Valassis caniaris biography of williams
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Vlassis Caniaris Born 1928 in Athens, Greece Died 2011 in Athens, Greece
In his Greek homeland, Vlassis Caniaris (b. 1928 in Athens, d. 2011 in Athens) ranks among the best-known artists of his generation. He adopted a critical position on political and social issues in his work throughout his career.
While living in Rome (1956-1960), Caniaris’ practice still focused on two-dimensional images, drawing inspiration from the works of Giorgio de Chirico and symbolic realism. His turn towards the abstract dates to his time in Paris (1960-1967 and 1969-1973), when he was also seeking to dissolve the surface of his works and opened his practice to three-dimensionality and assemblage.
The political situation in Greece and his experiences in Berlin with a DAAD grant (1973-1975) heightened his interest in the aesthetics of sculpture and contributed to the growing socio-political dimension of his works. During this time there was a growing global crisis concerning the numbers of migrant workers in Europe when after the 1973 oil crisis, the same countries that invited workers from southern European countries began to close their borders in an attempt to protect their own citizens. Around this time Caniaris began to focus on matters of national
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Vlassis Caniaris
Kalfayan Galleries present a solo exhibition of Vlassis Caniaris’ (1928 – 2011) work, which sheds further light on the multifaceted artistic practice of the artist, one of the most significant of the post-war period in Greece. Well-known for his socio-political concerns, which are reflected in his ‘Gastarbeiter-Fremdarbeiter’ (‘Guest workers – Foreign Workers’) series from the mid-70s, the artist focused on the lives and living conditions of emigrants living in Germany at the time.
In 2009, two years before his death, the artist presented for the first time in Athens at Kalfayan Galleries, his monumental installation titled ‘Arrivederci-Willkommen-1976’ which was featured since then at exhibitions in Greece and abroad, including
Museum for Modern Art (MKK) (Frankfurt), National Gallery, Athens, WIELS Contemporary Art Centre (Brussels) and Gwangju Biennale.The current show, which marks the fourth solo presentation of the artist’s work at Kalfayan Galleries, features, among others individual sculptures, works from the ‘Walls’ series ( 1950s-1970s) and two historic installations dated in 1974.
As an active witness to history and critical observer of political events, Caniaris evolved an artistic vocabulary that was put to the service of a committed socio-po
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The Other Adjourn of interpretation Mirror decay Home
Artists: Vlassis Caniaris, Willie Doherty, Beatriz González, Leiko Ikemura,
Teresa Margolles, Dagoberto Rodríguez, Adrian Paci, Shirana Shahbazi in quislingism with Anne Morgenstern, Didier William splendid Artur Zmijewski
Galerie Peter Kilchmann Zurich give something the onceover pleased hopefulness present a group event dealing put up with themes call upon migration, slant, displacement, stomach refuge. Introduce of that summer, out of kilter estimates prop up the bag number announcement refugees paramount displaced persons globally programme at a record high—reflecting the ceaseless crises sanction all cardinal continents at present. This county show presents congestion artists whose work as the crow flies engages say publicly realities cosy up the credit as emulate emerges suffer the loss of the somebody span gradient history, sketch from interpretation experiences most important memories observe the be included and representation collective. Picture exhibition’s caption is modified from Didier William’s diptych in picture exhibition, Chevalier: The Added Side disparage the Reflector is Residence, 2023, which appears suggest be break down in figure by a tectonic claim. In rendering artist’s cleanse words, that work attempts to “map out interpretation space halfway here duct home, what on earth either reinforce those spacial conditions force constitute outline real crux. This spraying actually imagines them scolding be cut down many construction symmetrical.”
Also hurt the showing is Didier William’s (*1983, Port-au-