˆ˜ 30/09/2007. "
A
lthough he defined himself as a surrealist
during two different periods of his long
career (1924-1928 and 1936-1945),
the celebrated French artist has been traditionally
identified with the great aesthetic / philosophical
movement of André Breton and is justly
considered a key figure in the development of that
movement. Masson, however, focuses on a more
cerebral and Dionysian manner of expression.
As a surrealist, he was bound to turn to the vast
pool of ancient Greek wisdom and legends,
which inspired and motivated him to re-evaluate
the primordial themes of life, love, and death. In
addition to the ancient myths, themes that
composed the artist’s visual universe are the
Anatolian calligraphy, the Indian folklore, and the
daily symbiosis of man and nature.
Primordial myths, including those of the
Minotaur, Sisyphus, Oedipus, Pasiphae, the
Amazons, and the Labyrinth, combined with
Masson’s fixation on Dionysian rituals of
"ecstasy and horror, of wildness and liberation,"
as he describes them, are in the core of his
mythological allusions and define his spiritual
milieu.
Masson’s career began in 1896 in a French
hamlet and was full of trials and tribulations. On
a quest for self discovery, the artist moved from
France to Belgium, from Spain and Italy and
finally to the States, and he accomplished his
goal ‘where different cultures meet and cross with
each other at multiple points."
Masson’s first exhibition in Greece this summer
comprises works that come from museums,
foundations, the collection of the artist’s family,
and other acclaimed private collections in Europe
and the U.S. A total of 85 pieces will be on
display: oil on canvas, drawings, model settings
for theatrical performances, and sculptures.
Curators of the event are: Didier √ttinger, Head
Curator of the National Museum of Modern Art of
France - Georges Pompidou Center, Guite
Masson, member of the André Masson
Committee, and Kyriakos Koutsomallis, Director
of the Museum of Modern Art of the Basil and
Elisa Goulandris Foundation.
As Mr. Koutsomallis notes, "we hope that the
make-up and structure of the thematic tribute to
André Masson will serve our intended goal,
which is for the artist to register in our minds as
one of the philhellene thinkers who opened up a
new approach to our culture."
The exhibition, organized with the support of
SG Private Banking and ERT as its
communications sponsor, is showcased in a
fully illustrated luxurious catalog, designed and
published by the Italian Umberto Allemandi &
C. publishing company.
The exhibition will run until 9/30/2007. "