Hydra is an ideal place for international meetings. The close distance from Athens, the easy access, the infrastructures of the island and of course the landscape make it an ideal destination for conference tourism.
The Historical Archives Museum of Hydra, responding to this request, is able to host conferences and events in two of its premises. On the ground floor of the building is the Event Hall. Depending on the needs, the hall can accommodate meetings and conferences up to 150 people, while on the second floor the Lecture Hall can accommodate 80 people.
The Museum provides the necessary support such as air conditioning, cleaning, secretarial space, etc.
Although the Museum is the "natural venue" for hosting conferences and events focusing on history, it also hosts events, lectures and conferences on the arts, sciences, music, education...
Historical Archive of Hydra Museum
PC 18040 Hydra Port Hydra
Tel: (+30) 22980-52355 Fax: (+30) 22980-52355
mail@gak-ydras.att.sch.gr https://www.iamy.gr/
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
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 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
The city of Athens, an international tourist destination for its history and ancient monuments, is acquiring new, modern "monuments" in the context of the reconstruction of its historic centre. Hospitality has met art and the Monument Hotelhas emerged.
The brand new hotel in the heart of the city is a work of art in its own right, bearing the stamp of the great neoclassical architect Ernst Ziller.
Designated as a Listed and Modern Building, the Monument is housed in a uniquely aesthetic structure designed in 1880 by the famous architect.
The transformation is stunning: one of the most impressive neoclassical buildings in the centre of Athens, with uniquely painted floor paintings, takes on a new life as a small nine-room hotel of high aesthetics..
The dialectic relationship between new and old is reflected in both the common areas and the hospitality rooms with high aesthetic tones. The renovators who undertook the project preserved the original and the posterior, documenting how the past can coexist with contemporary design. They gradually revealed - over three years of restoration and work - the pattern of ceiling paintings and plaster decorations that date back to the building's creation in 1881. The Stathopoulos House,, owned by a wealthy Athenian merchant, found after years of abandonment its original identity as a true work of art.
The hotel's premises
In the hotel's rooms, each of which has its own floor painting, each new, highly aesthetic addition to the interior in relation to the pre-existing shell, highlights
the old and honors the modern..
The elements that were preserved gave inspiration to determine the colors in the lounge, the wooden staircase that connects the floors -which is a work of art in itself- and in each room where, based on the ceiling, the colors of the wall style and the modern furniture were chosen, in dialogue with the neoclassical style.
The ninth room on the roof enjoys the unique view of both the original antefixes that adorn the building in close-up over the square of Agios Dimitrios, and the magical view of the Acropolis in the background.
The arches and ceilings of the great neoclassical building and its masterly aesthetics can also be seen in the arched doors which have been preserved intact.
Every guest gains - along with the excellent aesthetics - the unique opportunity of a private space, even in the lounge area. The warm sense of hospitality is enhanced as we experience the harmony of the richly painted decorations on the ceilings and the craftsmanship of the luxury branded and handmade furniture .
A wonderful touch of service at the Monument Hotel is the wellness centre, where the spa, sauna and massage area offer a unique sense of relaxation thanks to the rejuvenating treatments offered.
Monument Hotel combines the splendor of the Athenian past with the present, through an authentic hospitality experience. It is a true monument that managed to withstand the test of time until it was restored with respect to its history and architecture to return to the world with a totally fresh identity.
Guests enjoy its unique services and passers-by in the city centre stop and admire the exterior and the magnificent façade with the characteristic archway. It is the city's narrative, the new experiential look, the coupling of history, Ernst Ziller's legacy of architecture and contemporary urbanism that makes the Monument Hotel a fascinating hospitality destination, a new urban concept of hospitality.
Margarita Kataga
Thank you to Mrs. Eleni Chatziioannou, Hotel Manager, Monument Hotel, for the tour to the hospitality areas
Monument Hotel Athens
11, Kalamida str.
