Iliou Melathron
At number 12 of Eleftherios Venizelos Street (Panepistimiou), among interwar apartment buildings, is the Numismatic Museum , which has one of the largest and most important collections of ancient coins in the world. However, the Museum building itself impresses visitors and passers-by alike. After all, the Iliou Melathron is a landmark for the city and was the residence of one of its most famous residents.
Already in 1837 the Panepistimiou Street had been completed. A tree-lined, wide paved street with sidewalks, a boulevard with azaleas intended for country walks, However, the installation of the Megaron in its present location in 1836 gave the street a more central character, also according to the plan of the architect Leo von Klenze.
From the middle of the century, the sub-structures, shacks and open spaces that existed on the sides of the street gave way to neoclassical buildings, luxurious mansions of public and private character, usually designed by European architects. The University was the work of the Danish architect Hans Christian Hansen; the Athens Academy Hall, the work of Theophilus Hansen; the Catholic Cathedral of St. Dionysius of Areopagite, designed by the German architect Leo von Klenze, The Athens Ophthalmology Clinic in designs by Christian Hansen, Gerasimos Metaxas and Aristides Balanos, the Shepieri Mansion in designs by Anastasios Theophilos, the Arsakeion in original design by Stamatis Kleanthis etc. etc.
One of the prominent residents of the street was the German businessman and amateur archaeologist Heinrich Schliemann. His involvement in archaeology was due to his love of Homer since his childhood. He devoted most of his fortune to research and excavations in Troy, Mycenae, Tiryns and Orchomenos and took the title of the father of "Mycenaean Archaeology" despite his controversial scientific methods, even for the time.
The three-year period 1870 - 1873 was the period of the great discoveries in Troy, among which the " Priam's Treasure ".In 1875 followed his second great discovery, the vaulted tombs in Mycenae with a number of golden grave goods. By now he was particularly well known not only in scientific circles but also to the international public interested in recent archaeological discoveries as it was a period when great discoveries in archaeology aroused the widest interest.
Schliemann had been living in Athens since 1869 when he married Sophia Engastromenou. However, in 1878 he commissioned his friend Ernst Ziller to design a large building on Panepistimiou Street with the sole request to the architect "a wide marble staircase rising from the ground to the upper floor and a terrazzo on the top". The building is considered one of the architect's most remarkable works. Its design responds to the personality and needs of the owner, while important innovations were implemented such as heating with photo gas, ventilation with ducts, fire protection measures with the careful use of wood. In 1881, the opening of the Iliou Melathron took place with a glorious reception.
On the ground floor of the two-storey building were the auxiliary rooms and the room in which the findings from the excavations of Troy were kept. The first floor was intended for the social events of the family. Dances, balls, the reception of guests, meals, literary salons...
The decoration of the Megaron was commissioned to well-known artists of the time, such as the painter Yuri Subic, and reflects Schliemann's love of antiquity. Mosaic floors with decorative themes inspired by Mycenae and Troy, clay statues copied from the classics, Pompeian decorations, and inscriptions were chosen jointly by Schliemann and Ziller, shaping the character of the building.
After the death of Heinrich Schliemann (1890), his wife Sophia never remarried. She lived in Iliou Melethron with her two children.
The Megaron was sold by the family to the Greek state in 1926. The Council of State (1929-1934), the Supreme Court (1934-1980) and the Court of Appeal (1981-1983) were successively housed in the building. Since 1998, the Numismatic Museum has been gradually transferred to the Schliemann Megaron, giving the public the opportunity to admire a great collection in an emblematic building.
Numismatic Museum, Athens Greece
Refreshment Centre - Garden
Crossing the entrance of the Museum, the visitor passes through the bustling Panepistimiou Avenue to the Museum's garden. A green area of 800 sqm with shrubs and fruit trees that thrive in Attica.
The garden was certainly an integral part of the Megaron already from its construction. In fact, during the rare periods when Schliemann was in Athens, he tended the garden himself. For its decoration, clay copies of ancient statues were used, according to the owner's preference. Even today the visitor is greeted in the Iliou Melathron by the Amazon, one of the sculptures, a copy of ancient ones, commissioned by the architect of the palace Ernst Ziller in a workshop in Vienna. The marble staircase leading to the exhibition area dominates the central courtyard.
The large courtyard at the rear of the building was the stable, coach house and well of the dwelling. Today, it is an extension of the Refreshment Centre and hosts cultural events, presentations, talks, meetings,. It is also an ideal place for a short break, so empty and so "far away" from the centre. The space is available for special events by arrangement with the Museum’s Public Relations Department.
Numismatic Museum, Athens Greece Address: Iliou Melathron, El. Venizelos (Panepistimiou) 12, 10671 Athens, Greece Tel.+30 210 3632057, +30 210 3612834 και +30 210 3612872 Email: nm@culture.gr Url: http://www.nummus.gr
Conference Centres
The University of West Attica, following modern research needs, has invested in the operation of facilities that meet its educational role.
The main focus of the scientific production of the universities is now the possibility of hosting conferences that provide all the infrastructure and conditions for the promotion of research work.
The University of West Attica maintains three high-quality conference venues:
Conference Centre of the Aigaleo Park Campus in the main building K1 of the central facilities, including the main hall of 455 sq.m. and 344 seats
The Conference Centre of the Ancient Elaionas Campus has been developed on four levels with a total surface area of 5,000 m², with the capacity to host up to 1,500 delegates at the same time.
Within the Athens University Campus, a modern, small Conference Centre has been developed to cater to a variety of events.
All conference facilities of the university combine high aesthetics and modern technologies. The conference centers are central to the operation of the university as they host seminars, workshops, and inaugurations.
Classrooms
The University of West Attica is the third largest in the country with more than 60,000 students at all levels. All of the University's educational activities take place on the three campuses: Aigaleo Grove, Ancient Eleonas, and Athens.
The University of West Attica aims to meet the demanding needs of modern society by creating staff with a serious scientific and technical infrastructure.
The laboratories of the University are also fully equipped with modern means. Video projectors, overhead projectors, interactive whiteboards, computers equipped with the necessary software, and internet access are at the disposal of students and faculty to support education and research.
In addition to the logistical and educational facilities, the campuses also have conference centers, libraries, restaurants, gyms, health care facilities, canteens, and recreational facilities for students
Contact:
Tel. 210 5381109 Email: proffice@uniwa.gr website: https://www.uniwa.gr/
In Neapoli, just a few kilometers from the center of Mytilene is located the Elies Residences..
The colors, the smells, and the flavors compose a dreamy, nostalgic environment. The villas of the complex, designed with traditional architectural lines, blend harmoniously with the garden area, which has plants derived from the local flora, aromatic herbs, and an olive grove. In the five autonomous villas, traditional architecture based on the use of stone and wood is ideally combined with comfort and discreet luxury.
The villas, named after five beautiful villages on Lesvos,
the highest standards of hospitality and aesthetics are observed, with all the necessary facilities for a short or longer stay of families, individual guests, couples, and employees.
Within walking distance from Elies Residences are all the central points of Mytilene:
Port of Mytilene (6.6, km)
Airport of Mytilene, "Odysseas Elytis" (1,8 km).
General Hospital of Mytilene (5 km)
University of the Aegean (3 km)
Ideal place to stay for families
The close proximity to the town of Mytilene and the sea, makes Elies Residences an ideal place to stay for families and couples. The autonomy and amenities provided by The Villas ensure a comfortable stay. The advantages of the accommodation include Of course the living room and the elegant terrace. Moreover, the swimming pool that operates during the summer months is always an excellent choice.
The Villas are able to accommodate from four to six people each making it an excellent solution for groups or families
Contact
Address: Neapoli, Mytilene, Lesvos 81100 Tel. +30 698 058 0303 / +30 2251 063213 Email: info@eliesresidences.com Website: https://eliesresidences.com/
Attractions
Mytilene Castle http://odysseus.culture.gr
At the highest point of Mytilene dominates the Byzantine castle of the city. Following the long history of the island, the castle has undergone alterations, repairs, additions and extensions so that it can serve in any period its fortification role. Until the years after World War II the castle was inhabited. For decades it has been operating as a monument under the care of the Ephorate of Antiquities of Lesvos.
New Archaeological Museum Building of Mytilene The New Archaeological Museum of Mytilene consists of the permanent collection unit and the temporary exhibitions unit. In the museum, mosaic floors and murals of Hellenistic and Roman buildings, sculptures and clay objects are presented in an innovative way. Hosting educational programs, temporary exhibitions and cultural events it has become a center of the city's culture.
Address: 8th November
www.efales.gr
efales@culture.gr
Theophilos Museum The Theophilos Museum was built in 1964 in a suburb of Mytilene, Varia, where the folk painter was born and spent his childhood. It houses 86 paintings by Theophilos, taken from the personal collection of Mytilini, renowned art publisher in Paris, Stratis Eleftheriadis (TERIADE)
Varia 81100
www.mytilene.gr
Museum-Library Stratis Eleftheriadis-Tériade Stratis Eleftheriadis was born in Lesvos. In 1915, he moved to Paris, where he turned to art criticism and publishing, supporting many young painters and giving impetus to their work. Teriade's publications, as his stage name is, are a landmark in the history of 20th-century art. In 1979, he donated a large part of his collection, consisting of publications and works by Greek and French painters, for the establishment of the museum of the same name in his birthplace.
info@museumteriade.gr
Olive press Since olive oil has been the main agricultural product of Lesvos, since ancient times, the hand-operated and animal-powered mills of the pre-industrial period were replaced by the use of steam engines for the production of olive oil in the late 19th th century, and the mills evolved into industrial buildings.
Την εξέλιξη της βιομηχανίας της ελαιουργίας στο νησί μπορούν να γνωρίσουν επισκέπτες στο Museum of Industrial Olive Oil Production of Lesvos, housed in the old community olive mill of Agia Paraskevi. The museum also holds educational programs throughout the year, introducing children to the operation of an olive oil factory from the mid-20th century.
In the settlement of Papado is the Olive Press Museum of Vrana (Archipelagos Company). It is one of the oldest mills on Lesvos, which belonged to the family of Nobel Prize-winning poet Odysseas Elytis. The mill has been restored, with its mechanical equipment fully operational. With its architectural restoration, the museum has been transformed into a beautiful place to get acquainted with local history. Hosting educational programs and events, the museum evolved into a living cell of culture for the local community.
Natural History Museum of Lesvos Petrified Forest The Natural History Museum of the Petrified Forest of Lesvos preserves and highlights a unique "preserved monument of nature" The exhibition includes fossilized trunks, branches, fruits, and leaves of a variety of coniferous and angiosperm trees, as well as fossilized bones of animals that lived 20 million years ago. The museum, which is part of UNESCO's Global Geoparks Network, offers a wide variety of educational activities and programs.
Festival "Lesbian Summer" During the summer months, the "lesbian summer festival" takes place in Lesvos, near Mytilene. Concerts, theater, educational programs, and exhibitions aimed at young and old.
History of the Hotel
In 1978 a vision of the owner of the company, Antonios Mousamas, became reality. On a privately owned plot of land, the first foundations were laid for the construction of one of the most modern hotels in Athens for its time, the Holiday Inn Athens at 50 Michalakopoulou Street in Ilisia.
Antonios Mousamas, owner of the Athens Quarries of the same name and later of the Lycabettus Hotel on Valaoritou Street in Athens, is looking forward to something new for Greek standards, by bringing one of the largest hotel chains in the world, the Intercontinental Hotels Group (Six Continents) for the first time in Greece.
The hotel has 193 rooms and approximately 2,500 sqm of meeting rooms, of which 2,000 sqm are naturally lit. One of the elements that characterize the hotel throughout its operation is its pioneering in different areas. For example, Holiday Inn was the first hotel in Athens to implement the ISO 9001 system, which was later introduced to all other hotels as a sign of superior service quality. It was also the first hotel to install the hybrid thermal energy generation system, which was operational in 2010-2011. It took 8 full years for this innovative technology to be adopted in a large part of the hotel market in Greece. Many innovations, especially in technological equipment, have been used in the hotel in the events and conferences section.
History of the building reconstruction
In 1978 the first foundations were laid for the construction of the hotel in Michalakopoulou Street under the design and supervision of the architect Petros Pikionis, son of the famous architect Dimitrios Pikionis and designer of the Pavillion in Delphi, on behalf of the Greek National Tourism Organisation. The Civil Engineer who undertook the reconstruction of the hotel was Th.G. Voudiklaris.
