그러나 그것은 당신이 시간을 절약 할 수있는 장점이 있으며, 티켓을 얻을 기회는 희박하므로 그렇게하십시오.Monyeki가 물을 섞은 쥐 독이 하나님의 치유력이며 힘이됨을 Monizeki는 Monyeki가 교회 회원들에게 독극물을 공급할 때 선포 할 필요가 없다고 말했습니다 왜냐하면 우리는 신자이기 때문입니다.Danvers는 자랑스러워 할 것입니다.다음 맹방이있다.역시, 명중의 투명한 수는 Wisconsin의 가볍게 기갑 끝 및 unarmored 상부 일을 황폐하게하고 화염에서 남겨 둘 것입니다..국민들은 시도 할 수있다.다른 사람들은 저 지르지도 모르지만 그는 nfl 플레이어로서 보여주는 캐릭터의 품질을 충분히 강조 할 수 없습니다.세기의 마지막 4 분의 1이 지나자 영국은 부활 한 천주교에서 생존하는 데 가장 중대한 위협에 직면하면서 대륙에 대한 칼빈주의 세력의 생존에 중추적 인 역할을 할 운명에 이르렀다..우리는 또한 기사에 대해 의견을 말하고, 게시판에 참여하고, 이미지, 사진, 비디오 또는 기타 컨텐츠를 서비스에 제바다이야기 프로그램할 때 귀하가 제공 한 정보를 수집합니다.보고서는 건강 전문가 패널과 공동으로 41 개의식이 요법을 평가하고 순위를 정했습니다.식이 요법은 ‘안전하고, 따라 가기 쉽고 영양가가 좋으며 체중 감량에 효과적입니다’라고 입증해야했습니다.그녀는 이라크가 ISIS와 같은 급진적 인 단체들과 이스라엘과 20 년 간의 전쟁을 벌이고있는 이스라엘에 의한 공습으로 그들의 나라를 해체하기를 원하지 않는다는 것에 동의 할 것이다.하나는 다른 것을 알았습니다.그들은 나를 행복하게 해주지 만 슬픈 느낌이 들지만 괜찮다고 생각하는 순간이 있음을 아는 것이 슬프다..Roosevelt는 가장 높은 순위를받을 자격이 있습니다.서비스 제공자.그러나 우리는 오스트리아 법원을 어떻게 생각 하느냐, 당신의 승리를 돌보는가온라인카지노rchduke의 승리에 대한 좋은 소식을 우리에게 전하십시오.공화당 상원 의원들의 오늘 결의 투표는 표결이다.어제 1902 년 3 월 6 일, 마드리드 축구 클럽이 공식적으로 창설되었습니다.N 숫자가있는 사람에게 4 가지 추천 판매 제안 확률 계산에 저항 할 수 없었습니다.그 하나의 베이킹 TV 쇼가 있었는데, 나는 그 조리법을 적어두고 나중에 구울 수 있는지 엄마에게 물었습니다.
그는 우리에게 18 조 달러짜리 지폐를주는 것 외에는 미국을 위해 아무것도하지 않습니다..이 넌센스는 쉽게 반증됩니다.유일한 차이점은 이제 모든 것의 위에, 서까래 옆에 52 번이 걸려 있다는 것입니다.전희를 통해 섹스를하기 전에 적어도 한 가지 오르가슴을 소녀에게줍니다.Danvers는 자랑스러워 할 것입니다.90 년대에 T온라인카지노teiya Women Collective가 설립되면서 수백 명의 여성 1994 년부터 시아파 제품을 판매해온 안정적인 수입을 제공하는 지역 사회의 11 개 시어 프로듀서와 시어터 제작자가 협회 주 구매자이며, 여성들은 학교, 우물, 진료소와 같은 중요한 공동체 프로젝트에 사용되었습니다.나는 종교를 사용하여 세상을 더 좋은 곳으로 만들 수 있다는 주장을 거부하는 것은 터무니없는 것이라고 말하고 있습니다.후속 비디오에서 HP와 Best 온라인카지노t에 대한 부정적인 견해를 표명했다는 주장에도 불구하고 Cramer의 권고 시점은 사실 떼를 추격 한 후 전형적인 것 같습니다.’염두에 두는식이 요법을 잘하는식이 요법은 호간 (Hogan)과 파렐 (Farrell) 모두가 희망하는 새로운식이 요법입니다.2007 년에, 애국자는 뉴욕 제트기 코치에게서 신호를 쏘는 붙잡히고; 뉴 잉글랜드는 다른 팀들과도 비슷한 혐의를 받고 있었고 나중에 확인되었습니다.텔 아비브 (Tel Aviv)는 중앙 횡단 보도에서 빨간색과 녹색으로 바뀌는 지상 LED 라이트 스트립을 배치하여 보행자가 도로에 발을 들여 놓기 전에 휴대 전화에 몰두하는 사람들의 관심을 끌기를 기대합니다.학대적인 행동은 모든 사회 범위에 영향을 미칩니다..그것은 내가 Goku와 Vegeta가 주변에 있지 않은 호를보고 싶지 않다고 말하고있다 .volorsutes18 점은 2 일 전에 제출했다.Endzior와 ‘Zapiekanki od 1980 roku’외에도 다른 곳에서 zapiekanka를 시험해 볼만한 가치가있는 곳이 무엇입니까? 나는 당신이 그것 같이 느끼는 경우에 가까운 ‘파란 Nyska에서’소시지를 시도하는 것이 좋습니다 🙂 MasterOfConcrete3 점은 3 일 전에 복종되었다 나는 병이 들었고 학교에 가지 않았다 (11 yo), 부모님의 침대에 머물러서, TV를 보았다.