10554, Athens, Greece
+30 21 0324 1425
https://www.monumenthotelathens.com/el/
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 Municipality of Agia is located in the prefecture of Larissa in the region of Thessaly, with its seat in the town of Agia. It stretches from the foothills of Mount Ossa in the east to the Aegean Sea in the west, covering an area of 668.26 square kilometers. The municipality has a population of more than 14,000, who live in the four municipal units of Agia, Evrymenes, Lakeria, and Melivia.
The municipality has all the elements that can make Agia a place of residence for digital nomads. Almost all services are available, there is an extensive market as well as several dining and leisure areas.
The municipality itself meets all the necessary requirements, combining them with a beautiful natural landscape. In addition, its proximity to the city of Larissa (36 km) ensures easy and quick access to the necessary infrastructure.
The General Hospital of Larissa, which has 10 clinics in the Pathology Department and 8 in the Surgery Department.
The University of Thessaly with 9 modern departments.
The Larissa Railway Station
The other major cities of Thessaly are about an hour away from Agia, while Thessaloniki is only two hours away by car.
Agricultural products
Due to the fertile lowland soil, the region's economy has traditionally been focused on the primary sector. In Agia, the cultivation of apples, chestnuts, and cherries is widespread, and these fruits are known for their taste and quality.
Local agricultural products are celebrated in festivals organized in the villages of the municipality, highlighting the rich production of the region while at the same time attracting visitors to the villages. With music, refreshments, dance events, and theater, farmers and residents express their joy for the harvest.
Corn and Kiwi Festival in the village of Omolios (3rd Saturday of August).
Cherry Festival in Metaxochori (mid-June)
Apple Festival in Agia (early September)
Chestnut Festival in Karitsa (third week of October)
Τοurism
However, its proximity to the sea and urban centres of Thessaly, its natural landscape and privileged location have made the municipality a tourist destination. This is true both during the summer months, when visitors from Greece and abroad prefer the coastal areas of Agiokampos, Stomio, and Karitsa, and during the winter season, when the main destination is the nature of Kissavos.
The multitude of monasteries and Byzantine monuments within easy reach make Agia an ideal destination for religious tourism . The Mountain of the Cells stands out, as the area became known in Byzantine times, when a group of monasteries and hermitages developed, with a large number of monks and an administration similar to that of Mount Athos.
However, throughout the municipality there are Byzantine and post-Byzantine churches as well as functioning monasteries.
Museums
The area has several museums related to its rich history: Cultural Center: Agion Antonion, which houses a priceless collection of post-Byzantine icons. Ecclesiastical Museum in the village of Anatoli, Omolio Agricultural Exhibition "Marinos Antypas" with a rich folklore collection, Melivia Archaeological Collection, which houses Byzantine sculptures, ceramics, frescoes, and coins from recent excavations in the Kissavos area, etc.
Thermal Springs
A small stone basin from the oldest settlements in the area, but also one of the first bathing destinations in Greece in the early 1900s. The settlement took its name from the nearby spring, with its pools of cold thermal water. with healing properties for all uses. The water is considered invigorating, rich in minerals, and therapeutic for anemia, nervous disorders, lethargy, and indigestion.
The municipality and the region are also methodically moving forward with the exploitation of the thermal water from the Kokkino Nero spring by investing in its bottling.
Culture
The architectural landscape of the municipality of Agias is dominated by mansions located both in the town and in Mataxochori. Built in the early 20th century, they bear witness to the economic development of the region, which was based on sericulture. Among them, the mansion of the Alexouli family stands out. It was built in the 18th century and is one of the largest buildings in Thessaly in terms of area and volume.
Old Girls' School. Cultural Center, Metaxochori
Built in the mid-19th century, the two-story stone building on the edge of Metaxochori operated as a girls' school called "Parthenagogio" from 1880. Over the years, it has been used for many purposes but was also abandoned until its restoration and utilization by the Metaxochori Cultural Association, which brought it back to life.
The building now houses the Association's cultural activities, annual events, exhibitions, lectures, etc., while on the first floor there is a folklore collection that highlights the recent past and economy of the area through photographs, costumes, everyday objects, and tools.