In 1980 the opening of the Holiday Inn, the first hotel of the Intercontinental Hotels Group (Six Continents) in Greece, takes place.
In 1997, the hotel was returned to full operation after a 2 billion drachmas renovation and the work lasted about 2 years. The project was carried out under the supervision of the ACT design office and the decorator Marcellus Galanos. Noteworthy are the works of the famous sculptor Andreas Lolis that adorn various areas of the hotel.
In 2008 it was completely reconstructed and rebranded as Crowne Plaza Athens City Centre which is again owned by the IHG group chain. A complete renovation and upgrade was carried out within seven months, with two partial deliveries and without interrupting the operation of the hotel.
Specifically, structural reinforcement works, facade cladding, complete reconstruction of rooms - entrance - lobby, change of pool location, roof garden configuration, renovation of common - auxiliary and other areas of the hotel as well as the construction of two new staircases (escape exits) were carried out. The total renovated area of the property is 19.700 sqm. and was realized with the collaboration of the decorator Marcellus Galanos and the architect Michel De Landtsheer, the supervision of the technician Ioannis Keskinoglou and the construction team of the company TERNA.
The Crowne Plaza premises have hosted political, social and cultural events. Artists, famous athletes, politicians, successful businessmen have honoured the hotel with their presence over the years, either with their own events or by attending events at the hotel.
Michalakopoulou 50 11528, Athens
Tel.: + 30 210 727 8000 Fax: +30 210 727 8600 Email: info@cpathens.com
The North Aegean Prefecture and the Museum of Natural History of the Petrified Forest of Lesvos organize a conference on “NATURAL HERITAGE AND LOCAL DEVELOPMENT” with the aim of presenting the actions for the promotion of natural heritage and the interventions funded in recent years by the North Aegean Prefecture and contribute to the development of alternative forms of tourism, the improvement of the information, awareness-raising and services provided to residents and visitors and the upgrading of the tourist product of Lesvos.
The Workshop will take place on Monday 17 February 2025 at 17.00 p.m., at the “Ioannis Pavlakellis” hall of the Lesvos Chamber of Commerce.
PARTICIPANTS
Tourism professionals and citizens of Lesvos, students, volunteers
Admission is free
PROGRAM
Καθηγητής Νικόλαος Σουλακέλλης, Πρόεδρος ΔΣ ΜΦΙΑΔΛ
Γ. Πλακωτάρης, Προϊστάμενος Διαχειριστικής Αρχής ΠΕΠ Βορείου Αιγαίου
Α. Δημιουργία νέου “Ανοικτού Μουσείου” – Έργα ανάδειξης των νέων απολιθωματοφόρων θέσεων που αποκαλύφθηκαν κατά την κατασκευή μεγάλων δημοσιών έργων στην προστατευόμενη περιοχή του Απολιθωμένου δάσους.
Β. Λειτουργία Κέντρου Περιβαλλοντικής Ενημέρωση Καλλονής – Δράσεις ανάδειξης των υγροτόπων της Λέσβου.
Καθηγητής Νικόλαος Ζούρος, Διευθυντής ΜΦΙΑΔΛ
Α. Ενεργειακή αναβάθμιση του Μουσείου – “Ένα “πράσινο” Μουσείο στη Λέσβο”.
Β. Αναβάθμιση Εκθεσιακών χώρων – Νέα πτέρυγα Μουσείου
Γ. Συντήρηση – ανάδειξη και αναβάθμιση υποδομών Απολιθωμένου Δάσους Λέσβου – Περιοχή Κύρια Απολιθωμένη – Παρεμβάσεις βελτίωσης της προσβασιμότητας
Δρ. Ηλίας Βαλιάκος, Προϊστάμενος Ερευνών και Έργων ΜΦΙΑΔΛ
Α. Καινοτόμες δράσεις ψηφιακής προβολής του Μουσείου Φυσικής Ιστορίας Απολιθωμένου Δάσους Λέσβου
Β. Δημιουργία – λειτουργία Ψηφιακών εφαρμογών προβολής των γεω-μνημείων του Γεωπάρκου Λέσβου – Παγκόσμιου Γεωπάρκου UNESCO
Γ. Δημιουργία – λειτουργία Ψηφιακών εφαρμογών προβολής των γεω-μνημείων Λήμνου
Κωνσταντίνα Μπεντάνα, Προϊσταμένη Εκθέσεων και Εκπαιδευτικών Προγραμμάτων ΜΦΙΑΔΛ
A day dedicated to accommodation design and development, with workshops focusing on innovative approaches and investment strategies.
A day dedicated to villas, with workshops offering practical insights to improve efficiency and profitability.
Alongside the workshops, webhotelier | primalres will hold a special workshop, offering masterclasses focusing on the latest technological developments to improve the management and sales of accommodation.
The 28th Book Bazaar 2025 will take place at Klathmonos Square. It is organized by the Association of Book Publishers and the Panhellenic Federation of Publishers of Book and Stationery Publishers, under the auspices of the Municipality of Athens and with the support of the Culture, Sports and Youth Organization of the Municipality of Athens (OPANDA).
The Book Bazaar is the established event that has been organized for twenty-eight years, offering the reading public thousands of book titles at very low prices, starting from just 1 euro!
In the 28th Book Bazaar 2025, as every year, publishers from all over Greece (members of primary associations) participate, offering more than 9,000 book titles at prices that do not exceed 30% of their original retail price.
From Friday 31 January to Sunday 23 February 2025, Klathmonos Square will host the largest and best organized Book Bazaar in Athens, in a modern open-air-roofed installation.
Visitors to the Bazaar can discover and purchase books from a rich collection of titles, covering all categories and appealing to all ages.
The 28th Book Bazaar 2025 will be open on weekdays, Saturdays and Sundays from 09:00 in the morning until 21:00 in the evening, from 31 January to 23 February 2025.
Heraklion, 8-11 May 2025
http://www.iake.gr
The Institute of Humanities and Social Sciences, following the successful completion of the 10th Panhellenic/International Scientific Conferences, is pleased to announce to its members, partners and friends, the scientific and educational community and all interested parties, that it is planning the organization of the 11th International Scientific Conference, with the main theme of the conference:
Creative Communities
Participation and initiative in institutional collectives:
Society, Education, Political Consultation
This 11th ο International Scientific Conference embraces a broad yet coherent family of fields and concerns revolving around the key concepts of community creation, participation and participatory initiative.
Creative communities can be approached from both a broader and a more specific perspective. The more specific approach, already established as an interdisciplinary research in social sciences, uses the concept of a creative community (creative community)as a concept that highlights the collaborative and intersectional collectivity that brings together various actors from civil society, government, education and private sector organizationsprojects in individual projects that shape new collaborative cultures create added value and lead to economic, social and cultural benefits for research partners and the wider society. Creative communities are characterized by the participation of a diverse range of stakeholders, involved parties and users. They work to create a network of collaboration and exchanges, disseminating models of cooperation into further research and professional environments.
Creative Communities may include combinations of groups of active citizens, employees, entrepreneurs, researchers, academic experts, local, regional and national authorities, foundations, associations and, of course, European institutions.
The broader approach uses the term to describe a group of people who come together and converge around a common challenge or theme, aiming to create, act and share ideas, programmes and practices.
Taking into account the empirical findings and the programmes already associated with Creative Communities in the narrowest sense (e.g. the design and implementation of collaboration practices between public and private sectors in addressing the social and cultural impacts of the Covid 19 pandemic), the broader approach to Creative Communities encourages us to reflect on frameworks and platforms that design, propose and – often attempt to implement new ideas to solve educational, social, cultural and political problems. I also facilitates addressing corresponding challenges, making use of art teaching and forms of inclusion and participation in civic education, as well as the social and humanitarian utilization of new technological horizons.
In this broad yet distinct context, we are interested in studies on the different approaches and views regarding:
The primary purpose of the 11ου th International Conference of the Institute of Humanities and Social Sciences is the critical exploration and development of scientific dialogue around these issues. With regard to both the opportunities presented as well as the problems that may emerge, it is essential to raise awareness and prepare citizens for the forms of coexistence with the creation of conditions for the development of Creative Communities, the forms of development of collective pursuits in response to challenges and the encouragement of citizens' initiatives on the role of, among other things, artificial intelligence and the new relationships that are being formed between citizens and the state. Training, education and civic participation have key roles to play in this evolving theme as it unfolds before our eyes.
As every year, the Institute of Humanities and Social Sciences will honour a prominent figure of Hellenism during the inaugural formal sitting, which this year takes place on 9 May 2025.
THEMES OF THE CONFERENCE
Starting from the central theme, the Conference will focus on the following themes thematic areas, without excluding any others that may be derived from its general title:
Collective Action, Political Participation and Creative Communities
Social Education, Education and Culture
Digital Technologies and Creative Initiatives
THE CONFERENCE IS OPEN TO PARTICIPANTS
FORM OF WORK – ACTIVITIES
The following may be presented at the Conference:
The full texts of all the approved by the conference papers are published in the conference proceedings regardless of the presentation format. Detailed instructions on the structure and format of the papers will be posted on the Institute of Humanities and Social Sciences website.
In addition, the conference proceedings will include:
IMPORTANT DATES AND INFORMATION
All those who wish to participate in the Conference as Presenters - with a paper or a posted announcement or workshop - should send an abstract of their paper via http://www.iake.gr ή http://iake.weebly.com, where there is also a special form available as well as the required instructions. The text of the abstract should be up to 300 words and should be accompanied by the authors' details, as well as an indication of the type of work and the subject area to which it belongs.
Each paper can be submitted by one to four presenters. Each presenter may participate in a maximum of two papers, either as the first, second, third, or fourth presenter.
Acceptance or rejection of the abstract will be announced by February 3, 2025.
COST OF PARTICIPATION
The presenters will pay the due participation fee after the approval of their abstract, on the dates specified in a subsequent notice.
COMPETITION - AWARD OF PRIZES
The Institute of Humanities and Social Sciences will award prizes to the best scientific papers, according to the thematic axis of the Conference theme, in the categories:
Α. Best scientific paper
Β. Best teaching proposal
With the aim of supporting new researchers and scientists, the most distinguished papers submitted by the following will be awarded: a) undergraduate students, b) graduate students, c) doctoral candidates, d) scientists-researchers presenting an original scientific paper or teaching proposal.
The results of the competition will be determined by the Scientific Committee based on the general results of the anonymous evaluation of the final texts of the papers. The evaluation procedure of the final texts will follow the evaluation of the abstracts. The full texts of the papers are evaluated on the basis of their qualitative characteristics in terms of: a) originality, b) methodology, c) structure, d) content, e) documentation.
Only papers submitted by 3 March 2025 will be eligible for the award.
The awards and distinctions will be presented at the closing ceremony of the conference. Guidelines for the preparation of the full texts of the final papers are available on our websites: http://www.iake.grand https://iake.weebly.com
PARALLEL EVENTS
As part of the conference, a series of parallel activities and events is planned to promote acquaintance, entertainment, and interaction among the attendees and their companions.
QQML runs its 17th year welcoming delegates from all over the world.
The conference will be hybrid this year also: Physically and virtually organized. For those who choose to attend in person, the conference will take place between 27-31 May in Lisbon, Portugal.
Target Group
The target group and the audience are library professionals in a more general sense: professors, researchers, students, administrators, stakeholders, technologists, museum scientists, archivists, decision makers and managers, information scientists, librarians, records managers, web developers, IT specialists, taxonomists, statisticians, marketing managers, philologist, subject and reference librarians et al.
Main theme:
Transformation and Innovation in Archives and Libraries in the Digital Age: Management, Preservation, Sustainability and Technological Impact (EN)
Sub- themes
Qualitative and Quantitative Studies of User Behaviour in Public, University and School Archives and Libraries
-Analysis of interactions among users, archives and libraries, identifying how information professionals can optimize the services offered.
– Evaluation of the impact of archival and library practices on the user experience.
Bibliometrics and Evaluation of Scientific Production in Academic and Specialized Libraries
– The role of the information manager in applying bibliometrics to measure the impact of scientific publications.
– Information manager contributions to organizing and preserving academic data and collections.
Collection Management and Metadata in National, University and School Archives and Libraries
-The role of archivists and librarians in curating collections and creating metadata to facilitate information retrieval.
– Information manager practices to ensure preservation and continuous access to physical and digital collections.
Libraries and the Sustainable Development Goals (SDGs): Contributions from University, School and Municipal Libraries on Open Access Projects
– How information managers promote the SDGs by democratizing access to knowledge.