도널드 트럼프 (Donald Trump)는 일련의 트위터에 ‘뮐러 보고서가 없어야한다’고 말했다.연구원은 유명한 돌 원 기념물을 제공하는 4 개의 신 신석 붕 사이트에서 131 마리 돼지의 뼈를 조사했다.대부분의 목표, 가장 많은 승리와 가장 연속 된 모습을 가진 팀.그리고 나는 그들의 헤어 스타일 인 ala namjoon을 didnt한다.자녀가 백신 성분에 알레르기가있는 경우를 제외하고 예방 접종을 거부하온라인카지노 것은 불법입니다.사진 : Disney Marvel Studios via APSource : APThe 1995 년, 그녀는 로스 앤젤레스 블록버스터로 부서지며, True Lies에서 Jamie Lee Curtis를 잘라내는 판지로 거의 공격을받습니다.독일인이 자신의 모국어로 ‘흑인들이 거짓말하는 것을 알지 못한다’로 번역 한 어떤 것을 말하면 기이하게 배치 된 것입니다.다른 사람들은 저 지르지도 모르지만 그는 nfl 플레이어로서 보여주는 캐릭터의 품질을 충분히 강조 할 수 없습니다.거부 당하거나 면제 받았다 ‘고 주장했다.모든 제출물의 제목은 기사 헤드 라인과 정확하게 일치해야합니다.1980 년 중간 연령은 22 세 였으므로 이제 35 세가됩니다.Jane Ruthsatz : 일반적인 자폐증 인구에서 10 %는 자폐증 기술이 뛰어나고 무언가에 탁월한 능력을 발휘할 것이며, 단지 자폐증을 보여줄뿐입니다.Ilhan Omar와 Rashida카지노사이트aib에 대한 여러분의 의견을 듣고 깜짝 놀랐습니다.
Almost forty years after the fall of the dictatorship Greece is a blossoming democratic state, member of the EU, has already experienced his first immigration wave and now tries to find his new role on the map of the world. Also the contemporary art has profited from this situation and blossoms for about twenty years increasingly. The absence of an intelligent and well structured policy for the promotion of contemporary art, the financially poor public promotion, the lack of institutions and of necessarily infrastructure for contemporary art has isolated living culture of Greece and artists long time from the international mainstream. Still before a very short time one understood the visual arts (and culture generally) as a kind of tradition which was, however, closed in itself and ethnocentric and in which academic axioms like “Hellenism” and the admiration of the antiquity took a high value.
Against it one saw “advanced” Greek art almost only abroad (from artists like Kounellis, Samara or Takis), at home hold it an edge existence. Only in the very last time the knowledge asserts itself with difficulty that art is a must for cultures identity, exactly in relation while it based on experiences which itself will get to know directly.