Sports
The modern, renovated Agia Indoor Gymnasium is located in the town of Agia. The gymnasium hosts the region's sports clubs and championships, while also remaining available to residents. The Gymnasium is another part of Thessaly's sporting tradition.
Perhaps the most popular sporting event in the region is the Kissavos Marathon Race, which takes place every April and attracts hundreds of participants.
We proudly present the International “Creative Writing” Conferences of our MA Programme—a long-standing institution of outward engagement and dialogue that highlights contemporary writing practice, theory, and the pedagogy of writing.
In its most recent edition, the 6th International Conference was held in Kozani (ZEP) on 5–8 September 2024, bringing together researchers, writers and educators from Greece and abroad for four days of rich presentations, discussions and workshops. The conference’s thematic focus and its public orientation make it a meeting point between literary production and academic research.
Carefully curated organisation and a clear working structure ensure high scientific standards and meaningful networking. From the opening session to the parallel thematic panels, the programme is precisely designed, offering space for new voices as well as established creators to present original approaches to fiction, poetry, theatre, screenwriting, writing pedagogy and the digital applications of literature. The detailed schedule (sessions, rooms, chairs) reflects the breadth and depth of the conference themes.
The conferences maintain a consistent international scope and strong collaborations. In its 6th edition, the MA in Creative Writing co-organised the event together with inter-university and international partners (Aristotle University of Thessaloniki, National and Kapodistrian University of Athens, Lund University, Cyprus Pedagogical Institute), strengthening the European dialogue on creative writing and its teaching. This collaboration fosters plurality of perspectives, exchange of best practices and opportunities for sustained academic and artistic cooperation.
The continuity of the institution is also evident in the archive of “Proceedings” and “Conference Posters” from previous years—from Corfu (2015) to Palermo (2022)—which document the evolution of the discourse. The official Proceedings of the 6th Conference (multiple volumes) and the material available from earlier editions form a living reference archive for researchers, educators and writers, while the online gallery conveys the atmosphere of the events.
Why participate? Because our conferences combine academic excellence with creative practice. You will encounter new ideas, test your own in open workshops, network with internationally recognised speakers and actively contribute to the public conversation on writing today. With clear procedures, a detailed programme and a lasting presence through published proceedings and digital material, the International “Creative Writing” Conferences of the MA Programme offer an ideal space to present your work, stay informed about current developments and find inspiration for your next step as a writer and/or researcher. For information and communication, please visit the official conference website. https://cwconf.uowm.gr/
Creative Writing International Conferences Μεταπτυχιακού Προγράμματος Σπουδών “Δημιουργικής Γραφής”
What it is: The official webpage of the International Creative Writing Conferences of the University of Western Macedonia (UoWM). It provides access to the programme, announcements, proceedings and photographic material.
Most recent conference: 6th International Conference on Creative Writing — Kozani, 5–8 September 2024 (University of Western Macedonia, Kozani Campus) Proceedings: Available online (Volumes 1–4) on the webpage of the 6th Conference.
Previous conferences: Dedicated section with posters and proceedings from earlier conferences (e.g. 5th: Palermo, 16–18 September 2022 · 2nd: Corfu, 1–4 October 2015) Website: cwconf.uowm.gr
Programme / Announcements: Updates and subpages with detailed information (programme, sessions, news).
Contact: Για For general enquiries regarding the conferences, communication is handled through the Secretariat of the MA Programme via the programme’s contact page.
Website: cwconf.uowm.gr
Millions of people around the world have chosen running as a form of regular exercise, with the number increasing every year. Of these, more and more participate in organized races of shorter or longer distances each year.
Such races are held in every location to mark an anniversary, as a means of raising awareness, as a tradition, etc. A constant factor in their success, even if the organization is not perfect, remains the mass participation of athletes of all ages. Of course, the starting point and the ultimate challenge for every runner is to participate in a marathon race, which is perhaps the most popular trend in mass sports.