– The role of information managers in preserving and facilitating access to documents and materials relevant to social and cultural memory, in line with the SDGs.
Digital Preservation and Archives: Challenges and Opportunities in National and University Archives and Libraries
– The role of archivists in preserving and disseminating digital collections, ensuring that historical documents are accessible for future generations.
– Open Access initiatives led by information managers to promote digital preservation.
Impact of Artificial Intelligence (AI) on Archives and Libraries: Opportunities and Challenges for Information Managers
– Analysis of the impact of AI on process automation and collection management by archivists, librarians, and information managers.
– Ethical and practical considerations in the use of AI in archives and libraries.
Partnerships and Cooperation Networks among National, University, School, Municipal, Archives and Libraries on Open Access Projects
– The role of information managers in creating collaborative networks that promote resource sharing and open access.
– Cooperation between information managers from different institutions to preserve and disseminate digital and physical collections.
University, School and Specialized Libraries as Support Centres for Teaching, Research, and Open Access
-The contribution of information managers to supporting research and teaching through the management of Open Access repositories.
– Information managers as guardians of academic memory, ensuring continuous access to essential documents for research.
Innovation in the Management of Public, School and University Libraries
– Innovative initiatives led by archivists, librarians, and information managers, to improve the management of collections and services.
– Methods for evaluating the impact of new technologies and practices on archives and library management.
Virtual Assistants and User Support Tools in University, School and Public Libraries
– Implementation of virtual assistants and other technologies to support information managers in serving users.
– Transformation of the role of information managers with the use of new technological tools to support research and access to information.
Information Literacy in University, School, Public, and Open Access Libraries
– The role of information managers in promoting information literacy among students, researchers, and the community.
– Initiatives by librarians to improve information skills through Open Access repositories.
Higher Education in Information Sciences: Master’s and Doctoral Programs
– The role of master’s and doctoral programs in Information Sciences in the training of archivists, librarians, and information managers.
– Contributions of these programs to the advancement of research and innovation in information management, document preservation, and library services.
The General Data Protection Regulation (Regulation (EU) 2016/679) and its application by information managers in archives and libraries
– Theoretical investigations and case studies
Conference Language: English and Portuguese
More information on the proposals and how to submit them can be found here: www.qqml.org/call-of-proposals/
The 8th Workshop entitled “Public Health, Art and Solidarity“, organized by the MSc Public Health and the Laboratory of Hygiene of the Department of Medicine, in collaboration with the Laboratory of Stage Acting and Speech of the Department of Theatre Studies of the University of Patras, took place on Monday, December 2, 2024, with great success and particular interest.
The event, which took place at the Conference and Cultural Centre of the University of Patras, attracted students, health professionals, artists and representatives of civil society.
A Journey in Public Health, Art and Solidarity
Coordinated by the Professor of Hygiene of the Department of Medicine of the University of Patras, Mr. Apostolos Vantarakis, the workshop focused on the connection between public health and art and solidarity, offering a unique platform for the exchange of ideas and experiences. Participants had the opportunity to attend scientific presentations, interactive discussions, as well as an excellent artistic performance.
The first session, entitled “Public Health and Solidarity”, highlighted the importance of solidarity and effective health policies in supporting vulnerable populations, promoting vaccination and promoting mental health. The presentations by Mr. Apostolos Veizis, Mr. Agis Terzidis and Mr. Nikos Gionakis, who were honoured for their valuable contribution to Public Health, attracted a great deal of interest and provided food for thought and tools for action.
In the second session, entitled “Sport, Art and Solidarity”, the discussion focused on stories of inclusion and artistic approaches that highlight the importance of acceptance and diversity.
The conference culminated with the contemporary dance performance “Dancing (fancy)” by the Contemporary Dance Group Proschima, which impressed the audience with its performance and choreographic sensitivity. The performance offered the audience a unique experience, focusing on the multiple aspects of the human body, acceptance and diversity.
With the choreographic supervision of Maria Koliopoulou and the excellent performances of K. Avramopoulou, K. Gevetzi and L. Papadakis, the play highlighted how art can illuminate the characteristics that are not always considered “acceptable” in public space and on stage. Through dynamic movements, sensitive narratives and impressive choreographic compositions, “Dancing (fancy)” invited the audience to redefine the notion of beauty, diversity and inclusion.
Strengthening its externalization and promotion activities, aiming to attract visitors all year round, the Municipality of Heraklion continues to promote its new proposal through the “loveHER | 5 Senses | 365 Days” tourism campaign, focusing on the first letters of the word “Heraklion”.
The campaign was presented by the Deputy Mayor of Finance & Development of Local Economy George Agrimanakis at a special event in the heart of Piraeus, held on Tuesday 26.11.2024, promoting the values of hospitality, culture, history and authentic gastronomy of Heraklion. George Agrimanakis referred to the importance of the initiative, stating: “The “loveHER” campaign is not just an initiative to promote our city, but a strategic investment in the extroversion, creativity and authenticity that characterize Heraklion. It is a reference point for our municipality and for the whole of Crete, giving the mark of a city that is constantly evolving and leading the way in the international tourist environment. With this particular action in Athens, our aim was to reach out to those who shape the opinion of travellers worldwide and to highlight Heraklion as a unique destination that combines culture, gastronomy and sustainable tourism development. The very positive response we have received fills us with optimism and gives us strength to continue our work to make Heraklion a top destination on an international level.”
On the occasion of the 50th anniversary of the Turkish invasion of Cyprus, the Hellenic Parliamentary Foundation for Parliamentarism and Democracy and the Foundation for Parliamentarism and Participatory Democracy of the Cypriot House of Representatives, in cooperation with the Faculty of Philosophy of the University of Cyprus, are organising on 22 and 23 November a scientific conference on: “The consolidation of the democratic constitution in Cyprus after the Turkish invasion (1974-1993)” at the Ceremonial Hall of the University of Cyprus. The conference deals with the post-war political reconstruction that followed the deadly blow of the invasion (1974) and the death of Archbishop Makarios (1977).
In a formerly colonized country and in a very young state, where it was impossible to fully implement its Constitution after the 1963 crisis, followed by the inherently difficult to implement “Law of Necessity”, it could be reasonably argued that, after 1974, the country would be in a state of chaos. On the contrary, however, the Republic of Cyprus made significant steps towards consolidating democratic institutions and a liberal constitution. It would not be an exaggeration to argue that the impressive political development of the Republic of Cyprus – development that allowed it to join the European Union – after shocks of such a scale, is a unique phenomenon even internationally.
The Hellenic Parliament Foundation for Parliamentarism and Democracy is particularly pleased to have the honourable opportunity of a multi-faceted collaboration with the Cypriot House of Representatives – our joint exhibition “Cyprus, 1974. Memory is the only homeland of the people” already running in parallel in Nicosia and Athens – and with its Foundation for Parliamentarism and Participatory Democracy for the organization of this important conference.
For more information and to register your interest in attending, please visit the link:
https://www.foundation.cy/democracy-in-cyprus-after-the-invation
In an era where openness and the democratization of education and research remain paramount in international academia, AI technologies and applications are permeating all fields, bringing about significant changes affecting academic libraries.
The upcoming challenges indicate that in the following years a transformation is eminent, regarding the tools, the library services and quite possibly the very nature of information scientists. In our country, where academic libraries survive with continually diminishing financial and human resources plus an inadequate institutional framework for education and research, the boundaries of flexibility, extroversion, and their social role need to be exhausted.
The Panhellenic Congress of Academic Libraries, marking in 2024, thirty years of continuous presence, aims to trace these emerging changes and highlight the issues presented for academic libraries. The ultimate goal of the conference is to facilitate productive dialogue, ideally among communities, to generate comprehensive proposals that address the emerging needs of academic life and society.
The 14th Annual European Chestnut Days Conference, organised by the European Chestnut Network EUROCASTANEA , which will last until 15 September 2024, started on 12 September in Agia and Melivoia. The conference is held for the first time in Greece.
EUROCASTANEA is a European chestnut network consisting of chestnut producing organisations from 6 countries. France, Italy, Spain, Portugal, France, Portugal, Austria and Greece and was founded by the ASSEMBLY OF EUROPEAN FRUIT, VEGETABLE AND HORTICULTURAL REGIONS – A.R.E.F.L.H.
The conference is addressed to organisations, authorities, institutions, local entities, producers, agronomists, cooperatives and companies from all over the world involved in the production, research, processing, promotion and distribution of chestnuts.
Its aim is to present the cultivation of chestnut in Greece and neighbouring countries, to highlight the main issues that concern the sector such as chestnut diseases, cultivation practices in the context of climate change, the Common Agricultural Policy and the processing of chestnut, as well as to present the influence of chestnut cultivation on local communities.
Through dialogue, cooperation and networking, the aim of the conference is to address future challenges, protect chestnut cultivation and achieve sustainability for the entire chestnut sector.
On 6 September, the biggest Book Festival opens its gates at the Pedion tou Areos to welcome book lovers and attract new readers. 200 publishing houses, 280 booths, 200 cultural events, concerts, theatrical performances, interactive educational events and much more at the great 52nd Book Festival 2024.
The 52nd Book Festival is organized by the Book Publishers’ Association (S.EK.V.). It is held under the auspices of the Ministry of Culture, the Municipality of Athens, the Athens Chamber of Commerce, with the support of the Region of Attica, the support of the Culture, Sports and Youth Organization of the Municipality of Athens, and in collaboration with the Little Paris of Athens, the Network for Children’s Rights and the Philip Nakas Conservatory.
Το Days of Art in Greece στο περίπτερο 2 του 51ου Φστιβάλ Βιβλίου
Visitors to the Festival, against the backdrop of thousands of books, will have the opportunity to watch and participate in a diverse cultural event. Among many other events, there will be: Children’s theatre performance “The Legend of Mulan” by the theatre production company METHEXIS, a performance of Karagiozis by the Shadow Theatre “Nikolas Tzivelekis”, a concert by the Greek Music Workshop of the Municipality of Athens, musical evenings by student ensembles of the Music School of Piraeus and students of the Philip Nakas Conservatory, a concert by Mario Strophalis with Martha Moreleon and Irini Toubaki, an event of the Hellenic Comics Academy, a three-day presentation of newcomers in the field of speech, a concert with Sofia Arvanitis, Nikos Kallini, Makis Psaradellis and the Music and Vocal Ensemble of Corinth “Echoroi”.
The main tributeof the 52nd Book Festival 2024 is entitled “Youth and Reading. Spring depends on you” and focuses on the younger generations. It will focus on raising their awareness of critical issues such as human rights, the environment, the proper use of technology, Artificial Intelligence, etc. On the answers that the Book can give to key philosophical and practical questions and the outlets they can find through Culture.
The poster and the cover of the catalogue of the 52nd Book Festival 2024 is adorned with the work of the distinguished Greek artist Leonidas Giannakopoulos.
The opening event will take place on Saturday 7 September 2024 at 20:00.
52nd BOOK FESTIVAL
PEDION TOU AREOS
6-22 September 2024
Opening Hours
Monday-Thursday: 18:00-22:30
Friday & Saturday: 18:00-23:00
Sunday: 10:30-15:00 & 18:00-22:30
Organized by: Book Publishers’ Association
All global developments in marine and fisheries biology will be presented during the 22nd Annual FishBase Symposium, entitled “Fishes in changing ecosystems”, organized by the Laboratory of Ichthyology of the Department of Biology of the Aristotle University of Thessaloniki, on Monday 2 and Tuesday 3 September 2024, from 9.00 to 17.30, at the KEDEA of the Aristotle University of Thessaloniki.
Distinguished scientists from 20 countries from Africa, America, Asia, Europe, and Oceania will present the results of their research related to the biology and ecology of aquatic organisms, mainly fish, and the impact of anthropogenic actions, mainly climate change and fisheries, on population dynamics, marine biodiversity and the balance of marine ecosystems.
Founded in 1990, FishBase is the world’s largest online fish encyclopedia and database, with information on all fish species and more than 1.5 million visits every month. SeaLifeBase was founded in 2005 and contains information on all marine organisms. The Laboratory of Ichthyology of the Aristotle University of Thessaloniki has been participating in the FishBase Consortium since 2004.
Τhe Schedule
The first day of the Symposium (Advances in Gill Oxygen Limitation Theory) will be dedicated to the subversive GOLT theory of fish body growth and the celebration of 25 years since the launch of the international Sea Around Us network (https://www.seaaroundus.org), in which the Laboratory of Ichthyology is a member of the Scientific Council. Sea Around Us contains all fisheries data for every country and marine ecosystem on Earth.
