The departure of most Greeks from Egypt at the beginning of the 1960s raised questions in the community about how it should readjust its presence at an institutional level. This article examines... Show moreThe departure of most Greeks from Egypt at the beginning of the 1960s raised questions in the community about how it should readjust its presence at an institutional level. This article examines how the Greek Koinotēta of Alexandria (GKA) operated as both a local and diasporic institution in periods of contraction, in terms of size and finances, and analyzes the adjustment policies it undertook concerning its institutional property and real estate. Despite the community’s demographic shrinkage in the 1960s and 1970s, the GKA was assigned its role as the value keeper and moral guide for the children of the community through its educational institutions and orphanages, having the support of the Greek representatives, in this case the consular authorities.Even though the GKA faced serious financial difficulties in the 1960s, it strived to find strategies of adaptation to maintain its agency and social, political and economic capital. Show less
This thesis is about the special relationship that the spectator enters into with sculpture. ‘Sculpture’ here means: immobile objects or three- dimensional bodies in one or more parts, deliberately... Show moreThis thesis is about the special relationship that the spectator enters into with sculpture. ‘Sculpture’ here means: immobile objects or three- dimensional bodies in one or more parts, deliberately made inside the domain of the visual arts. This thesis argues how sculpture, in the first moment, makes the spectator speechless. When thereafter the spectator opens himself up to the sculpture, he feels invited by the work to fully apply his language skills. He finds meaning by repeatedly and precisely describing all he sees in the sculpture. By researching critically how he came to create his interpretation, the interpretation becomes a reading that transcends the private interpretation of the spectator. Perhaps this way of perceiving is applicable to all sorts of artworks, but in the case of sculpture it is particularised in the relations with the sculpture, due to the continued presence of the sculpture as a body. The meeting with the statue is experienced bodily and the being together in the world stimulates the research in a way that is comparable to the meeting of human beings. Show less