The today’s Greek society has assimilated mediterrane and oriental influence as well as western lifestyle and western consumer behaviour. In spite of traditional traditions, more narrowly family connections and a conservative mighty orthodox church Greece is already a country oriented absolutely to the west. During the last years a lot has done, in particular thanks to private initiative and privately financial support. New showrooms, galleries and artist’s initiatives, and two state museums in Athens and Thessaloniki, the two biggest Greek cities in which all most the artistic activities concentrate for contemporary art, were established. The growing cultural scene is determined, above all, by the big collectors, private museums and a germinating gallery scene and is anew animated. Even the artfair of Athens (Art Athina), the yearly shop-window of local art trade with increasing international participation, was brought to life in 1994 from a private initiative of engaged gallery owners.
Another leading figure in the art scene was his former multi-billionaire’s colleague Dimitris Pieridis also coming from Cyprus, his activities, nevertheless, reach from the antiquity up to rather less supported contemporary Greek art. Vlassis Frissiras is one of the 10 most significant art collectors of the world and a profilic promoter of contemporary art. His museum shows important works of Greek art and more than 3000 examples of international contemporary art like of Peter Blake, Frank Auerbach, David Hockney, to Paola Rego, Jean Rustin, Pat Andrea, Valerio Adami, Mimo Paladino, Antonio Segui u.v.a. Farther significant collections and private institutes are the Lambrakis Research Foundation and the Basil and Elis Goulandris Foundation.
In comparison to Athens the artscene of Thessaloniki is less spectacularly, without a jet set character. But on the other side, here in the centre of the South-east European cultures and economic movements the people are related more to substance and look more to their own cultural identity. This was maybe one reason, why the incomparable collection with works of Russian avant-garde artists of the Greek George Costakis (1913-1990), formerly resident of Moscow and one of the most significant collectors of the 20th century, came to Thessaloniki. Art Forum Culture Foundation is hosted since 1996 in Thessaloniki as well. The Museum of Modern art, inside the fair ground of Helexpo, holds a huge collection of international and Greek art, supported from the private collection of Alexander Iolas.
Just in spider of the Southeast, in Thessaloniki, the resumption of cultural priority and a suitable promotion can carry on not only the economic development, but also be a guarantor for an international common language. Outgoing from the knowledge that blossoming cultures and growing national economies cause itself mutually, the missing or otherwise used official support is of course still a not satisfactory brake moment.
At the moment originate some fine collections with international and Greek contemporary art. Thus The Thessaloniki Museum of Photography is just the only museum devoted to this prospering medium in Greece – and one of just a few of its kind in Europe. From determining influence in this region and further on is also the gallery-conglomerate Tsatsis Projects / Artforum, one of the most significant Galleries generally in Greece. The narrow co-operation to Artforum Culture Foundation enables in common strain to be involved in central area of contemporary culture. Pantelis Tsatsis founded as well 2016 the now leading artfair of Greece: Art Thessaloniki.
Also the audience grows bit by bit for contemporary art, however, the market for such works is still small. It corresponds to an order of logic that on the opening to contemporary culture in the country itself, in the end, will follow also the interest abroad. Besides, the extension of the art understanding will contribute to the self-esteem also of the Greeks and the people of the greater area all over the world. Besides, stylistic questions are, actually, of secondary nature, it is determining which contents are transported. It would be to be thought absurd that an equalised art that means an art calls to western measurements would have future. Forms and colours may pass in a global world without shade, but spiritual penetration of life can arise always only from the own culture and landscape and will develop in confrontation to the unknown.
Jannis Kounellis formulated this in his charta, published 1995 in Milan, with these words: . then you find a language with which to construct an image, every age identifies with a new image, that nevertheless contains the past as imaginary and as language, albeit essentially reformed.
Most famous Greek artists of the 20th century
Stylianos Antonakos, Peter Voulkos, Steve Giannakos, Christos Giannakos, Nassos Daphnis, Electros (B.Vekris), Aristodemos Kaldis, Yannis Kounelis, George Constant, Michalis Lekakis, Constantinos Manos, Jenny Marketou, Jim Molfesis, William Baziotis, Linda Benglis, Eleni Milona, Nikos (Kessanlis), Jean Xceron, Lucas Samaras, Theodoros Stamos, Philip Tsiaras, Constanin Parthenis, Konstantinos Maleas, Michalis Economou, Yannis Spyropoulos, Nikolas Ghika, Diamantis Diamdopoulos, Yannis Tsarouchis, Spyros Papaloukas, Yannis Moralis, Tsingos, Nikolas Gyzis, Giannis Gaitis, Dimitris Mytaras, Nikos Engonopoulos, Markos Hatzipateras, Dimitris Hatzis, Theo Hios, Alekos Fasianos, Alexis Akrithakis, Chryssa (Vardea), Theodoros (Papadimitriou), Yiorgos Zongolopoulos.