The second day (Fishes in Mare Nostrum) will focus on issues related to FishBase (https://fishbase.se) και τη SeaLifeBase (https://www.sealifebase.se) and SeaLifeBase (https://www.sealifebase.se) and includes the celebration of 20 years of participation of the University of Thessaloniki’s Laboratory of FishBase.
Daniel Pauly in Thessaloniki
The keynote address will be given by the greatest scientist of all time in the field of marine fisheries biology, Professor at the University of British Columbia, Canada and Honorary Doctorate of the Department of Biology of the Aristotle University of Thessaloniki, Daniel Pauly. Daniel Pauly has authored more than 1000 scientific publications and about 20 books dealing with the biology of marine organisms and the management of their populations, and was one of the first scientists to raise the alarm about the ecosystemic impacts of overfishing on a global scale.
According to the Director of the Laboratory of Ichthyology and head of the MarinOmics research group, Professor Athanasios Tsikliras, who this year chairs the FishBase Consortium, “the participation of the Laboratory of Ichthyology of AUTh in international networks such as FishBase and Sea Around Us, which is a result of the scientific dynamics and international recognition of public academic and research institutions, aims to rebuild marine populations and ecosystems through sustainable fisheries management, which will improve the health of the seas, mitigate the effects of climate change, while enhancing the incomes of fishermen.”
More information about the Symposium, the programme and online registration at the link: https://bit.ly/2024FBsymposium
The Blue Flags for 2024, the international environmental quality symbol awarded to organised beaches, are flying on 13 beaches in the Municipality of Chania. These beaches meet the strict criteria set by the programme, such as the suitability and purity of the waters of the coast, the safety of the swimmers, etc.
The process of placing the Blue Flag has been completed in all the beaches of the Municipality of Chania with the latest, the Blue Flag at Vlite, to be placed on Wednesday 17/7/2024, by the Deputy Mayors of Tourism, Nektarios Psaroudakis, Environment, Greenery and Cleaning, Michalis Tsoupakis, and Local Economy and Development, Yannis Nikiphorakis. The President of the Local Community of Souda, Dimitris Klothakis, was also present at the Blue Flag ceremony.
It should be noted that the beach of Vlite "passed" a test stage in the past two years, with extensive and strict inspections, before it was officially awarded the Blue Flag, certifying that it meets all the requirements and criteria.
Mr. Psaroudakis in his statements stressed: "with the addition of the Blue Flag on the beach of Vlite completed the award-winning beaches throughout the coastal front of the Municipality of Chania with blue flags, which certify the quality of the waters and with equipment that ensures safe access to the beach."
Mr.Tsoupakis, responsible for issues of the Municipal Unit of Souda, stressed: "now the Municipal Unit of Souda has a Blue Flag beach, the beach of Vlite in Souda, which has great development and has been embraced by all the residents of the area."
Finally, on his behalf Mr. Nikiforakis noted: "As a municipal authority we do not stop to provide our beaches with the appropriate equipment, with our crews have taken care to place new changing rooms, corridors and additional waste and recycling baskets but also to ensure that there are accessibility conditions at all the beaches of our municipality, with the presence of mobile seats for disabled people (SEATRACK) but also separate JOB type seats".
Indeed, as said Mr. Nikiforakis, filed this year on behalf of the Municipality of Chania request for the placement of 4 more new self-propelled seats for the disabled (SEATRACK), so that even more beaches in the municipality to have the equipment that will ensure comfortable access to the sea for people with disabilities.
The beaches, where the Blue Flags for this summer season were posted are: 7 in the District of Nea Kydonia: Golden Beach, Agii Apostoli (2 spots), Kalamaki,
Stalos, Agia Marina (2 spots), 4 in Akrotiri District: Ag. Onoufrios, Kalathas, Stavros, Marathi, 1 in the district of Chania: Nea Chora and 1 in the district of Souda:Vlites.
In view of the new data and the challenges that the new digital era is shaping for identity and, consequently, for the management of archives, the ΙNational Bank of Greece, chose to organize a workshop on “The Historical Archives of the National Bank of Greece in the new digital era. Challenges and prospects for the management of electronic archives“.
The conference aims to initiate a relevant discussion with other directorates involved in the management of the Bank’s archives, in order to jointly identify, anticipate and plan in time all those actions that will allow -as has been exemplarily done in the past- the preservation of the historical memory of the organization in the future and the promotion of its historical continuity, a central objective of the National Bank Greece since 1938.
Reaching its 12th edition, the 100% Hotel Show has proven to be the most contemporary Hotel Exhibition in Greece, as it is not hesitant to make changes in its structure to offer a fresh proposal to its visitors. From simplifying its booths to facilitate exhibitors' participation and visitors' discovery of desired solutions, to presenting more alternative companies than usual, the 100% Hotel Show continuously evolves into the most pertinent Exhibition, offering real solutions and innovation.
However, considering the highly demanding daily life of hoteliers and tourism workers during the season, the 100% Hotel Show is making an even more significant upgrade by creating a lifestyle institution that will ease the pressure on hoteliers and offer solutions and know-how in an even clearer way. With this in mind, the 100% Hotel Show announces the 4 major changes you need to know.
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Taking into account the workload of hotels and the need for early planning for the next season, the 100% Hotel Show is moving to November 9-11, a week earlier than its usual date. This way, hotel owners can visit the exhibition right after the season ends, with their needs still fresh, and have the opportunity for early planning for the next season. This also allows them to create the necessary personal rest time for December, traditionally the ''hotel holiday month.'' At the same time, participating companies will have the time advantage of making deals since they will be able to meet hotel owners much earlier than in other hotel events.
Redesigning the first section of the exhibition, the most active companies in the hotel industry will have the opportunity to present themselves in the new Trending Brands section, standing out from the competition. This section will host some of the most impressive and conceptual booths and will promote regular micro-events that will create a key reference point for the exhibition, providing a different vibe that will turn the visit a truly pleasant and substantial experience. This section will give companies across the spectrum of hotel solutions the chance to present for the first time, with the launch of new products and services.
Building on the foundations set in previous events, architects are becoming even more dynamic to the exhibition's DNA, with more and more architectural firms participating as exhibitors. The new concept of the Hotel Design section puts the focus on the architectural firms that set the pulse and expertise, while this section will also host the leading companies with materials, furniture, fabrics, and technical companies that contribute decisively to hotel development. Thus, visitors will be able to discover design solutions and the specialists who can oversee the application and implementation.
With Hotel Workshops being a cornerstone of the 100% Hotel Show, the exhibition takes the next step in hotel expertise by creating a special room for Hotel Tech Demos, covering practical issues of using hotel technologies. Specifically, this room will host the top companies in the field, practically training the audience in the use of booking engines, PMS, and RMS, while there will also be special sessions on Google Ads and social media use.
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Studies for the protection and promotion, but also the safety of visitors, of the Castle of Acrocorinthos, is carried out by the Ministry of Culture through the competent Ephorate of Antiquities of Corinth, on the basis of Programmatic Agreements for Cultural Development, between the Ministry of Culture and the Peloponnese Region. Priority is given to the treatment of rockfalls.
At the same time, the restoration of the Ottoman Mosque A, the restoration study of parts of the outer wall of the Castle and the lighting study are progressing. The Akrocorinthos Castle dominates the hill of the same name in the immediate vicinity of Ancient Corinth and was a timeless refuge for the inhabitants of the area during periods of invasion. Imposing walls have been erected on the upper parts of the hill. The vulnerable western part of the hill has been reinforced with a moat and three lines of fortification with an equal number of gates. The present form of the fortification is the result of successive building phases. The oldest attested building phase dates back to Archaic times, when Corinth was ruled by the tyrant Cypselos and his descendants (657-583 BC). Large-scale interventions and extensions were carried out during the Byzantine and Ottoman periods, as well as during the Second Venetian occupation (1687-1715).
The Minister of Culture Lina Mendonisaid: “The protection of the Acrocorinthos Castle and ensuring safe tours for visitors are a priority of the project carried out by the Ministry of Culture, in close and constructive cooperation with the Peloponnese Region, for the promotion and exploitation of the fortress complex. The fixing interventions are aimed at addressing the problem of rockfalls in a section of rock adjacent to the entrance of the Castle (Gate A). The project includes works on the landscaping of the area for events, the completion of the tour routes, specialised fixing and enhancement of individual areas and monuments of the Castle, such as the Ottoman mosque, and the creation of a digital tour. At the same time, studies are being carried out for the reinforcement of the walls and their lighting. Our aim is, through a comprehensive management programme for the Castle, to ensure the protection and safety of the monument and its visitors, together with the promotion of its different historical phases and at the same time to enable its viewing during the evening hours.”
Due to the rockfalls near the entrance and for reasons of public safety, the Ephorate of Antiquities of Corinth modified the access to the 1st Gate, with the creation of a temporary alternative route. The project to fix the rocky slopes takes into account the results of the geological-geotechnical preliminary study which is being implemented. The walls, with a total length of 3 000 metres, cover an area of 240 000 m2 , a large part of which has been developed into a settlement with numerous monuments. The completion of the study for the repair and maintenance of the most deteriorated parts of the walls and the subsequent restoration work, together with the work of fixing the rocky slopes, will allow the reuse of the cobbled path to the first gate of the Castle, which was prohibited in 2023 due to the fall of rocks and stones from the wall.
The Ottoman Mosque A’, within the third enclosure of the castle walls, is one of the few buildings of the castle that are preserved in a fairly good condition. It is a building of the 1st Ottoman period (1458-1687), with at least one phase of reconstruction, and follows the simple architectural type of mosque with a prayer room (mihrab), a front (revak) and a minaret, which is common in Greece. The aim of the Ministry of Culture is to restore the mosque and include it in the network of monuments of the castle that are open to visitors, and to convert it into a venue for cultural events.
The Stavros Niarchos Foundation Cultural Centre (SNFCC) has now established itself as a favourite destination for Athenians for the celebration of Carnival. As every year, the SNFCC welcomes Lent with live music, dance and creative activities for children, through a rich program. On Sunday 2 March, a street band with Afro-Brazilian percussion, a DJ and a Latin band will fill Stavros Niarchos Park with energy and rhythm. On Clean Monday, March 3, the SNFCC celebrates the Koulouma with a big traditional feast with Greek dances and songs and invites young and old to fly their kites in Stavros Niarchos Park.
The events on Sunday 2 March and on Clean Monday are free of charge thanks to the donation of the Stavros Niarchos Foundation (SNF).
Sunday, March 2 at the Stavros Niarchos Park is all about celebration! It’s the perfect chance to break away from the everyday routine, unleash our imagination, and explore different worlds. Live music, percussion parades, a DJ set, workshops for all ages, costumes, fun, games, and dancing set the tone for a Sunday unlike any other.
Ο DJ Palov kicks things off with a mix of jazz, funk, hip hop, reggae, and dub, handing the baton over to the Los Petralonicos and Daniela Bolano , who bring a unique fusion of Latin, swing, jazz, and traditional sounds. Meanwhile, the multicultural percussion ensemble Bloco Swingueira spreads its explosive energy and Brazilian rhythms throughout the Stavros Niarchos Park.
Los Petralonicos Το μουσικό σχήμα των Los Petralonicos συνδυάζει τους ψυχεδελικούς ήχους του Αμαζονίου -μια μοναδική μίξη από latin, swing, jazz- με παραδοσιακά ακούσματα της Λατινικής Αμερικής (Cumbia Psicodelica και Chicha Peruana) που ταξιδεύουν το κοινό σε μουσικά μονοπάτια γεμάτα ενέργεια και νοσταλγία. Στις ζωντανές τους εμφανίσεις το κοινό γίνεται μέρος της παράστασης, γεμίζοντας το χώρο με τραγούδια και χορό. Από τις γωνιές της Αθήνας μέχρι τις μεγάλες σκηνές, οι Los Petralonicos καταφέρνουν να μεταδώσουν τη ζωντάνια και την αγάπη τους για τη μουσική σε κάθε ευκαιρία.
DJ Palov A true musical explorer, DJ Palov turns each of his sets into an exciting journey full of rhythm and energy. Fusing Latin, cumbia, afro, jazz, funk, hip hop, reggae, dub, and bass, he highlights sounds from all over the world. If he’s not onstage at major European festivals alongside artists like Quantic, Nickodemus, or Bonobo, he’s likely digging deep into global discographies searching for rare gems. As a co-founder of the labels Cast-a-Blast (as Palov & Mishkin) and Carnibal Records (with Panama Cardoon), he has made his mark on music production. Today, he continues his creative path through Spang Recordings in collaboration with his longtime friend and musician Angelos Angelidis (Los Tre, Patatatiti).