The roots of the Athens Marathon lie in the first modern Olympic Games in Athens in 1896. The idea of organizing a race that would connect Marathon with Athens belongs to the Hellenist Michel Breal. He was the man who suggested the organization of the marathon to Pierre de Coubertin. Of course, the idea comes from the tradition of the Athenian runner Pheidippides announcing the victory of the Athenians in the Battle of Marathon. After the battle, the messenger ran to the city to announce the great victory against the Persians, carrying his weapons with him.
From the outset, the Athens Marathon stood out in the consciousness of the Greek public as it was considered the quintessential Greek sport: “this (the announcement of victory at Marathon by Pheidippides) and now connected to the movement of international competitions, which we celebrate, conveys a thrill of excitement to the crowds and generates interest other than that inspired by the other competitions.” (EFIMERIS newspaper, March 17, 1896). The victory of Spyros Louis reinforced this assessment and was considered a great national success. It is no coincidence that even today, the names of the athletes and coaches who won the remaining nine gold medals for Greece in 1896 are little known or unknown.
The Μarathon Race quickly became popular with international audiences. In fact, it became established even faster than the Olympic Games themselves. After Athens, the next Marathon Race was held in France on the Paris-Conflans route in July 1896. The distance of the marathon was approximately 40 kilometers until 1924, when the International Olympic Committee set the route at exactly 42,195 meters.
In every country, on every continent, even in Antarctica, marathons, half-marathons, and shorter distance races are organized. These races are a tourist attraction that no city in the world can ignore. It is no coincidence that the marathon route in each city is designed to pass by its sights and most beautiful spots. Preparing to welcome and accommodate runners from abroad requires systematic and very careful preparation by the authorities in each location.
As a destination for athletes, amateurs, and professionals, Athens maintains a competitive advantage as it is the city where participants run the authentic Marathon route. For runners around the world, participating in the Authentic Athens Marathon is a major goal. Although the Athens route is considered one of the most demanding due to its elevation differences and relatively high temperatures, thousands of runners come to the city every year for the race, accompanied by family and friends. It is noteworthy that this year’s international participation reached a record high, exceeding 10,000 runners from 125 countries.
The beginning of this successful event dates back to 1972 when the Classic Marathon was organized for the first time, at a time when the culture of mass sports was virtually non-existent. Only 70 athletes from 5 countries participated. In 1983, SEGAS took over the organization and, year after year, although in small steps, its popularity grew, following international trends. In recent years, the Marathon has broken participation records every year, reaching more than 75,000 participants of all ages in all events this year.
Προέλευση φωτογραφιας: https://www.facebook.com/athensauthenticmarathon/photos
The Authentic Marathon is the “spearhead” of sports tourism and city tourism. But beyond that, it is a day of celebration for the city, a message of optimism and peace that begins at the Tomb of Marathon and ends at the Panathenaic Stadium.
Προέλευση φωογραφίας: https://www.facebook.com/athensauthenticmarathon/photos
https://worldsmarathons.com/s/running/antarctica/full_marathon
https://www.sansimera.gr/articles/696
https://www.everydayhealth.com/workouts-activities/running-statistics/
Leonidas Petridis & Alexios Batrakoulis, Greek Journal of Sports & Recreation Management, vol. 10 (2), 43–54, December 2013
On Saturday, November 29, at 19.00, the Stavros Niarchos Foundation Cultural Center (SNFCC) dons its festive lights and gives the signal for the most magical time of the year to begin. The SNFCC Christmas World fills with music, light, and joy, inviting visitors of all ages to celebrate the moments that bring us together. The three towering fir trees in the Agora, the shimmering plane trees along the Canal, and the impressive light installations across the Stavros Niarchos Park create a living fairytale that marks the opening of the holiday season. The evening will be hosted by actress Evgenia Samara.