Furthermore important contemporary artists in Greece are: Manolis Polymeris, Costis, Vangelis Pliaridis, Panagiotis Tanimanidis, Yannis Fokas, Yannis Lassithiotakis, Mihalis Manoussakis, Stanislav Marijanovic, Opy Zouni, Slovodanka Stupar.
Culture is connected inseparable with history and is able to connect people. There is a need of knowledge of the past, as well as of the exact current situation, and we certainly need, most of all, to grope what is coming. Purely from a practical point of view, the Artforum Culture Foundation of Thessaloniki give birth and a harbour to individual and competent artists, as well as from Greece or from abroad, which like to co-operate for the same aims of humanistic culture. To reach this never ending targets, the Foundation is an open and serious partner to communities, museums, culture organisations and innovative galleries in all parts of the world.
Greece is an entity and at the same time a constantly evolving process. There is no doubt that the contributions to art, architecture and science and first of all the philosophical and political thoughts serve as the foundation of modern Western civilisation. But it is up for discussion, what can be the contemporary contribution of the Hellenic culture and of the whole influenced area with its own remarkable cultures.
Contemporary Greek art is owing to a variety of complex historical, political and social conditions, which directly influenced and conditioned the evolution of creative activity in the visual arts and in general its cultural development. It shows a discontinuous broken line and mute presence, while at the same time presenting original, noteworthy and occasionally pioneering in the vanguard, new approaches in visual arts. During the long period of civil war (1945-49) after World War II, continual political upheavals (1950-67), and dictatorial control (1967-74), were like ruptures with the past, attributable to an insufficiency or deficiency of culture and a stifling sense of isolation and enclosure, dogmatism, and the prejudices inherited from a traditional “academicism”.
The fall of the junta (1974) created an atmosphere of the communication and the international interaction which remained not without influence on the visual arts.
One of the main features of the contemporary artistic scene in Greece since 1980 has been the return of a large number of artists from abroad, where they had sought refuge for economic, political and cultural reasons.
During the last three decades the cultural landscape, on the basis of reawakened public consciousness and under the impulse of strong creative forces, has been in a state of constant and dynamic transformation in many regions worldwide. Dependent from a free and optimal climate in New York, Cologne (partner-community of Thessaloniki), Sao Paulo and London for instance, individual artists, experts and collectors could create phases of highly cultural impute. There is just forgotten, that the power of Greek culture is still in the venues of the Greek people, that the lust for philosophical dispute, aesthetics, art, literature and music has never ends. But this is not a national situation, it is a cultural phenomena. In a progressing Europe we have to think about cultural roots. The workshops in Athens of Nikos Kessanlis, Giorgos Lappas and Rena Papaspyrou at the Athens School of Fine Arts, or the class of plastic arts at the School of Architecture (N.T.U.A.) of Theodoros (Papadimitriou) and the workshops of Teta Makri and Yiannis Fokas at the School of Applied Arts in Thessaloniki, founded in 1985, were to make a dynamic contribution to forcing the development of contemporary art in Greece.
Their aesthetic initiatives are characterised very often by features rooted in the approaches to contemporary culture (contemporary history, social issues, politics), the multi-dimensional analysis of the concept of memory (social, personal, psychological, anthropological), associated with the spirit of cosmopolitanism and an international interpretation of identity which transcends the bounds of individual nationality, and in the approach to and understanding of the modes of transformation of a fragmented present.
Some of their works combining photography, installations, painting, new media, functions as a system of knowledge of memory and mythology, related to different disciplines like psychoanalysis, literature, feminist theory, cinema, music, theatre and philosophy. Based on this theoretic construction, there is no border in presentation ideas. Culture is the playground on which creation can grow up.
It is thus the younger generation of artists, which began to take shape around the year 1990 who are forming the image of contemporary art in Greece. And it is this generation, which is called on to transcend the boundaries of a cultural policy imprisoned in the ideas and prejudices of the past.
