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SUMMARY:Xenia Politou (Aegeas AMKE Curator of Modern Greek Culture\, Benaki Museum)\, “The Costume of Women in Greece: Styles and References”
DESCRIPTION:Local Greek women’s costumes are impressive because of their wide variety and large number of local variations. A more methodical analysis can bring to the surface certain common characteristics and will help the careful observer to identify from among these varieties the basic styles and main influences that contributed to their creation. The vicissitudes of history\, the different rulers—mainly Ottomans and Venetians—who left their mark on a pre-existing Byzantine sartorial system\, and the absence of a unified Greek territory before the 1830s explain the great diversity and variety of Greek women’s costumes. Even after the creation of the Greek state in 1832\, the local style of garments still received another invasion: the invasion of a late industrial revolution and European fashion which brought new patterns and styles. Finally\, the abandonment of local costumes has been progressive—obviously slower in isolated villages—throughout the 19th century until around the 1950s. This lecture attempts to present an analysis of the basic elements common to all costumes and to their classification according to their main styles\, as they had been fashioned during a long period of foreign occupations. \nXenia Politou is Aegeas AMKE Curator of Modern Greek Culture\, Benaki Museum. She was born in Athens and studied French and Comparative Literature in Athens and Paris. From 1993 through 2001 she worked at the Museum of the History of the Greek Costume in Athens. At the same time\, she also participated in the National Archive of the Greek Traditional Costume\, a research program on clothing subsided by the Hellenic Ministry of Culture. Between 2002 and 2005\, she worked for the Peloponnesian Folklore Foundation on the organization of the “Ptychoseis = Folds + Pleats: Drapery from Ancient Greek Dress to 21st Century Fashion” exhibition\, the first international fashion exhibition in Greece. Since March 2005\, she has been working at the Benaki Museum\, first in the Exhibition Department\, and since September 2010 she has been Curator of its Modern Greek Culture Department. Her research interests include the study of Greek local costumes and Greek embroideries. She is a member of the ICOM Costume Committee and founding member and Chair of the Hellenic Costume Society. \nTo RSVP\, click here. \n 
URL:https://hellenic.ucla.edu/event/xenia-politou-aegeas-amke-curator-of-modern-greek-culture-benaki-museum-the-costume-of-women-in-greece-styles-and-references/
LOCATION:by Zoom
CATEGORIES:Art History,Community,Hellenic,Humanities,Lecture,Modern Greece
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DTSTART;TZID=America/Los_Angeles:20201114T100000
DTEND;TZID=America/Los_Angeles:20201114T120000
DTSTAMP:20201007T205648Z
CREATED:20201007T205648Z
LAST-MODIFIED:20201007T205648Z
UID:10000063-1605348000-1605355200@hellenic.ucla.edu
SUMMARY:Anna Ballian (Curator Emerita\, Benaki Museum)\, “Bacini or Immured Vessels on Post- Byzantine Churches\, 16th-17th Century: The Case of Iznik\, Italian and Local Ware”
DESCRIPTION:The image of a small church with immured ceramic vessels on its walls is interwoven with representations of the Greek landscape\, whether on the islands or on the mainland. The practice of decorating church façades with brightly decorated vessels is older than the 16th century and the Ottoman period in Greece\, and is related to the phenomenon of bacini\, or plates\, immured in the façades of Italian religious buildings from the 11th to the 15th centuries. The spread of the practice appears to have followed sea routes and commercial networks opened up by Italian maritime cities. In Greece\, the practice is particularly apparent after 1204 in areas ruled over by Franks or Venetians. Glazed ceramic plates of various origins\, whether local Byzantine or imported from Islamic or Christian Mediterranean countries\, appeared on the exterior walls of late Byzantine churches and this practice continued after the Ottoman conquest with local\, Ottoman\, Italian and other Western European ceramics until the 19th century. This lecture will focus on a group of 16th- to 17th-century churches in Euboea\, Thessaly and the Peloponnese. Ottoman immured vessels from Iznik and possibly from Kütahya are the novel factor\, the outcome of a new political reality and change of taste\, but they co-exist with Italian maiolica vessels which continued to be traded along the same routes. Dating these ceramics helps provide a chronology for newly built or renovated churches and\, when possible\, unfolds the mechanism of patronage and the status of the donors. Eventually\, the study of early churches and their immured vessels will expand our knowledge about the Greek elites of the early Tourkokratia. \nAnna Ballian is curator emerita of the Benaki Museum of Islamic Αrt. She began working at the Benaki as a curator of the post-Byzantine collection of church silver and embroideries and has worked on the presentation and opening of the Benaki | Greek Culture and Benaki | Islamic Art. She completed her BA in History and Archaeology at the University of Athens\, her MA in Islamic Art from SOAS\, London\, and her PhD at the University of Birmingham\, Centre for Byzantine\, Ottoman and Modern Greek Studies with a thesis on the art and patronage of the Christian communities in Asia Minor during the Ottoman period. She has contributed and curated several exhibitions and published on Byzantine and Islamic art and culture\, and on post-Byzantine\, Armenian and Ottoman art and culture\, especially silverwork\, textiles and ceramics. \nRSVP here to receive the link.