Bloco Swingueira Exuberant and energetic, Bloco Swingueira is a percussion band formed in 2014. Every performance they give evokes the spirit of a Brazilian carnival, featuring samba afro and samba reggae rhythms that get the crowd moving. They’ve been an integral part of Carnival celebrations at the SNFCC from the start, offering boundless energy and rhythm to all. Beyond dozens of live shows, they also host percussion classes and workshops led by renowned teachers from Brazil.
On Monday, March 3, we welcome Lent and spring with a grand traditional festival!
From 12:00 to 15:00, ethnomusicologist Lambros Liavas curates and presents a panorama of Greek musical and dance traditions on the Great Lawn, inviting everyone to partake in the ritual of the traditional festive gathering.
With in-depth knowledge of Greece’s traditional music, gained through academic research and travels to every corner of the country, Lambros Liavas shows us how to send off the Carnival period in the age-old way. Carnival mimic dances blend with kalamatiana, kangelia, and tsamika, Epirotic pogonisia, Macedonian syrta, Thracian zonaradika, Constantinopolitan hasapika, Smyrnaic karsilamades, Cretan pentozalia, and island balos dances. Αποκριάτικοι μιμικοί χοροί μπλέκονται με καλαματιανά, καγκέλια και τσάμικα, ηπειρώτικα πωγωνίσια, μακεδονίτικα συρτά, θρακιώτικα ζωναράδικα, πολίτικα χασάπικα, σμυρναίικους καρσιλαμάδες, κρητικά πεντοζάλια και νησιώτικους μπάλους.
Setting the tone is the dynamic ensemble led by Alexandros Arkadopoulos (clarinet and flute) and Giannis Pavlopoulos (violin and vocals). Joining them is Thanos Stavridis, a master on the accordion, while Tasos Valkanis adds a festive Macedonian brass flavor with his trumpet. Also taking part are Iordanis Kouzinopoulos on the laouto (lute) and vocals, and Manousos Klapakis on percussion. Six exceptional singers of the younger generation—graduates of the NKUA Postgraduate Program “Ethnomusicology and Musical Practice”—accompany them: Sevastiani Vletsi, Emmeleia Damanaki, Marianthi-Ippolyti Katsari, Chrysi Tzavla, Dimitra Tsagkaraki, and Varvara Tsiviki.
The event also features Pontic lyra player Ilias Avramidis,, as well as Cretan lyra player Manolis Bountalakis . .
The dance troupes of the Folk Society “Xoropaideia” (directed by Vasilis Karfis and Maria Ziaka) and the Pontic Association “Argonafte Komninoi” (led by Kostas Savvinidis)), invite us all to join hands and dance in their circles!
Curated & Presented by: Lambros Liavas
The event will be broadcast live by ERT2.
In 1924, only Liberal deputies participated in the country’s Parliament due to the abstention of the anti-Venizelist party from the 1923 elections. Nevertheless, the political situation in the country was not characterized by stability. The year began with a government of Stylianos Gonatas, in January the government of Eleftherios Venizelos took over, but it proved to be short-lived due to the disagreements over the “state issue”. The new government of the country was that of Georgios Kafantaris which was maintained until March to be succeeded by the government of Alexandros Papanastasiou. Internal friction led to the resignation of the Prime Minister and the “government of the summer holidays” with Themistocles Sofoulis as Prime Minister took over. The next prime minister, and the last for 1924, was Andreas Michalopoulos.
The country had to deal with political instability, but that was not the most important problem. Just a few months after the signing of the Treaty of Lausanne and the compulsory exchange of populations between Greece and Turkey, thousands of refugees were living in refugee camps in emerging new districts.
However, as is always the case, next to the big daily issues, people are looking for opportunities for temporary respite. Carnival has always been such a time, a chance for people to step out of their identities, to have fun, to dress up. Through the pages of the newspapers Vradini and Ethnos of 1924, the bourgeois way of celebrating Carnival is captured in the pages of the newspapers. The editor of Vradini observes that the dance movement of the year is not at all small, but ‘the dancing vitality, the dancing enthusiasm are those things which are missing from this year’s Carnival’. An indication, perhaps, that life in 1924 is tentatively trying to get back to normal.
The last and most prominent Carnival (of Tyrofagos), exactly a century ago today, was on 9 March. As early as 1906 the most important Carnival event was the Journalists’ Union Ball which, together with the “Journalists’ Lottery”, was a major source of income for the Journalists’ Association. Traditionally, the Ball was held on the last Sunday of Carnival. Until 1910 the Ball was held at the Municipal Theatre of Athens and was only postponed during war periods. In 1924 the event was to be hosted by the Olympion Theatre. The magnificent decoration of the venue was undertaken by set designer Ioannis Abelas and was inspired by the palaces of the Pharaohs.
In March 1924 the Journalists’ Association, which had been founded in 1921 to include journalists who did not belong to the Union, was still active. Within the year, however, the Association was dissolved and its members joined the Union. The Association also prepared its own Ball on Thursday 6 March at the Theatre Kentrikon. The advertisement stressed that the attire for the ball would be “formal or luxurious disguise”. Admission was ticketed, but box seats were also auctioned off a few days before the event. The Theatre Kentrikon was on Kolokotronis Street and had hosted many great performances during its years of operation.
Apart from the unions of the Journalists, of course, there were many other associations that organized balls on the days of Carnival, obviously with the aim of strengthening their funds. The pages of the newspapers mention the Authors’ Ball at the “Delis” and the Ball of the Constitutional Greek Women also at the Κentrikon. According to the article ‘the dance (of the Constitutional Greek Women) will be from both a lifestyle and stylistic point of view something extremely beautiful, warm and moving’. This is because members of the Constitutional Youth will help in its organization. This organization had been founded in 1924 by retired Royalist officers, with anti-Venizelism as its main characteristic.
However, on the occasion of Carnival, many more hotels, breweries, cafes in the centre of Athens and in the outskirts opened dance halls and organized balls. Among them are the two balls at the restaurant “Averoff” in Stadiou Street opposite the Parliament where the participants will participate in “confetti war – egg war – flower war” and enjoy “Soup – Bar”.
Another ball that stands out is the Ball of the bohemians. Its title sets the tone for the costume. Attendees are advised to wear “simple and so typical costumes of the Bohemian era”. The music for the ball would be provided by the Parisian Jazz Band Tardel. Jazz was a musical genre that had made a strong appearance in Athens in the 1920s and appealed mainly to the elite who wanted to stay away from the musical sounds that the refugees brought with them. A similar role was played by the many dance schools that operated in Athens teaching western dances. The most popular dance of Carnival 1924 was the foxtrot, “the beautiful, simple and rhythmic dance” that has “mesmerized the Athenians”.
The period of the Triodion lasts three weeks and ends on Sunday of Αpokria (Hallowen). The following day, on Clean Monday, the period of Sarakostis fasting begins. The word “Apokria” itself, which means “abstinence from meat” (apo=from + creo=meat) indicates precisely this period of preparation of the believers for the fasting of Sarakosti. In spite of this Christian semantics, Apokria customs are of pagan origins, in Ancient Greece and in the cult of Dionysus. In March, around the same time as Apokria, were celebrated in ancient Athens the Anthesteria, a celebration of the god and the coming of spring. Dancing, wine drinking, and pranks of all sorts, were the characteristics of the celebration that still survive to this day during the carnival days.
Of course, the dominant element of the celebration has always been the masquerade. Just for a while every person could become someone else, to behave “inelegantly”, to express themselves more freely. A necessary means for ecstasy is a mask or even face painting. In antiquity, believers covered their faces with the dregs of must and masks, dressed in sheepskins and animal skins and tried to look like the Satyrs, the attendants of Dionysus.
Γέρος, Σκύρος / Geros, Skyros
Not too far from this depiction are similar costumes that are still in use today, such as the Old Man in Skyros in the custom of the “Old Man of Korela and Fragos” or the Babougera, and the Momogeri in Macedonia, which, although they are customs of the Day of Lights, have the same origin.
Mocking songs, satire and revelry are at the heart of all carnival customs, essential features of the spring festival of fertility. In Thebes, on Clean Monday, the Vlachikos Marriage is celebrated. With origins in the shepherds’ feasts, it has not only survived and been embraced by the city, but is now part of its intangible cultural heritage. Another carnival wedding is held in Methoni where a wedding feast with wine and food is set up at “Koutrouli’s Wedding” .
Βλάχικος Γάμος, Θήβα / Vlachikos Gamos, Thebes
In Naoussa the Boules . are well-known. An ancient custom that has incorporated local folk customs and elements of history. Exclusively men participate in the boulukia of the carnival event. Dressed in traditional costumes and accompanied by music from the zourna and daouly, they dance around the city’s neighborhoods accompanying the bride – boula.
Μπούλες, Νάουσα – Boules, Naousa
However, in our country survive the more westernized carnivals that have been introduced in parts of Greece since the Venetian presence. These too have their origins in antiquity and in the Roman festival of Saturnalia which in turn had their origins in the Greek celebrations of Dionysus.
In Corfu the “Petegoletsa” is celebrated, which could be described as a kind of street theatre, with many elements of Commedia del Arte. In neighbouring Zakynthos, the “piccolo carnival” is celebrated, at the center of which is another wedding, this time the grand Venetian wedding, which of course ends in dancing and feasting.
Καρναβάλι στην Κέρκυρα – Corfu Carnival
The famous Patras Carnival also seems to have its roots in the Ionian Islands. The union of the Ionian Islands with Greece in 1864 brought many Ionian residents to Patras, along with the customs of their place. Thus the coexistence of the local dances and Apokria celebrations with the Venetian customs of the Ionian people in the flourishing Patras of the 1870s led to the birth of the Patras Carnival, which early on became part of the city’s identity.
Παρινό Καρναβάλι – Carnival of Patra
Much newer is the Carnival of Xanthi. At its core is the revival of the folklore customs of Thrace in the 1960s in the form of the Thracian Folklore Festivals. The institution was a great success and was immediately embraced by the local community. Nowadays, the Thracian festivals are organized by the Philoprotic Union of Xanthi and, apart from the Carnival, includes a series of other cultural events.
ΤΖΑΜΑΛΑ – Θρακικές Λαογραφικές Γιορτές, Αρχείο ΙΜΕΧ
From Samos and the carnival in Karlovassi to Epirus and the tzamales in Ioannina, and from Crete and the Carnival in Rethymno to Evros, Apokria is celebrated in every region of the country. And although many of the events have now become a tourist attraction, mass participation, fun and good mood remain their main characteristics.
By Giannis Loukas
The Carnival (Apokries in Greek) is not only about the primitive and the dionysian element of the countryside. Besides the custom of the “bell-bearers“(koudounatoi), the “old men“(geroi), the “janissaries“ and the “boules“ (brides), there are more “urban“ events associated with it. When we say “urban“, we do not refer that much to these celebrations that take place in large cities, but especially to these which have a more contemporary (less traditional) nature; that are more “Western-like”.
Of course, as interesting as some Carnival events are in the major Greek cities, they cannot be classified as urban. Especially the ones that take place in cities, located in areas with a more rural character. The cities of Thebes or Ioannina are some typical examples. In the first case, we have the “Vlach’s wedding”, ending each Ash Monday, along with the engagement of the couple, the tradition of dowry, the shaving of the groom and the wedding decorations of the bride. It is a tradition that has its roots in the early 19th century, when after the release of the highland areas, the Vlachs, deserted their barren earth to find fertile ground souther. In Ioannina, we also have the “Jamal” custom, huge bonfires around of which the inhabitants of the town get intoxicated with alcohol, dance, eat cake, and bean soup. It is an old tradition that survives in an environment that is today, urban. The very etymology of the word itself (probably from the Thracian carnival custom of the jamal – camel) points to other Carnival customs of the rest of the country, that are held in cities which are today urban centers, in most of which though, customs of the Carnival with a more folk character survive. In Lamia for example, one can see the ritual of the beheading of the “mischievous“ camel by the camel driver.
On the other hand, there are various traditional customs of the Carnival which with time were passed on to the “urban“ Carnival habits as well. A classic example of this, is the Maypole. It continued as a traditional custom in many rural areas and villages (as in Kallipefki of Thessaly), and then was passed on to various semi-urban or urban centres (Livadeia, Kalamata, Rhodes). It became very popular though, in predominantly urban areas of the 20th century, like Athens. This stunning cover of the magazine “Eikones“, presents us a snapshot of the time, when Athens was on the verge of urbanization: maypole in Plaka, 1957.