The celebration begins with the Loop Quartet — four voices that transform into instruments, rhythm, and melody, reimagining carols, swing classics, and pop anthems as modern polyphonic experiences. Their performance moves seamlessly from the lyrical to the explosive, from “Carol of the Bells” to “Hallelujah”, creating a vibrant atmosphere that bridges generations and musical genres.
Next on stage, Nina Mazani, one of the most dynamic performers in the Greek music scene, takes over the Agora. With her distinctive voice and six-member band, she presents a lively program full of swing and jazz adaptations of international hits. Known for her rendition of “Η Nύχτα Μυρίζει Γιασεμί” and her collaborations with prominent Greek artists, Mazani brings to the SNFCC the freshness and emotion of a voice that stands out.
Completing the festive experience, the BioLumina Light Installations Festival returns, inspired this year by bioluminescence — nature’s ability to produce light. Artists from Greece and around the world transform the Stavros Niarchos Park into a dreamlike ecosystem, with each installation telling its own story about humanity’s connection to nature, technology, and light.
The Ice Rink returns to the Canal, inviting everyone to glide under the Athenian sky, while the Makers’ Market is back for a second consecutive year — bigger and brighter — giving more space to local creators and artisans with unique ideas and imaginative gifts. The entire SNFCC transforms into an open celebration of creativity and community, where music, art, and people come together to remind us of the joy of being together.
The SNFCC Christmas World invites us to pause, to look around, and to share moments that remind us of the value of shared experience.
The event will be broadcast live on ERT2 and the SNFCC Facebook page, and will also be available on ERTFLIX.
The Loop Quartet The Loop Quartet is a vocal ensemble of four artists — Evgenia Liakou, Steve Bekas, Lito Abatzi, and Antonis Vlachos — who create music using only the human voice. Through looping and polyphony, they blend elements of jazz, pop, swing, and classical music to deliver a distinctive live experience. Each member has an extensive background in music, theater, and musical performance, in Greece and abroad, united by a shared focus on the expressive power of the human voice.
Nina Mazani Η Nina Mazani is one of the most promising voices in the contemporary Greek music scene. With her distinctive timbre and dynamic stage presence, she moves effortlessly between Greek and English lyrics, always exploring new avenues of musical expression.
She first gained wide recognition in 2022 with her rendition of “Η Nύχτα Μυρίζει Γιασεμί,” , and more recently with her interpretation of “Είναι Εντάξει Μαζί μου” by Kostas Livadas.
In 2023, she collaborated with Marinella in the musical performance “Σήμερα…”, and last season appeared alongside Takis Zacharatos in “Sweet Dreams”..In the summer of 2024, she opened the concerts of APON across Greece, confirming her steady artistic ascent.
The Library and Information Center of the University of Ioannina organized the 31st Panhellenic Conference of Academic Libraries, which took place on October 22–24, 2025, at the Conference Center “Karolos Papoulias” Conference Center of the University of Ioannina.
Entitled “Academic Prosperity, Freedom, and Integrity: from AB to AI,” the Conference highlighted the challenge and opportunity of the transition of academic libraries to the new digital era. At the core was the discussion on artificial intelligence: how it can be creatively integrated into the daily operation of libraries without altering the timeless values of knowledge, freedom of expression, and academic integrity.
With a history spanning more than three decades, the Panhellenic Conference of Academic Libraries has become an institution for the Greek library community. Library executives, academics, researchers, students, and representatives of the technology sector come together in a unique forum for dialogue, exchanging ideas and shaping the future of libraries.
The themes of this year’s conference covered issues of technology and innovation, open science, diversity and inclusion, information literacy, and library marketing.
The 31st Panhellenic Conference of Academic Libraries was a celebration of knowledge and collaboration, highlighting how academic libraries are evolving, renewing themselves, and contributing to the dissemination of information and creativity.
The Acropolis Museum, in collaboration with the Department of History and Archaeology of the Faculty of Philosophy of the University of Crete and the Department of Mediterranean Studies of the University of the Aegean, is organizing an international conference entitled “Eastern Mediterranean, Aegean, Black Sea: New Approaches,” on November 7, 8, and 9, 2025, at the “Dimitrios Pandermalis” Amphitheater of the Acropolis Museum.
