Suchergebnisse

Δεν παρατίθεται περἰληψη στα ελληνικά. ; Christos Loukos, The political and ideological conflicts in post-war Syros and the Hermoupolis' mayor Epaminondas Pappadam We observe, in the micro scale of Syros, the defeat of expectations held by many Greeks that after the liberation a democratic society, just to all citizens, would arise and that the new government would punish the collaborators of Italian and German conquerors and all those who became rich by exploiting the misery of the people through the black market. This article examines the short tenure of the first post-war mayor of Hermoupolis, Epaminondas Pappadam, and how his overthrow was pursued because he insisted in his democratic and antiroyalist convictions. The overthrow was prepared by individuals and groups of people who had served the Metaxas' dictatorial regime, and more than others were exposed to the accusation of collaborating with the enemy and they looked forward to the return of King George II as the only stable guarantee for maintaining their leadership role. Their aims were facilitated by the tragic events of December 1944 in Athens. Backed by the presence of several Sacred Battalion's officers, British officers and other military forces at Syros, they succeeded, not only to marginalize the EAM's small military force in the island and their supporters, but also to prohibit with offensive behavior every act which was not compatible with their aims. Under those circumstances, Pappadam should have overthrown. He was not a communist, not an EAM's supporter either, but he insisted to be against the king's return and supported the necessity of a conciliatory solution for the social and political contrasts. Besides, his overthrow would function, in a symbolic level, as a warning for forcing into obedience those, less powerful than the mayor, who resisted to the forthcoming settlement of the Greek constitutional and political issue.

Δεν παρατίθεται περίληψη στα ελληνικά. ; Alexandros N. Teneketzis, Art and Politics in Cold War. The International Sculpture Competition for the Monument to the Unknown Political Prisoner The gradual transfer of the metropolis of the western art world from Paris to New York and specifically in circles around the Museum of Modern Art (MOMA) under the leadership of Alfred H. Barr Jr. and with the theoretical foundation by Clement Greenberg, but practically under the guidance and financing from the CIA, was also visible in the case of public memory and art about the Second World War. The international institution that was the cause for the widespread diffusion of the artistic standards grown in USA was the "International Sculpture Competition for the Monument to the Unknown Political Prisoner", which was organized under the auspices of the Institute of Contemporary Arts (ICA) in London and the Tate Gallery, but actually with the encouragement, blessings and supervision of the CIA. The competition was from the beginning a large turnout and the proposals submitted until January 1953 surpassed 3.500 –mainly abstract or semi­abstract stylistic suggestions. The biggest names at the time in the international arena of sculpture in West took part, while artists from the Eastern Bloc boycotted the process. Therefore were precluded any realistic academic representative works and of course any relationship with socialist realism, giving thus the tone for both the style, and for all other future monuments in the western world. Eventually, the first prize of 2.500 pounds awarded to the British sculptor Reg Butler, unknown to the general public until that time but with a decisive commitment to abstraction. However, the work of Butler was never completed, principally because of the changing international circumstances and relationships after the death of Stalin in '53 and Khrushchev's secret speech in '56. The new "Thaw" era in East­West relations imposed the final rejection in 1960. A public monument like that of Butler's, which would refer to the previous tense situation, was no more possible. Nevertheless, the dual objective of recognition and legitimization of abstract art in the western world and at the same time of the weakening of socialist realism and therefore of communism was promoted and achieved up to a certain degree.