περ. Εικόνες, 1957 / Eikones magazine, 1957
So in a slow pace, many urban areas incorporated traditional elements in their Carnival celebrations. An example in this respect, is Xanthi, which combines the old with the contemporary. In this city we can see the survival of the old custom of ‘burning of the Tzar,’ and up to the 1950’s, the Carnival festivities had solely a traditional character. Today, Xanthi’s Carnival has a more contemporary caracter and is organized by 34 autonomous associations.
There are of course other areas that have celebrated the Carnival in a primarily urban way, over the decades. Classical urban Carnivals came to the Greek territory in the late 19thth century, with clear influences from their Western equivalents: streamers, clowns, Western dances and processions with floats, composed their backdrop. Such Carnivals are held now in several cities of Greece.
Το κάψιμο του τζαρου – The burning of Tzaros (xanthidaily.gr)
Naturally, due to their historical roots, areas such as the Ionian Islands, adopted these types of Carnival celebrations, faster than other parts of Greece. Here, these things started very early with the so-called “Speeches”. These were short folk theatrical performances, held during the Carnival. They started before the 18th century and were influenced by the Venetian Carnival. They were based on written texts and adaptations of popular readings, which also included works of the Cretan Theatre. With the evolution of time, the Carnival events in the Ionian Islands acquired their very own characteristics. In Zakynthos (Zante), a crier goes around the island and proclaims the Carnival’s program. Throughout the Carnival, dances, parades and other events, are organised. The program ends with the “Funeral of the Mask“. This is a funeral parody in which the Carnival King, takes the place of the deceased, followed by grieving relatives. In contemporary Kerkyra(Corfu), even from the years of the Venetian Occupation, there was a great Carnival tradition. A Venetian officer assumed the responsibility of entertainment and brought ballets and operas to the island, in order to organize the Carnival, leading to the end of his term. Here too, the crier passes by the city streets with trumpeters and drummers, in order to announce the arrival of the Carnival Sior (meaning “sir“ in the Ionian islands dialect). The great procession, along with floats, bands and costumed gatherings, is directed to the Kato Plateia (Lower square) for the feast, and on the last Sunday of the Carnival, the parade of the Sior Carnival ends, with the burning of his effigy.
Καρναβάλι στην Κέρκυρα, 19ος αι. / Carnival in Corfu 19th. century
Perhaps, the proximity of the region to Italy, has contributed to the early adoption of Western-like carnival customs, in the Galaxidi area too. The urban character of the area and its nautical tradition, contributed to the adoption of Western habits. It is assumed for example, that the famous ‘Flour Battles’ were copied from folk festivals in Sicily. We know from the English traveler Dodwell, who visited Galaxidi in the days of the Carnival in 1801, that these Carnival celebrations already are more than two centuries old!
Ultimately, it may not be a coincidence that the Western carnivals were established in urban areas that were under the Venetian Occupation. Even if they started much later than that, as in the case of Rethymno, it appears that the roots of the Venetian conquest remained profound. InRethymno specifically, the Carnival dates from 1914, and includes troubadours with guitars, mandolins, old melodies, maskers who pass through the city streets in the rhythms of the Philharmonic, and the Carnival festivities culminate, with a large parade on the quay.
In time, of course, other towns as well, wanted to participate in the magic of the modern Carnival. The “Carnivals of Women“ in Epirus, demonstrate a particular interest. They started in the 1960s in Preveza, another area situated opposite the Italian Coast. The distinctive quality of this carnival is obvious from its name: it is a women’s carnival! In the recent years, the Women’s Carnival of Preveza, has each time over 20 crews with 1,000 Carnival Participators. The Women’s Carnival in Arta, followed the example of the city nearby. It began spontaneously in March 1982, without having been organized by a club or an organization.
Το καρναβάλι στην παλιά Αθήνα – The Carnival in old Athens
When talking of course about “Urban Carnival” we cannot omit from our talk, the most urbanized region of the country in modern history. Attica , celebrates the Carnival in its own way. The Carnival of Moschato , dates only from 1987, but has managed to become very popular, and hosts not only Carnival representatives from other parts of Greece, but also from the rest of the world! Of course, the traditional centre of Athens’s Carnival celebrations, is Plaka . Who has not been there during the celebrations of the Carnival, found in the crowd and hasn’t got a ‘traditional’ bat on the head? The old Athenian neighborhood is each time at the centre of the celebrations.
Αρμα πιερότος – Προπομπός 1974 Πατρινό Καρναβάλι – Chariot Pierot – Forerunner 1974 (archives.carnivalpatras.gr)
But we have to face it. When we speak of “Urban Carnival”, we know for sure that the Carnival King resides in a city, again facing the Italian Coasts. For the biggest spree, we vote “Carnival of Patras forever” . It is one of the oldest “Urban Carnivals”, counting 180 years of history. It is said to have started from a Carnival dance held in 1829, in the House of the trader Morettis. The influence of the French troops stationed in the city after the liberation, and of course its geographical position, close to Italy with the great carnival tradition, lent since the beginning to the Carnival of Patras , a more Western-like character in relation to all the rest.
Painting at the top of the article: Νικόλαος Γύζης, Καρναβάλι στην Αθήνα – Nikolaos Gyzis, Carnival in Athens
The opening of the exhibition of museum memorabilia and archival material in honour of the great benefactors of IAMY, Dionysios and Ingrid Kountouriotis, took place on Saturday, 18 January 2025 at 13.00 at the General State Archives/Historical Archive-Museum of Hydra.
The late Dionysios and Ingrid Kountouriotis,, as the last descendants of the branch of the family of Lazaros Kountouriotis, donated to the museum all the precious heirlooms of the family that had been transferred to their home in Zakynthos. The museum is now adorned with these heirlooms, as a large part of them is exhibited in its permanent collections. Thus, Dionysios and Ingrid made sure that their name was associated with the Archive and Museum, and the Kountouriotis family with it. In fact, in recognition of their great contribution, the main Cultural Events Hall bears their names in honour. The exhibition includes part of the Kountouriotis family’s large donation, which is being presented to the public for the first time and consists of wooden, carved 19th century furniture (desk, dining table, seats, boudoir, screen, etc.). ), impressive paintings of the 18th and 19th century (Roman Mercy, Innocence, Holy Family, Self-portrait of the German painter Anton Raphael Mengs, etc.) and many decorative small objects (candlesticks, plates, clocks, etc.) which adorned the houses of the Lazaros Kountouriotis family in Hydra and Palea Faliro throughout the centuries.
Also on display in the room is a complete and functional 19th century loom, which was recently donated to GAK/IAMY by the philhydrama Athena Fanti. Finally, the exhibition is accompanied by indicatively selected, very interesting archival material concerning the Kountouriotis family, Kountouriotis archive, such as authentic letters from the period of the Revolution (1819-1825), correspondence between the brothers Lazaros and George Kountouriotis as well as letters addressed to or sent by important persons of that period, such as Alexander Mavrokordatos, Dimitrios Ypsilantis, John Orlandos.
The exhibition in honour of the benefactors of IAMY, Dionysios and Ingrid Kountouriotis, will remain open to the public in the second floor of the Museum until 31 May 2025, from 9 am to 4 pm on weekdays and weekends.
Historical Archive of Hydra Museum
PC 18040 Hydra Port Phone: (+30) 22980-52355 Fax: (+30) 22980-52355, mail@gak-ydras.att.sch.gr
By Venia Pastaka
Art Historian
“…If Art today is acrobatics, it is not enough to dress up in the costume of a tightrope walker. We must be able to walk a tightrope… we dare and doubt.”
(Theodoros, Sculptor, Stigmata of Progress, traces in the sand of words, Athens 1984, p. 17.)
A restless, inquisitive, and pioneering spirit, Theodoros (Papadimitriou) was one of the most important artists of modern Greek art. Born in 1931 in Agrinio, he studied from 1952 to 1957 at the Athens School of Fine Arts, in the workshop of Michalis Tombros (1889-1974), while from 1959 to 1962, having received support from the State Scholarship Foundation, he continued his studies at the famous École Nationale Supérieure des Beaux-Arts, and at the same time at the Académie du feu, where he studied metalworking. Still, he attended seminars on urban landscape at the Camelot and Bodiansky architecture workshop. In 1972 he taught at California State University and in 1980 he was elected professor of plastics at the Faculty of Architecture of the National Technical University of Athens. He has had major exhibitions in Greece and abroad and has collaborated for years with Desmos Art Gallery and the Ileana Tounta Center for Contemporary Art. In 1965, Theodoros was awarded the Rodin Prize at the Paris Biennale for Young Artists and had been exhibiting since 1961. Participation in Biennales and International Sculpture Exhibitions followed, which made him one of the few Greek artists with international recognition for his work.
From 8 February, the National Museum of Contemporary Art (ΕΜΣΤ), presents for the first time since the artist’s demise in 2018, an attempt to interpret his imprint through almost all of his work and the archival material he bequeathed to the Museum along with his studio. Through 11 sections (curated by Stamatis Schizakis and designed by Yannis Arvanitis), the visitor has the opportunity to explore the sculptor’s world and to understand the significance of his work at the time it was created. Following a non-chronological order, the sections present the artist’s milestones as well as the mental process behind their creation. The tour starts from the station Instead of a Sculpture Work. Returning to Greece from abroad in the late 1960s, as the Military Junta had forced everyone who had received a state scholarship to return or else they would have to give back the money they had received, Theo created a manifesto for the new sculpture as it was formed within the historical conditions of the time. The second section is entitled Treatments and Tests, works made between 1973 and 1982 in which the artist explores the relationship between sculpture and other artistic media. The third section, is his iconic work Matrack – Phallus. In 1965, on the occasion of the murder of the student Sotiris Petroulas, Theodoros created the work The Midnight Alarm Clock. In this project, there was a baton which was inserted into the marble pedestal of the work, and which could be controlled by the spectator to produce sound. The ambivalence between creation and violence led to the Matrack – Phallus; a work that evokes a phallus, a sculptor’s mantraca or a police club. The fourth section is called From gesture to manipulation and consists of sculptural gestures by the artist in metal or clay. Moving on to the fifth section, we find ourselves in the presence of the Sound of Sculpture, the period of works in which the artist incorporated recorded texts or live speech. In the section entitled Transitions – Equilibria, which includes early works from the period 1963-1967, the artist plays with the laws of physics, creating meteoric sculptures, or sculptures in which he balances the fragile with the hard material. In the seventh section, called Traces of Touch, the viewer finds the artist who claims his place in the public sphere, exploiting the media. The eighth section, Conservation – Preservation, deals with the social role of art, while the next section, Tele – Handling, presents the astonishing film created under the direction of George Emirza (1936-1999). The tenth section is Antispectacle. It is Theodoro’s commentary and counter-proposal to television culture. The course of the exhibition culminates with the eleventh section, the Garden. Always interested in the place of sculpture in public space, an artificial garden was created within the museum, in which his sculptures dominate and interact with the viewer.
An important addition to the exhibition is the inclusion of contemporary artists in it, such as Nikos Arvanitis, Paky Vlassopoulou, Iris and Leda Lykourioti, Kostas Bassanos and Yannis Papadopoulos, who have critically interacted with the corresponding timeless concerns that can be found in Theodoros’ work. This addition ties in extremely well with the artist’s own words, who wrote in 1966 “…I prefer to look for you – I find you through my works. And if I do not succeed, let me believe that I am ahead of my time, i.e. that I will find my viewers in your descendants“. (Ibid., p. 28, from a text written in Paris in 1966.)
The oeuvre of Theodoros is undoubtedly a demanding one. It is not a sculpture that is meant to simply please, but mainly to educate and reflect. The sculptor belongs to that generation of artists who considered it their duty to cultivate the intellectual culture of their audience. Without sacrificing their visual means, but using them in many ways, they prepared the ground for the creation of a thinking recipient. At the same time, while often criticizing society and the establishment through his work, Theodoros was an artist whose work was also included in institutional collections through commissions, creating an artistic paradox. This intellectual and artistic genius is what one has the opportunity to experience in the exhibition running at the National Museum of Contemporary Art, where visitors will realize that the fruitful dialogue with the work continues to be alive even when its creator is no longer present.