Modern creation in Greece deals with stimuli and expresses itself through a language certainly common all over the world. Information, the media, new technologies, the Internet have acted as catalysts on the work of artists in the last ten years. What is more the issue of globalisation and, mainly, the painful consequences, which have resulted from the post-communist society, have inescapably affected artists who live in the sensitive Mediterranean zone.
Greece, the starting place of Artforum Culture Foundation, is an European country of strong contradictions, a region both central and peripheral, a historical and vital geographical point of passage, which has operated throughout history to distil alien ideas. Greece has to be understand as a link between two different civilisations and two different worlds to build up a connection between different civilisations and different worlds. These aspects from East, the Occident as well as the north and the south influenced Greek thinking and life. In this rich, different and contradictory intersection area, different views, influence and sensations could bundle up to themselves and cause the forming of an independent hellenic culture.
Today the overall situation may remain unknown to art-lovers as well as to art critics as well. The arts in Greece, the Balkan and most of the Mediterranean countries are isolated and get a few chances only under foreign cover. But this is at first a problem of incomplete images of this area and of interest and knowledge abroad, not a problem of quality.
See also:Famous Greek Artists
Posted Dec. 2009
Greece is in the focus of interest and the much-discussed crisis reveals reliably: everything is connected with everything. Pythagoras already recognized this.
Starting from this realization it becomes clear that Greece can master problems only together with those who are involved. National indebtedness with similar effect as the bankruptcy of the Lehman Brothers is the result of a wrong national consciousness by a system, where profits are privatized and losses are socialized. Lack of democratic control opens all gates for corruption and mismanagement. This is not only a Greek phenomenon and problem, but generally at least by the European Union bureaucracy. However the Greek people does, not make the circumstance that this pacifistic country has the highest military expenditure per head.
Naturally a recovery of the lack is not possible without strong participation of Greece itself. We have to go back finally to the roots of the evil. Continuous fraud and mismanagement in the public sector led a country, weak of innovation, into a big crisis. Deliveries and taxes were drastically increased, but only little steps are really done. The large fortunes still are not touched; the people only carry the load. Many of the few thousands wealthy people are not willing to do their contribution for the society and their necessary development. Whole industries are traditionally excluded from taxation -there are large potentials.
A further way would be additional support of education, art and culture by a simplification of the foundation laws and a complete release for amounts of foundation and donations for the. The blind pride on cultural values of the antiquity, without promoting these and contemporary efforts effectively, may not have place anymore in the Greek policy.
Within a really social and democratic European Union it should be also possible to receive foundations and donations from other countries of the European Union honored by tax reductions. Straight for Greece, whose people live approximately 50% in Europe and overseas, it would particularly boosted welfare.
At last the crisis will give the possibility to think about a renewal of societies. Democracy can function only if social justice is possible. Economic prosperity and lastingness can proceed in the long term only by a well-educated society, which take part also on the economical benefits.
|All this is part of a cycle, which secures a surviving of mankind. It seem to be clear, there will be no lasting peace, as long as the mistrust remains the prevailing and all other edging out norm. Cultural ignorance is the mostly incriminating factor, which sows mistrust between us. The increasing efforts towards a peaceful and greener planet go to the vacuousness if we treat contemptuous the same time the human achievements, which are foreign to us.
Just the discovery and use of cultural resources rescues an immense potential for the economic and social development in itself.
The non-profit Artforum Culture Foundation exerts itself for these targets and gives its contribution by own projects, co-operations and by interlinking with artists, galleries, collectors and as well as with museums and art organisations.
Question: Which assignments does Artforum Culture Foundation (abbreviation ACF) fulfil?
Apostolidou: ACF is a foundation which runs cultural activities. The main running projects are, for instance, our NETWORK+ Project and our idea of a European Cultural Centre (ECC) in Thessaloniki. To name one project based on a single artistic idea, this is the initiation of the project Sancto Subito with which we would like to perform a contribution to the actual discussion about the system of ethical values.
Question: Contemporary art plays a leading role at ACF. What is the policy of ACF concerning international change exhibitions and itinerant exhibitions, which ACF shows in its spaces or sends somewhere else?