As early as the 1990s, the University of Crete and the Department of Antiquities of Cyprus had begun organizing a series of conferences and exhibitions related to connections in the eastern and central Mediterranean in antiquity.
Notable examples include the international symposia
as also as the international exhibitions
The conference, which will be held at the Acropolis Museum, will be joined by the Black Sea, where academics and distinguished scientists of international renown will shed light on new approaches to antiquity in the Mediterranean, the Aegean, and the Black Sea.
Admission to the conference is open to the public.
The conference will be held in English.
You may find the program here. .
The innovative artist in residence programme on environment, design and sustainability – taking place as part of our Circular Cultures | I Making Matters programme in partnership with the Polygreen Culture & Art Initiative (PCAI) – returns to the island of Tilos in Greece for a fourth consecutive year from 29 September to 8 October 2025 to explore possible environmental solutions through the lens of artistic creativity and the means that art provides.
The successful Tilos Artist Residency program continues for the fourth consecutive year on the island of Tilos. For 2025, the cultural organization Polygreen Culture & Art Initiative (PCAI) continues its collaboration with the British Council as part of the Circular Cultures Circular Cultures ((Making Matters) program, inviting the British art collective STORE. The visual arts group will be on the island of Tilos from September 29 to October 8, 2025, with the aim of exploring possible environmental solutions through the prism of artistic creativity and the tools offered by art.
Following the success of previous years’ creative residencies with the RESOLVE Collective (2023) and the POoR Collective (2024), we are delighted to welcome STORE, , our 2025 artists in residence – an association of artists, architects and designers supporting young people from underrepresented backgrounds applying to creative courses and addressing the social imbalance in art, design and architecture education – to this year’s Tilos Artist Residency.
STORE is a socially engaged association of creative practitioners. STORE STORE is the collective’s space in London and Rotterdam from which they run a programme of free design and architecture courses open to state school students. These courses provide a platform for young people to develop their ideas and creativity, encouraging and supporting a more diverse group of students into creative careers.
The Tilos Artist Residency aims to explore how the principles of upcycling, zero waste and the circular economy can inspire creativity, collaboration and regenerative thinking in architecture, design crafts, materials and urban design.
More specifically, during their residency, the artists will have the opportunity to delve deeper into the award-winning circular economy programme that has been implemented on the island from 2022. In collaboration with the Municipality of Tilos, the schools and residents on Tilos, the artists aim to create a community-based work of art that will remain on the island as a result of their research. Similar ‘pieces’ taking the form of artworks, design items and fanzines were created by Hypercomf, The New Raw, Resolve and PoOR during their residencies and are currently on display at the Just Go Zero Tilos info point.
Just Go Zero Tilos , an innovative environmental project powered by PCAI, was launched on the island in 2022 aiming to develop solutions that promote the circular economy and sustainability, and make Tilos the first zero waste island in Greece.
The residency is organised as part of PCAI’scollaboration with the Municipality of Tilos.
Watch the Tilos Artists Residency 2024 film with the POoR Collective.
Filmmaker: Ilias Madouros | Music & Sound Design: Babis Makridis
Information For further information, please contact Maria Papaioannou at Maria.Papaioannou@britishcouncil.gr.
The National Centre “Exercise is Medicine – Greece”, a member of the global initiative “Exercise is Medicine®️”, is organizing the International Conference “Exercise is Medicine” in Athens, while the 2025 Exercise Is Medicine Europe Regional Meeting is tagged onto the Conference.
The Exercise is Medicine®️ was established by the American College of Sports Medicine (ACSM) — the world’s leading scientific organization in sports medicine — in collaboration with the American Medical Association. Its mission is to promote physical activity as a vital pillar of health and to incorporate it into the national healthcare systems worldwide.