The Theatre Company of Crete was the beginning, and this year, its evolution, the Municipal and Regional Theatre of Crete, completes half a century of life and celebrates with an anniversary, museum-level exhibition, under the title “Municipal and Regional Theatre of Crete – 50 Years of stage action- A Living Archive“, hosted at the Municipal Gallery of Chania. The exhibition is organized by the Municipality of Chania, the Municipal Gallery of Chania, the Municipal and Regional Theatre of Crete, with the support of the Ministry of Culture and in co-organization with the Region of Crete.
More than 700 exhibits – costumes and sets, models, drawings and sculptures, director’s and translation notes, posters, programmes, photographs, videos and audio documents – make up a visual installation of 129 productions from the rich archive of the Municipal and Regional Theatre of Crete. These form the core of the event, the curatorship of which was entrusted by the theatre’s Artistic Director, Efi Theodorou, to the international visual artist and Assistant Professor of the University of Patras, Antonis Volanakis.
Οι ηθοποιοί Αφροδίτη Λόντου, Τόνια Μάνεση, Δήμητρα Τσέλιου, Κάτια Λιτρίδου, Αλκμήνη Σταυρουλάκη, Ζωή Παναγιωτοπούλου και (με τις μάσκες) οι Δημήτρης Κοντογιάννης, Δημήτρης Αρώνης, Νίκος Καψής, Θωμάς Κινδύνης, Άκης Δρακουλινάκος, Γιώργος Βερτσώνης ερμηνεύοντας τους ρόλους των νέων στη θεατρική παραγωγή της Εταιρείας Θεάτρου Κρήτης «Κούρος», σε σκηνοθεσία Μιχάλη Μπούχλη, σκηνογραφικό και ενδυματολογικό σχεδιασμό του Γιώργου Ανεμογιάννη, το καλοκαίρι του 1977.
On the three floors of the Municipal Gallery of Chania, visitors will have the opportunity to tour the three main periods of the theatre organization:
a) 1974-1986, Theatre Company of Crete (ETHEK) – Semi-State Theatre of Crete – Municipal and Regional Theatre of Chania, Crete
β) 1986-2000, Municipal and Regional Theatre of Crete
γ) 2001-2024, 21st Century
The time progression, however, is not binding on the visitor’s path. On the contrary, the aim of the exhibition is to remind older people and to introduce younger people to this great theatrical organization and at the same time to create the conditions for the audience to approach unseen aspects of the preparation of a theatrical production. The routes will be many and varied, which will make the exhibition attractive for multiple visits. Indicatively some of the thematic routes are:
Οι ηθοποιοί Βάνα Μπλαζουδάκη και Αλέξης Μινωτής ερμηνεύοντας τους ρόλους του Ισαάκ και του Αβραάμ αντίστοιχα, στη θεατρική παραγωγή της Εταιρείας Θεάτρου Κρήτης «Η θυσία του Αβραάμ», σε σκηνοθεσία του Αλέξη Μινωτή, σκηνογραφία του Κλεόβουλου Κλώνη, και ενδυματολογικό σχεδιασμό του Γιάννη Μιγάδη, το καλοκαίρι του 1974.
The main axis for the preparation and organization of the exhibition is the thorough research of the extensive archive of the Theatre, which Antonis Volanakis and his team have undertaken, in order to obtain the data that will allow both the uninitiated visitor and those with a special interest to find information presented in an accessible, attractive and at the same time fully documented manner.
Interaction is one of the main pillars of the exhibition’s design, in the context of which visitors will have the opportunity to try on theatrical costumes, be photographed in a stage sculpture and see the design drawings of the exhibition before its realisation.
Οι ηθοποιοί Χρήστος Βαλβανίδης, Μαρία Ζαχαρία, Μπέτυ Βαλάση και Λευτέρης Τζουλάκης (μέσα στο λεωφορειάκι) διαφημίζουν στους δρόμους της πόλης τη θεατρική παραγωγή του Ημικρατικού Θεάτρου Κρήτης − Εταιρείας Θεάτρου Κρήτης «Ο Κατζούρμπος», σε σκηνοθεσία Κωστή Μιχαηλίδη και ενδυματολογικό σχεδιασμό του Γιάννη Κύρου, το καλοκαίρι του 1980.
The event will be accompanied by a multi-page catalogue with a complete list of 50 years of performances, edited by Antonis Volanakis, which will be published by Kapa Editions.
ΙΝFO:
Duration: 15 February through 30 April 2025
Opening Night: 15 February , 19:30
Municipal Art Gallery Of Chania
Chalidon 98-102
Tel: +30 2821 3 41680
Web: www.pinakothiki-chania.gr
Opening Hours:
Mondays 10.00-14.00
Tue through Saturday 10.00-14.00 & 18.00-21.00
Sundays 10.00-14.00
The “other Arcadia” Foundation and the Printmaking Studio of the School of Fine Arts, University of Ioannina, present the exhibition “The School of Ioannina” at the venue “16 Fokionos Negri” in Athens from February 14 to March 15, 2025. The exhibition is curated by the artist and Assistant Professor at the Department of Fine Arts and Art Sciences University of Ioannina, Konstantinos Papamichalopoulos. .The exhibition is under the auspices of the University of Ioannina, as part of the celebrations for the 60th anniversary of its founding.
The “other Arcadia” Foundation, aiming to support young creators and enhance the visibility and communication of their work with the Athenian artistic community, invites for the second time the Printmaking Studio of the School of Fine Arts, University of Ioannina, to the 16 Fokionos Negri. “The School of Ioannina” brings together over twenty-five works by students of the , showcasing the diverse expressive possibilities of printmaking as a contemporary artistic form. Using a wide range of techniques—from woodcut to etching—as well as incorporating printmaking techniques into the creation of painting works, the exhibition reveals the creative variety and technical mastery of printmaking.
Άννα Μήτση
As Konstantinos Papamichalopoulos mentions in the text of the printed edition accompanying the exhibition: Printmaking, transcending the narrow concept of the mere reproduction of copies, is shown here as a more profound process that accentuates the importance of design, technical skill and metier, the cuisine of materials and techniques that is, of the artistic act. The exhibition also captures the effort to unite two ostensibly contrasting worlds: pop culture, which is a source of inspiration for young creators, and the academic knowledge that only a School of Fine Arts can provide..{…}The School of Fine Arts of the University of Ioannina, with the support of the Region of Epirus and the Municipality of Ioannina, looks forward to continuing this creative journey, bridging the past with the future of printmaking.
As part of the exhibition, two guided tours will be conducted by Konstantinos Papamichalopoulos, the curator of the exhibition, on Saturday, February 22, and Saturday, March 15, at 12:30. Additionally, on Saturday, February 15, a special workshop for children aged 10-12 will take place, titled “Exploring the City and Nature through Printmaking.” The workshop will be guided by students from the School of Fine Arts of the University of Ioannina: Marina Pappa, Xenia Giannoulatou, and Ioannis Karagiannopoulos.
Τασατζή Ματίνα
Participants:Iosifina Argirou, Evangelos Voulgaris, Danae Giannopoulou, Xenia Giannoulatou, Konstantinos Gikas, Chryso Valanto Grigoriadou, Afroditi Grigoriou, Fotini Diamantopoulou, Loukas Theoharous, Ioannis Karagiannopoulos, Christina Kousidou, Antonios Koufalexis, Anna Mitsi, Filothei Binta, Marina Pappa, Sofia Pappa, Vasiliki Siatara, Fotis Remos Sinos, Anastasia Skantsi, Maria Spanaki, Matina Tasatzi, Nafsika Tsiartsiouni
PARALLEL PROGRAM
Saturday 15 February
Exploring the City and Nature through Printmaking
Printmaking Workshop for children aged 10-12
As part of the exhibition “The School of Ioannina”, a special workshop for children aged 10-12 will be held with the title “Exploring the City and Nature through Printmaking.” Participants will learn the fascinating technique of relief printing, working with rubber tiles, and will be inspired by two themes: “Among Roots, Leaves, and Flowers” and “The City’s Imprint.” Their works will combine the beauty of nature with the dynamism of urban landscapes, creating a fantastic world where both coexist.
The workshop will be led by students of the School of Fine Arts, University of Ioannina: Marina Pappa, Xenia Giannoulatou, and Giannis Karagiannopoulos, offering children a unique opportunity to explore printmaking through creativity and imagination.
Limited places available. Registration at info@felioscollection until 10/02
Free Entry
Materials provided for free.
Ξένια Γιαννουλάτου
Saturday 22 February, 12:30
Guided tour of the exhibition with Konstantinos Papamichalopoulos.
Saturday 15 March, 12:30
Address
16 Fokionos Negri
11257 Athens
210-8824681
Wednesday- Friday 16:00-20:00
Saturday 12:00 – 17:00
Admission to the gallery is free
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The Ministry of Culture, in the context of the strategic plan it has developed, from 2020, for the restoration and promotion of the Roman monuments within the archaeological site of Ancient Olympia, is launching the maintenance, restoration and promotion of the complex of the baths, located on the eastern bank of the Kladeos, a tributary of the Alpheus. The archaeological site of Ancient Olympia is morphologically located in an area of mild relief, which is formed at the confluence of the river Kladeos (a tributary of the Alpheus) and the Alpheus river. The monument was excavated by H. Schleif, who published it in 1944, and occupies an area of about 400 square metres. The entrance to the building of the Baths of Kladeos is located on the south side towards the complex of the Roman Inns, with which it is connected. The Central Archaeological Council unanimously gave a positive opinion on the required studies – architectural preliminary study, geotechnical, structural and building materials studies.
The Minister of Culture Lina Mendoni said: “The promotion of the buildings of the Roman period will give a new look and perspective to the archaeological site of Ancient Olympia. The specific monumental unit is upgraded, which we include in the archaeological site that can be visited, extending the tour of the monuments beyond the classical antiquity, prolonging the visitors’ stay. The Baths of Kladeos are located on the eastern bank of the river Kladeos, outside the western enclosure of the sanctuary. It is a bath complex built in 100 AD, on the site of the 5th century BC bathing pool. The bath complex, on the eastern bank of the Kladeos River, had rooms for hot baths (caldarium), tepid baths (tepidarium) and cold baths (frigidarium), while the floors of the rooms were decorated with excellent mosaics, some of which have been preserved in good condition until today. With the restoration and enhancement of the bath complex, we continue to implement our strategic plan for the restoration and return to visitors of the archaeological site of Ancient Olympia of Baths Cladeos. Today, similar projects are underway in the Baths of Leonidaion, in the complex of southern Thermos and in the early Christian basilica, known as the laboratory of Phidias, with a total budget of approximately 4,000,000, euros, while the studies and immediate rescue measures on the Octagon, the so-called “House of Nero”, from national resources of the Ministry of Culture have been completed.
According to the studies, the recovery of the areas that were swept away by the Kladeos, in order to restore the contour of the ground plan of the monument, as well as the recovery of parts of the floors of the areas that have been swept away. The floors of the heated areas will be restored to their original use level, rainwater will be drained from the floors of the monument, walls will be restored according to the ancient building system and a new access will be constructed. The route will pass through the vaulted floors – the Directorate for the Conservation of Ancient and Modern Monuments of the Ministry of Culture and Culture carried out the fixing and maintenance work in 2002-2003 – and will then pass through the warm rooms and the changing room. In order to keep the conduit of the bathing pool of the classical period visible, a staged backfill is planned in this area. It is also planned to highlight the latrine by conserving its ceramic elements, to move part of the fence to allow for the recovery of areas of the monument and to place information signs along the visitor route. The structural study includes proposals for restoration by filling in the cavities, repairing cracks, constructing a retaining wall for the slope of the Kladeos, filling and levelling.
Venia Pastaka
What kind of relevance can there be between the classical and the contemporary? Can a fruitful dialogue be created between artists and works that are separated by almost three centuries? Can works of art made in the 18th century be relevant and can the viewer of today find points of identification with them? Still, how pioneering can an artist have been to influence his or her peers to this day?
Two important exhibitions that are in direct dialogue with each other are presented from 22 January at the National Gallery, launching the 2025 programme. On the one hand, in an extension of the section devoted to Western European art on the second floor, the famous Los Caprichos, the 80 prints by the great Spanish artist Francisco Goya (1746 – 1828), which were purchased in 1962 on the initiative of the then director of the National Gallery, Marinos Kalligas (1906 – 1985), in an attempt to enrich the collection with works of Western art. For the record, the prints were first exhibited under Kalligas in 1971. A part of them was exhibited in 1984, under the direction of Dimitris Papastamos (1923 – 2008) and finally in 2008 they were exhibited again in their entirety under the direction of Marina Lambraki – Plaka (1939 – 2022) and curated by Marilena Kasimatis. The current exhibition, whose artistic director is the director of the National Gallery, Syrago Tsiara, and whose curator is the art historian Katerina Tavantzi, is the fourth time that Goya’s top prints have been presented to the public in Athens, which, as the director herself rightly points out, is different even from that of 2008.
