ΒιβλίοFaces of Modernism: Painting in Bulgaria, Greece and Romania, 1910-1940
Συλλογικό έργο
Irina Genova
Takis Mavrotas
Maria Katsanaki
Mariana Vida
Επιμέλεια: Takis Mavrotas
Επιμέλεια: Mariana Vida
Επιμέλεια: Irina Genova
Μετάφραση: Thalia Bisticas
Μετάφραση: Despina Alexandri
Μετάφραση: George Velentzas
Μετάφραση: Victoria Gheorghita
Μετάφραση: Codruta Cruceanu
Μετάφραση: Diana Popova
Μετάφραση: Elitza Obretenova
Μετάφραση: Stanislav Grigorov
Μετάφραση: Miroslava Nikolova - Chernodrenska
Ζωγράφος: Συλλογικό έργο
Φωτογράφος: Borislav Chemev
Φωτογράφος: Costin Miroi
Φωτογράφος: Thaleia Kymbari
Φωτογράφος: Marius Preda
Αθήνα
Ίδρυμα Εικαστικών Τεχνών και Μουσικής Β. & Μ. Θεοχαράκη
Αριθμός Έκδοσης: 1
2010
σ. 222
Σχήμα: 29χ24
Δέσιμο: Μαλακό εξώφυλλο
ISBN: 978-960-98008-6-0
Σημειώσεις: Co-publising: National Art Gallery of Bulgaria, National Museum of Art of Romania. Foreword: Jan Figal', European Commissioner for Education, Training, Culture and Youth.
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Φωτογράφηση: ΝΑΙ
Κυκλοφορεί
Τιμή: 28.00€ Φ.Π.Α.: 6%
(Τελευταία Ενημέρωση Τιμής: 01-07-2011)
Περίληψη:
[...] The project concentrates οπ developments ίπ Modem and Avant-garde art in South and East Europe, and in Bulgaria, Greece and Romania in particular, and it highlights the links with the artistic movements in Western and Central Europe in the early years of Modernism.
In doing so, the project itself mounts α challenge to an orthodoxy that persists today, where the voice of 'the periphery' is deemed to be less vocal than that of 'the centre'. What 'Balkan Modernisms' demonstrates is that the cultural world is not exclusively based in or focused on cities or regions which are perceived to be 'centres' of culture, but that it extends throughout Europe, in a network of communication and dialogue. This was the case in the past, and is even more so in our digital age. [...]
(Jan Figal')
[...] The project concentrates οπ developments ίπ Modem and Avant-garde art in South and East Europe, and in Bulgaria, Greece and Romania in particular, and it highlights the links with the artistic movements in Western and Central Europe in the early years of Modernism.
In doing so, the project itself mounts α challenge to an orthodoxy that persists today, where the voice of 'the periphery' is deemed to be less vocal than that of 'the centre'. What 'Balkan Modernisms' demonstrates is that the cultural world is not exclusively based in or focused on cities or regions which are perceived to be 'centres' of culture, but that it extends throughout Europe, in a network of communication and dialogue. This was the case in the past, and is even more so in our digital age. [...]
(Jan Figal')