The Vision of the National Centre “Exercise is Medicine – Greece”
“Exercise is Medicine – Greece” is dedicated to recognizing and integrating physical activity as a scientifically documented intervention for the prevention and treatment of chronic diseases, regardless of gender, age, or socioeconomic status. It actively fosters collaboration between the medical community and certified exercise professionals, aiming to embed exercise into clinical practice for chronic diseases.
The Conference
Building on the success of the 1st National Conference with international participation (2024), this year’s pioneering and highly relevant International Conference will feature invited representatives of European National Centres “Exercise is Medicine”, institutional representatives of the Greek Government, and leading figures from a wide range of Exercise and Health Sciences, Education and Technology, in the context of fruitful interdisciplinary interactions and innovative collaborations.
Indicative themes of the Conference:
The aim of the International Conference “Exercise is Medicine” is to highlight national and international strategies and best practices for the utilization of physical activity in Health and for its integration in Primary and Secondary Health Care systems, as well as in all levels of Education.
Πότε : 10-12 Οκτωβρίου 2025 Που : Αμφιθέατρο Ελληνικής Ολυμπιακής Επιτροπής, Αθήνα
For more information : https://exerciseismedicine.gr/international-conference-exercise-is-medicine/ For conference registration : https://www.eventora.com/en/Events/exercise-is-medicine-2025
Institutional and business stakeholders discuss the development prospects
of medical tourism in Greece and Thessaly.
Against the backdrop of the rapidly growing prospects of medical tourism in Greece, and especially in Thessaly, the JOIST Innovation Park και ο and the European Digital Innovation Hub Health Hub co-organize the event Health Meets Hospitality: Technology at the Service of Medical Tourism on Tuesday, June 17, at 19:00, at JOIST Innovation Park, in Larissa .
It is a thematic event that highlights the comparative advantages of Greece in the field of medical tourism, emphasizing the potential of Thessaly as an emerging healthcare and hospitality destination.
The event focuses on two main pillars:
Important representatives from the health sector, local government and tourism development will participate in the discussion group, in order to highlight the competitive advantages of Greece and the region in the international map of medical tourism.
Participation in the event is free to the public.
Apply here: Health Meets Hospitality | (https://joistpark.eu/ekdiloseis/)
Greeting
Speakers:
Coordinator: Dimitra Michalopoulou - Journalist
The event is under the auspices of the Region of Thessaly, the Municipality of Larissa, the Municipality of Agia, and the Larissa Prefecture Hotel Association..
The event is supported by Alpha Marketing and sponsored by LA Travel, which actively contributes to the strengthening of tourism synergies.
The 31st Panhellenic Conference of Academic Libraries has as its central theme “Academic Prosperity, Freedom and Integrity: From AB to AI” and its main objective is to explore and promote the practices of academic libraries in shaping an environment that incorporates modern technology while maintaining the basic principles of well-being, freedom and integrity in academia.
The Organizing Committee, headed by Dr. Arietta Papaioannou,, underlines the long and successful course of the institution while stating: “Your presence, whether as individuals who participate by suggesting, attending and/or supporting our work demonstrates the power of collaboration and commitment to keep our academic presence alive by highlighting the role of libraries as pillars of education, research and continuous progress.”
The 31st Panhellenic Conference of Academic Libraries will take place in Ioannina (22-24 October 2025), at the Conference Centre of the University of Ioannina “Karolos Papoulias”.
The Municipality of Athens welcomed more than 200 leading professionals of the tourism industry on 7 and 8 April, at the iconic Zappeion. Through the This is Athens – Convention & Visitors Bureau of the Athens Development Corporation, they met at This is Athens – Agora , the largest B2B tourism event in the city. The priority is to strengthen the position of the Greek capital as a leading destination for leisure travel, congress tourism and business meetings.