The Los Caprichos, created in 1797 – 1798 and published in 1799, were not particularly successful as their caustic content disturbed the public. Being the official painter to the King from 1886, Goya had numerous commissions and was considered one of the most important painters in Spain. At the time of the Caprichos’ creation, however, the artist was going through a difficult personal period. On the one hand, since 1893 he had lost his hearing due to an illness, which caused him to close in on himself, and on the other hand, the historical and socio-political conditions in Spain had deeply frustrated him. Inspired by the spirit and ideas of the Enlightenment and in an intelligent manner, he satirised through this series of works the society of his time, the authorities, the Inquisition and the corrupt clergy, as well as the everyday world that had allowed superstition to take over without letting reason prevail. To execute them, Goya used the combination of etching and watercolour, which was innovative for the time, and which allowed for intense shadows and a more painterly effect. His furious imagination, mocking way of rendering figures and the theatricality of his compositions inspired generations of artists from French Romanticism, Impressionism, German Expressionism and Surrealism and his work continues to inspire to this day.
To this focal point is added the exhibition in the intermediate space of the building, Allure of the Bizarre , curated by Syrago Tsiara, in which the artists Angelos Antonopoulos,Yannis Gaitis, Silia Daskopopoulou, Marianna Ignataki, Dionysis Kavallieratos, Christoforos Katsadiotis, Tasos Mantzavinos, Malvina Panagiotidi, Angelos Papadimitriou and Filippos Tsitsopoulos open a dialogue with Goya’s work. In these works, the artists address notions of the horrifying and the grotesque, the boundaries between the familiar and the uncomfortable, logic and the absurd, reality and illusion. Using various media such as painting, installation, sculpture and video art, an environment is created in which the viewer feels the fragile balance one can encounter in dreams where a friendly environment can be transformed into a terrifying field. The imposing wood-carved Gothic cabinet, a legacy of the painter Odysseus Fokas (1857 – 1946), with its grotesque and terrifying forms dominates one side of the space, showing clearly how the uncanny has always fascinated man. In these works, too, humour and irony are levers to negotiate issues related to power relations and existential questions.
Looking at Goya’s works today, at the historical juncture we are in, with the power relations that surround us, the international political scene, the war of religions and conspiracy theories, it is impossible not to recognise their timeless significance. Indeed, when contemporary works by artists are added to this context, it becomes obvious that in art, the concept of time is broken down. In this timeless universe, the coexistence of works is capable of generating new ideas, renegotiating the same issues that are in any case within the very nature of man.
Family heirlooms and personal belongings of Admiral Pavlos Kountouriotis are among many other objects and works of art of historical and folklore interest included in the annual auction «“Historical and Folklore Objects of 19th & 20th Century” of VERGOS Auctions. The auction will take place on Wednesday, February 5 at the Ionic Centre in Plaka (5:30 pm).
For more information on the auction visit the website www.vergosauctions.com
In particular, portraits, medals, uniform accessories, binoculars, a travel clock, and even a campaign glass with its case, together with several other objects, make up the special section of Admiral Pavlos Kountouriotis, commander of the Aegean Fleet during the Balkan Wars and twice President of the Republic.
The total of 258 works of art and objects of the auction will be on display for the public at the Ionic Centre, from Sunday 2 February to Tuesday 4 February.
From the rich collection that includes folk jewellery and costumes, weapons, portraits of historical persons and many other works and objects of philhellenic and historical interest, stand out among others:
Exhibition Sunday, 2 February – Tuesday, 4 February 2025 : 12:00-20:00
Cavafy is the poet of the city; nature barely interests or inspires him. It is the urban space which defines the topography and iconography of his work.A first approach to the theme of Urban Space in the work of C. P. Cavafy was presented at the First International Symposium on Cavafy in October 1991 in Alexandria. In the following years it was also presented by the author in academic lectures and seminars in Greece and abroad.
The present bilingual and updated version of the book comes more than thirty years since its initial presentation and more than ten years since its first edition. The photographs selected to accompany the English text follow the themes of the first edition, featuring images of Alexandria from 1991 to 2009, photographs taken by the author, as an attempt to initiate a conversation between the poetic space and the image of Alexandria over the past twenty years.
With a few exceptions of named buildings, the photographs depict Greek properties and businesses, anonymous neighborhoods and streets of the Ottoman quarter, gathering places, architectural details —such as “windows” and “staircases”— while views of the Alexandria Corniche, the abandoned coastline and stunning vistas towards Qaitbay highlight the city’s perpetual dialogue with the sea. The aim was not nostalgia for what has been lost, but rather the emergence of the Polis, through the images-symbols of an urban space being tested…
Vassilis Colonas is an architectural historian, professor emeritus of the department of Architecture at the University of Thessaly.
Title: The City, urban space in the work of C.P.Cavafy
Author: Vassilis Colonas
Publisher: University Studio Press
Subject: Architecture, Poetry
Year: 2024
Pages: 128
Τechnical Features: 14Χ21
The complete restoration of the building-monument of the Old Archaeological Museum of Mytilene is initiated by the Ministry of Culture, in order to save the building and reopen it as a modern museum space. The necessary studies -architectural, structural, geotechnical, electromechanical installations and maintenance- have received the unanimous positive opinion of the Central Council of Modern Monuments, so now the inclusion of the project in the Regional Operational Programme “North Aegean” – NSRF 2021-2027 is initiated.
The building is divided into two floors, with different decoration on each level, separated from the outside by a perimeter cornice. The central section of the façade, which includes the main entrance and the balcony, is particularly accentuated with artificial decorative elements. The interiors follow the typology of early 20th century bourgeois residences. The central entrance leads through a vestibule to a corridor with formal and day rooms on the ground floor. At the rear there is an auxiliary entrance and staircase to the basement. The main staircase leads to the floor where the private rooms and bathroom are developed and continues to the attic.
The Minister of Culture Lina Mendoni said: “The building of the Old Museum is a particularly remarkable example of architecture of the last years of the Ottoman rule, integrated into the urban fabric of Mytilene, which as a whole is a declared archaeological site. The building follows the spirit of eclectic neoclassicism. The building includes elements of a strong decorative character and influence from the modernist movement, which was prevalent in European metropolises, which is skilfully rendered in the friezes and ceilings of the first and second floors. There is considerable damage to the structural elements of the building due to extensive structural failures, such as water ingress on the roof, rising damp at ground floor level, corrosion and even cracking of the coatings. The studies, which were prepared by the Ephorate of Antiquities of Lesvos, include the design of a new permanent exhibition, which will relate to the history of Lesvos in the long run, as well as all the necessary works for the modernization of the building’s operation, in order to meet the requirements of a modern museum, ensuring accessibility to disabled people in the building and the surrounding area. The maintenance proposals concern the coatings, the painted and relief decoration (elaborate plaster decorations, floor paintings), wooden elements, stone elements, cement tile floors, mosaic floors and metal elements. Our aim is to restore the building, preserving all the monumental features of its original form, to highlight its historical value and to reuse it as an archaeological museum. As regards the state of conservation, the building is in a rather poor condition. Although the structure is robust, it has serious problems, the main deterioration being caused by humidity and the effects of the marine environment. The new exhibition in the Old Museum will come to complement the exhibition programme of the New Archaeological Museum, which is located in the immediate vicinity. In this way, the visitor will be able to gain a comprehensive experience of life on ancient Lesvos, from Neolithic to Roman times, but also to understand the important role that the island played in the Mediterranean and the ancient world.”
The interior floors of the structure are in satisfactory condition. There is extensive damage in some areas on the floor and in the basement, to floors and walls. The maintenance proposals concern coatings, paintings and reliefs (elaborate plaster decorations, floor paintings), wooden elements, stone elements, cement tile floors, mosaic floors, metal elements.
The main mechanical rooms are located on the ground floor of the building. For the fire protection of the building, fire protection systems, fire detection, alarm, loudspeaker installation, lighting are installed: Interior lighting, exterior lighting which will include lighting of the building’s surroundings, public pathways, and architectural highlighting lighting is provided at selected points.
The building of the Old Archaeological Museum of Mytilene in the “Kioski” area, built in 1912, originally housed the Vournazos family. It is a three-storey building at the junction of today’s Argyris Efthalioti and 8th November streets, with an area of 1834 sq.m. It is a monumental building of academic architecture, which is part of eclecticism with influences of the Second Empire of Beaux Art. From 1912 to 1965, the building was the residence of the Vournazos family. From 1967 to 1985 it served as a museum and offices of the Ministry of Culture and for the next five years it served as offices of the Ministry of the Aegean. In 1990 the building was returned to the Ministry of Culture and operated as a museum. In 2014 it was finally suspended due to serious damage.
City of Athens, through OPANDA, organizes, from 9 January to 23 February 2025 , at the Athens Municipal Gallery, the exhibition “Landscape Painting” by Achilleas Christides , which presents the landscape paintings created by the artist over the last twenty years (2004-2024).
Each landscape of Achilleas Christides is a shot, a frame, a snapshot, a link in a great unbroken chain. One needs the other, not to exist or to convey emotion, but to form an overall narrative, a Landscape. And the significance of a retrospective exhibition that brings together a selection of Christides’ Landscape Paintings from the last twenty years (2004-2024) is precisely this: that it enables you to wander through his landscapes, to move from one to the other, with the exhibition space itself transformed into a landscape.
If by the word “landscape painting” we mean the representation of landscapes in painting, then Christides undoubtedly serves the genre. He does not just paint landscapes, but (also) their representation, the idea of landscape painting. His brushstrokes create amorphous masses in the center of the painting, as if the landscape is vomiting itself out. At other times, they form a curtain that prevents you from seeing the background clearly. Sometimes they are calm and sometimes they are wild, explosive, furious, making their own play within the boundaries of the canvas, creating independent spaces or changing the character of the sky and earth. Thus, a sky becomes a separate abstract composition, a second painting within the painting. Expressionist brushstrokes intertwine to create three-dimensional spaces that imprison the human figure, which, it should be noted, is rarely seen. Occasionally, the idea of landscape painting is abolished altogether or becomes something else, a strange kind of anthropography that hides the landscape within. The flowers are painted on the first level, in such a way that you think they are coming towards you, with a desire to invade your space.
In other works, Christides’ indistinct brushstrokes set up a peculiar dance. They move uncontrollably – or is it completely controlled? – in every direction, spreading the paint in thick layers that connect the sea to the sky, covering parts of the landscape and erasing them from your field of vision. It is obvious that the idea of a beautiful and perfect picture is of little concern to him. However, his landscapes have an inner harmony, which probably results from the fact that the majority of them are experienced. Even so, however, one could hardly say that the painter is recording an experience, his temporary presence in a place. Christides’ Greece is an unpredictable and magical country, which surprises you every time with its ability to give birth to unique combinations of colours that you have never seen before. In his paintings, however, the Greek landscape is not immediately recognizable, at least not in the way it is with other Greek painters.
He often paints views that you wouldn’t call spectacular – and yet, the painter seems to relish these seemingly indifferent aspects of nature: it is obviously a challenge for him to render the subtle gradations of the brown-green of the earth and trees, or the monotone volume of a dry hill or the black creeping shadow of a cypress. For Christides, there is nothing indifferent or impersonal in nature. Everything has its value, as long as you pay attention to it and take the time to let it reveal its charm, its magical side.
Achilleas Christides was born in 1959 in Piraeus. He studied theatre scenography and music. He also worked in ceramics, photography, construction and book illustration. He is self-taught in painting. He has fifty solo exhibitions to his credit. He lives and works in Athens.
The exhibition is curated by Christoforos Marinos.
The opening of the exhibition will take place on Thursday 9 January 2025 at 19:00. Πέμπτη 9 Ιανουαρίου 2025 στις 19:00.
Exhibition Duration : 9 January– 23 February 2025
Opening Hours: Tuesday-Saturday 11:00-19:00, Sunday 10:00-16:00, Mondays closed
The admission is free
City of Athens Gallery
Leonidou & Myllerou, Avdi Square, Metaxourgio
Information: 210 5202420| www.opanda.gr