Apostolidou: ACF wants to promote the cultural dialogue and the artistic exchange in the conviction, that this is conducive to the reciprocal understanding and the tolerance between the nations. Concerning the role of ACF, it consists in promoting cultural variety and knowledge about the art as well as in announcing significant art in Greece and from Greece.
Question: What are the main focuses of ACF?
Apostolidou: The name of the foundation itself formulates already the responsibility to be involved for cultural interests. This contains at first all areas of culture, all parts of the arts and extraordinary expression forms of social life. We are open for all areas of culture and try to link up existing activities to allow new views. Indeed, because of personal interest and for strategically reasons, nevertheless a special focus lies on the mediation of fine art. Our assignments can be controlled and forced better over this line. Literature readings, music, dance and theatre complement our program. Furthermore we are willing to co-operate for cultural activities of local authority districts and companies. We like to be in contact with galleries and collectors. With pleasure we exert ourselves for the objective interests of artists. This approach is especially suitable to link cultural, social and intellectual interests.
Question: Which is the practical use that do you see subsequently of such synergy effects?
Safiriou: L’art pour l’art is absolutely necessary, because mind and soul want to be able to relax. This should be immanent, in any case, of every art. However, in addition, we see art as a practical instrument of philosophy, to give sense (!) to our life. We have to imagine, that art is the only area in which science can be freely run. We are interesting in artistic research as contributions to individual psychology, to ethics and to utopia. An architecture as a living space, e.g., and the integration in town planning and landscape planning, is nowadays an area where is highest state of emergency and where totally thinking and working is absolutely necessary.
Question: ACF disposes of relatively big exhibition floor spaces and more attached space. For what needs ACF has to be so self-sufficiently?
Apostolidou: It is one of the aims of ACF to led artists real, virtual and spiritual space where they can show their artwork and where it can be valued according to her own aesthetics without having to pretend. This was and is one more one of the main functions of the exhibition hall and the other spaces.
Question: How is the financial position of ACF?
Apostolidou: ACF is a non-profit private foundation. This means, our work is not profit-oriented, possible profits are used exclusively for foundation purposes. ACF undertakes all activities from the own strength and therefore private and public sponsorship is necessary and very welcomed. A municipal or state sponsorship or participation does not exist at all till today. For this reason ACF is independent and we are free in our decisions. Nevertheless, a support from the European Community would make sense and would become very helpfully to fulfil our pan-european and international targets.
Question: Which special performances does ACF offer additional to the art and cultural program?
Apostolidou: ACF publishes own publications, books, catalogues and posters. Additional and in co-operation ArtForum Edition publishes graphics and multiples of selected artists. ACF has a library system for research purposes at the seat of the foundation, as well as at the contact offices. ACF is a partner for private and institutional collectors to whom we can give assistance in collaboration with specialists in questions of the art market, for conservation, technical analysis, art historical problems and authenticity. As a partner of artists we consult objectively further approach and we coordinate documentation and inventory. We can also be responsible for treatment, care, publication and utilisation of art estates of antiquities up to contemporary art.
ACF also maintains good relations with Greek publishing companies and can arrange contacts for writers. In the same way ACF is a partner for foreign music and theatre ensembles coming to Greece and the neighbour countries. An area for which we like to do more in the very future will be cinematography.
Question: How do you see the situation of Greek literature today?
Apostolidou: There are great Greek authors, prominent lyricists. However, the young authors have fewer chances outside Greece. This has possibly to do with narrative forms, which are not simply, can be mediated to most of the audience. On the other hand, the phenomenon has to be ascertained, for Italy e.g. the Melanese publisher Inge Feltrinelli have pointed out, that the origin of the authors is not of big importance. Attributes like “German” and “Italian” or “Greek” and “English” really do not exist anymore in today’s literature. Last but not least, personality is necessary for success, but however, indeed, there are cultural differences also in the reception.
Question: Does sport not replace increasingly the role from art and culture in the favour of the people?
Apostolidou: First of all, sport is an essential part of the culture and, secondly, artists deal for a long time in an analytic way with this phenomenon. In this sense sport activities of course also belong to our assignment. The Greeks are keen on sport, they have create sport as a cultural thing. The resumption of the Olympic games in 1896 was financed to a third part from the private pockets of the people, which were not quite rich.
