Furthermore, scientific theories on the structure of language and thought have their own effect on the sensitivity of various Greek artists; the transposition and transformation of these theories in the work of K. Xenakis (b. 1931), who belongs to the lever of the previous avant-garde, deserves to be mentioned. From 1975 onwards Xenakis creates works in which he reproduces his own ornamentique writing, while from the early 1970s A. Akrithakis (b. 1929) translates the semiotic conception of language into a more primitive and narrative writing. On the contrary, the adoption of the neostructuralist theories on the metaphorical property of the image and of the discourse will constitute, starting from 1976, the basis of the purely conceptual work of the younger Ch. Tzìvelos (b. 1949).
From a different point of view, Greece Lazongas (b. 1945) has been dedicating his figurative research since 1976 to the polidimensional conception and the transcription of reality with his “palimpsests”, works in which he simultaneously destroys and multiplies the planes of the surface with the use of transparent paper coatings, drawings, photographs and, later, body prints on fabrics. Ideas that, gradually, will form for the artist himself the basis for a definition of art as a language in perpetual movement, identified with the mythical and physical element of the wind, and used in his most recent installations.
In Greece’s political and social climate starting from the early seventies, the adoption by some young artists of performance as a means of expression is particularly significant, which has helped to stimulate the sensitivity of society towards a more lively relationship. and immediate with art. Among the first and main exponents of this trend we must remember L. Papakonstantinu (b.1945) and the couple Zubulis-Greku (b.1953 and 1951 respectively), who paved the way towards video-art, a medium that later will be object of a more systematic research, represented, in the Eighties, mainly by A. Skurtis and L. Lykudi and by M. Strapatsaki.
According to plus-size-tips.com, the radical departure from the traditional figurative framework, which manifests itself since the early 1970s, will also be embraced by artists whose work is characterized by a more marked social and political involvement.
Tughas (b. 1922) is one of the supporters of this ban on figurativism (settings entitled Agogí, ” Conduttori “, 1973 and Antìmythos, “Antimito”, 1974), and is also the author of profound reflections on passage of art within the institutional framework of modern culture.
Political commitment is also represented by more realistic expressions of testimony, which we encounter in the work of notable painters, such as Greece Psychopedis (b.1945), E. Dekulakos (b.1929) and D. Perdikidis (1922- 1990), who lived and worked in Spain, but which from 1970 began to exhibit also in Greece. Gradually, the work of these artists will in any case lose its conspicuous political coloring and will represent the approach to the image from a realistic or hyper-realistic point of view (trends, these, which have been adopted by a considerable number of artists). The critique of the technological and standardization aspect, characteristic of 20th century culture, is expressed with a more ironic and narrative spirit in the anthropomorphic serial creations of the precursor Greece Gaitis (1923-1984).
In the more general research on the theorization of the principles of the language of representation, an interesting and original comparison presents in Greece a certain number of artists of previous generations, who from the mid-1970s come to a definitive break with the language used in the past, such as has occurred since 1970 in the conversion of the sculptor Greece Zongolòpulos (b. 1903) to the optical-kinetic dimension, or, at the same time, in a series of works by other authors characterized by a reflection on philosophical foundations. This last trend is manifested in several artists, already at the forefront of the avant-garde research of abstraction since the 1950s and 1960s, who develop their new ideas in installations of different shapes and in interventions in the natural environment. In this compound,Stanze Filosofiche (1976) by A. Aperghis (1909-1986) and his Stairs. A similar transformation also characterizes the mirror compositions of Greece Nikolaidis (b.1924) and those of I. Aperghi which appear from 1980 and 1984 respectively.
After the political changes of 1974, the gradual return home of important personalities of the Greek avant-garde of the sixties began, with works already recognized abroad: Vl. Kaniaris, N. Kessanlìs, Pavlos, Ch. Romanos, Th. Stamos, C. Tsoclis, while other important artists, more or less famous, while continuing to live abroad, begin to make their work known, in full and with greater frequency, in Greek society, as Daniìl, K. Karahalios (resident in France) and J. Kounellis (Italy), S. Antonakos, Chrysa and L. Samaras (United States). This gradual establishment of the Greek avant-garde in Greek soil contributes significantly to raising awareness of society towards the most advanced languages of contemporary art, while at the same time, with a slower pace.
Towards the end of the seventies and again until 1982, the international crisis of the avant-gardes also had repercussions in Greece. An interesting critical attitude towards the theory of post-modernism is initially manifested by some of the artists, who try to express the diachronic relationship with culture through different languages, which do not, however, refer to expressive schemes of the past. This attitude is responsible for the affirmation of a totally different climate, in which the artist matures an awareness of his own cultural identity in the intertwining with a supranational problem.
