Under this powerful title undeniable toughness reviewed until next August 3rd a group of 32 contemporary artists come together in an exhibition hosted by the Palais de Beaux Arts in Brussels to deal with his art to a number of current realities affect and slowly and relentlessly destroy the cradle of democracy.
The dictatorship of finance, the economic problems that have transformed our everyday universe into mere figures and how all this affects the whole of society and institutions (also now transformed into statistics), are the main motivation to carry out this exhibition, said its curator, Katerina Gregos.
Works that has carefully selected for this exhibition gathered in themselves the changing spirit of creating new forms and organization of Greek artists, as well as the critical vision and emotions generated as a result of the already seventh year of economic crisis for the country hellene:
'Can not turn facing to other side. The violence of financial capitalism and the neoliberal project that it complies with all financial, productivity and constant growth, prioritises finance over human beings".
Very significant example of this uncontrolled capitalism is the short film of the artist Philippe Grammaticopoulos (1970) called The Bellies, where a businessman genetically modified the DNA of snails to create a race immensely higher and tempt as well the voracious appetite of an ever more demanding system, but that has just finally devouring it to him together with all human beings.
As historical situation which does not affect only Greece, if not to much of Europe, works that Gregos has selected are intended to form a part of everything that affects many thousands of people from across the continent, as well as shed light on many social issues that the media silence. The silence of the press, national and international, with respect to the humanitarian disaster that the crisis is causing and that so far there had been no such exposure in Greece, made for the police station even more necessary to carry out this exhibition to show the most human part of the crisis, in a space so iconic as it is the city of Brussels.
The crisis has encouraged collaboration between artists who gather to discuss with regard to the social consequences of the crisis is generating. Example of this is the collective of artists, writers and photographers calling themselves The Collective Depression Era especially interested in the loss of hope of Greek society in the future and in the public system to be extremely defective; or the group The Guerrilla Optimists, interested by promote sense of humour with absurd optimism that is socially more than buried.
The lack of hope and the ruins of a society mentally devastated by the crisis are the focus of this exhibition. In this respect the artist Bill Balaskas (1983) asks if it is possible that under the socio-economic circumstances in which we find ourselves and in an increasingly globalised world, Greece is something more than a mere surface to visit and photograph as it happens with the ruins of the Parthenon.
On the other hand, the photojournalist Alkis Konstantidinis (1984) with his series The years of the crisis, sample photographs face "not visible" from the crisis, which on many occasions translates to mere statistics, but that seems not to see statistics such as the rise in the rate of unemployment in Greecethe number of homeless people and increasingly widespread xenophobia, which is increased with the birth of radical political parties. His photographs also reflect the violence that takes hold of the streets due to the inequalities and the birth of a new "social class" increasingly impoverished, confronted with the police which seeks to reduce and control the citizen demonstrations.
In debt with a historic moment of very profound changes and of great importance, the artists in this exhibition aim to show the more human of the crisis part, as well as expose and fight with all possible means deprivation of liberties and social rights; facts which are not globally so easily but are the direct consequence of this passion stubborn by figures.
by Estefanía Sánchez
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