A great support came also from wealthy people of the Greek community, living in Alexandria, Egypt. It is to be seen with joy how Greece and the Greeks have shown their capacity and organisation talent with the Olympic Games in 2004 and the football European championship as well. This has delivered an important contribution to the cultural self-confidence of Greeks today all over the world. Nevertheless, it is a pity that, although the international Olympic committee designate the environmental care as columns of the Olympic ideas, the responsible managers have done only very little for this.
Question: Did it belong to the concept from the beginning of ACF to include also art in the program from neighbour-countries and international art beside the focus on contemporary art from Greece? On which considerations this decision is based?
Safiriou:In my opinion the cultural bottom is especially fertile in these regions which dispose of a great heritage and which has been offside for longer time because of political and economic reasons. This is in culture not more differently than in agriculture. However, it requires special care.
Question: Which politic-cultural aims do you pursue and how do you see the possibilities of ACF?
Safiriou: There will be no lasting peace, as long as mistrust remains the prevailing and everything edging out norm. Cultural ignorance is the mostly incriminating factor which sows mistrust between us and which can lead to war. The increasing efforts towards a cleaner and greener planet lead to nothing, if we will destroy at the same time the human achievements which are contemptuous foreign to us. It is not enough giving disaster relief and economic support to the people, but to refuse her aesthetic needs, however, only because these are different from our needs.
Apostolidou and Safiriou are members of the board.
Thessaloniki’s identity is embedded in its unique history as a multi-cultural city with long enduring prolific co-existence of Christians, Muslims and Jews. Thessaloniki’s Jewish community, the oldest in Europe, was present in the city for 2,000 years and was the largest ethnic community of the city between the years 1492 and 1912. The fire of 1917 destroyed many of the Jewish buildings of Thessaloniki. After Greece achieved independence from the Ottoman Empire, it made Jews full citizens of the country in the 1920s. During World War II, the Nazi Germans occupied Greece in 1941, and started to systematically persecute the Jews as they had in other parts of Europe. In 1943 they forced the Jews in Thessaloniki into a ghetto near the rail lines, and started deporting them to concentration camps (KZ) and so called labor camps, where most of the nearly 69,000 deported were killed or died horribly as a result of the deportation. This resulted in the near-extermination of the community. The extermination of the Jewish community during the German occupation of World War II erased much of the city’s Jewish fabric. Only 1200 Jews live in the city today. Another sad chapter in the history of the city is the lack of support provided by the episcopat of Thessaloniki, which, in contrast to the archbishop of Athens, was not committed to their fellow Jewish citizens.
After a turbulent history, under the mayor Jannis Boutaris the city has resumed its responsibilities and established close contacts with the people of Turkey, Israel and especially the Jewish world population. Especially in difficult Turkish, Greek and European times, the close contact for freedom, peace and prosperity is necessary and conducive.
In particular, David Saltiel, the president of the religious community, had a dream and made a prominent contribution to the new development of Jewish life. A recommendation and a must when visiting the city is definitely the 2001 founded Jewish Museum in the heart of the old town. Following discussions with Gaiose SA, the organization that manages the real estate property of the Railway Organization of Greece, and the Municipality of Thessaloniki, the Jewish Community of Thessaloniki signed end of 2013, a Memorandum of understanding for the development of a Memorial Center on Holocaust Education Remembrance and Research.
For the German government, it should be a special obligation, honour and only a small helping hand, to successfully support the establishment and maintenance of this planned memorial site and cultural center. At the same time, the funds promised to Saltiel by the German government and the Stavros Niarchos Foundation have led to controversy within the community, since many people do not want to end the catastrophic chapter of the mass murder of the Thessalian Jews with a relatively modest donation. It is to be hoped that both Saltiel’s commitment and the legitimate demand for further work can finally progress. It is estimated that the project will cost a total of almost 30 million euros. The cultural foundation of the Greek ship-owner Niarchos wants to contribute ten million euros. Millions more are to come from American and French clubs. And the German Bundestag decided to promote the construction project with another ten million euros. Half of this has already been paid out.
By offering the city of Thessaloniki a new public monument, the proposed Holocaust Memorial & Human Rights Educational Center seeks to commemorate the devastating fate of the Jewish community, but also to recount its cultural history and rejuvenation after World War II, and to host an open forum for multi-cultural education and forward-looking dialogs between various identity groups.