URL:https://hellenic.ucla.edu/event/anna-ballian-curator-emerita-benaki-museum-bacini-or-immured-vessels-on-post-byzantine-churches-16th-17th-century-the-case-of-iznik-italian-and-local-ware/
LOCATION:by Zoom
CATEGORIES:Art History,Community,Hellenic,Humanities,Lecture,Modern Greece
ATTACH;FMTTYPE=image/jpeg:https://hellenic.ucla.edu/wp-content/uploads/2020/10/Screen-Shot-2020-11-07-at-2.50.17-PM-1.jpg
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DTSTART;TZID=America/Los_Angeles:20201121T100000
DTEND;TZID=America/Los_Angeles:20201121T120000
DTSTAMP:20201007T205820Z
CREATED:20201007T205820Z
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UID:10000064-1605952800-1605960000@hellenic.ucla.edu
SUMMARY:Polina Kosmadaki (Curator of Modern and Contemporary Art\, Head of the Department of Drawings and Prints\, Benaki Museum)\, “Charting Mediterranean Archaisms in a Modern Framework: Christian Zervos and the Cahiers d’art Method”
DESCRIPTION:Christos or Christian Zervos (Argostoli 1889–Paris 1970) played a definitive role in shaping the cultural climate in interwar Paris through his journal Cahiers d’Αrt\, which he founded in 1926 and published until 1960. It was one of the longest-lived modernist journals\, which numbered 97 issues. As early as the first issue\, Cahiers d’Αrt had focused on promoting modern art and on the dialogue between works of different origins and different historical periods. Zervos is also known as the publisher of the iconic catalogue of Pablo Picasso’s paintings from 1932 on\, known today as “le Zervos\,” as well as his archaeological publications on prehistoric civilisations\, for example those of Neolithic or Minoan Crete and the Cyclades. His contribution was particularly significant in the dissemination of ancient–especially prehistoric–Greek art as well as the redefinition of ancient civilisations and archaic forms in the context of modernism. In this lecture\, I will try to expose the key aspects of Christian Zervos’ methodology in Cahiers d’art and in editions focusing on the creation of meaningful relationships between Mediterranean and earlier civilizations and the art of his time. I will speak about both his position and his practice in regard to the redefinition and reappraisal of various archaisms during the interwar period\, and make a case for his innovative approach of fusing modernism and antiquity within a liquid conception of time. \nPolina Kosmadaki is an art historian living and working in Athens. She holds a Ph.D in Art History from the University of Paris-IV-Sorbonne. She is currently Curator of Modern and Contemporary Art and Head of the Department of Paintings of the Benaki Museum\, Athens and a Lecturer of Art History in the European Studies program of the Hellenic Open University. Since 2008 she is an associate researcher of the French School at Athens’ Modern Section\, currently the Head Researcher of a project on the editor and art critic Christian Zervos and his journal Cahiers d’art. She has edited the volumes: Christian Zervos & Cahiers d’art\, the archaic turn\, 2019; Paris-Athènes 1919-1939 Le double voyage\, École Francaise d’Athènes\, 2018 (with Lucile Farnoux); Greece: Traces of today\, Imago Mundi\, Fabrica\, Luciano Benetton Foundation\, 2015; Institution critique-critical institutions\, AICA HELLAS\, September 2013 (with Elpida Karampa). She has curated numerous exhibitions both for the Benaki Museum and as an independent curator\, for example: Christian Zervos & Cahiers d’art\, Benaki Museum\, Musée Zervos Vézelay\, École Francaise d‘Athènes 2019\, Jannis Varelas\, Anima I\, 2019\, Liquid Antiquity\, DESTE & Benaki Museum 2017\, Ametria\, Deste & Benaki Museum\, 2015\, George Lappas\, Happy Birthday\, Deste & Benaki Museum 2016\, Cabinets of Miracles with Christoforos Marinos for ZONE D\, 2010. Since 2011 she is running the commissions program «Artists in dialogue with the Benaki Museum» (Andy Holden\, Adam Chodzko\, Ciara Philips\, Zafos Xagoraris\, Antonis Pittas)\, in collaboration with the British Council\, Greece. \nRSVP\, click here.
URL:https://hellenic.ucla.edu/event/hellenic-together-polina-kosmadaki/
LOCATION:by Zoom
CATEGORIES:Art History,Community,Hellenic,Modern Greece
ATTACH;FMTTYPE=image/jpeg:https://hellenic.ucla.edu/wp-content/uploads/2020/10/Screen-Shot-2020-11-20-at-6.47.47-PM-1.jpg
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