The Mayor of Athens, Charis Doukas, among others, stressed: “Athens is at the centre of global tourist interest. Athens is not only a city with a great history, but also a destination with a present and future on the world tourist map. This is Athens – Agora confirms the dynamism of the capital, bringing together the most important players in the global tourism market over these two days. As a municipal authority, we have set as a priority the development of the destination, according to the terms of sustainability and ensuring the quality of life of Athenians. Having carried out the Tourism Capacity Study, before the city was faced with signs of over-tourism, we used its data and established the Sustainable Tourism Observatory in order to develop our sustainable strategy for the city. We want to showcase Athens as a modern and welcoming destination, offering authentic year-round experiences to its visitors and a pleasant and functional daily life to all those who live in the city.”
For his part, the President of the Association of Greek Tourism Enterprises (SETE) and CEO of Athens International Airport (AIA), Ioannis Paraschis,, in his speech, among others, noted: “Athens has been experiencing an extremely dynamic period of tourism growth in recent years, having now occupied one of the top positions among European urban destinations. As we are called upon to face a wide range of challenges, with an emphasis on managing and enhancing the sustainable footprint of our city, the use of partnerships is a crucial and decisive factor. The important initiative of the Municipality of Athens, This is Athens – Agora embodies the concept of dialogue and cooperation, specifically between local government and the private sector, with the aim of a coordinated approach to tourism development issues. It is the duty of all those involved in the vital sectors of tourism and travel to preserve and strengthen what we have achieved, having now an important opportunity to continue investing in quality, sustainability and extroversion for the next important chapter of the development and upgrading of our city as a top tourist destination“.
Ο The Managing Director of Athens Development Company S.A., Ioannis Georgizas,, stressed: “This year’s event reflects the city’s new vision: a sustainable, modern and inclusive metropolis. In this context, This is Athens – Agora incorporates ‘green’ practices and promotes the authentic experience of Athens as a destination that is evolving and dynamically repositioning itself on the global tourism map. Through targeted B2B meetings, educational activities and networking events, we are redefining the role of Athens as a metropolis that innovates and pioneers in the tourism sector.”</em
Athens, a destination with a modern vision
This year, the 10th anniversary edition of This is Athens – Agora (formerly Travel Trade Athens), hosts over 120 Greek representatives of tourism businesses and 100 tourism representatives from 25 countries around the world, including, for the first time, representatives from the major markets of China and India. With more than 2,500 B2B meetings scheduled, the event offers the opportunity to establish new partnerships, aiming to strengthen the city’s economy and at the same time Athens’ presence on the international tourism map.
During the weekend, distinguished speakers will participate in “Agora Insights”, a series of discussions focusing on culture, innovation and sustainability.
At the same time, for the first time, This is Athens-Agora places special emphasis on conference and business tourism, with equal participation of companies from the conference and events sector. This strategic choice reflects the importance of further developing the sector for Athens.
Through the event, the aim is to highlight the potential of Athens as a leading, sustainable urban destination, as well as the development and promotion of the capital, which is implemented by the Development Company of the Municipality of Athens through its actions and programmes, This is Athens-Convention & Visitors Bureau, the Athens Film Office and the Athens Municipality Festival, the largest festival in the city, which this May is organising more than 200 cultural and entertainment events throughout the city.
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.
The Ministry of Culture is proceeding with the protection and restoration of the access bridge to the Old Fortress of Corfu, as well as the reinforcement of the western embankment (controscarpa). The bridge restoration project is being carried out on the basis of a comprehensive architectural, structural, and geotechnical study prepared by the Ministry of Culture, through the competent Directorate for the Restoration of Byzantine and Post-Byzantine Monuments.
This intervention is included in the Strategic Management Plan for the protection and promotion of Corfu’s fortification systems, which was drawn up by the Ministry of Culture in collaboration with the National Technical University of Athens in 2022. The first projects outlined in the strategic plan, such as the restoration of the Seven Winds bastion and the reinforcement of the rocky slopes at the Old Fortress, are already being completed in 2025 with funding from the Recovery Fund.
The Minister of Culture, Lina Mendoni, stated: “The Fortresses of Corfu are an emblematic fortification complex and part of the Old Town, which has been included in the UNESCO World Heritage List since 2007. The bridge of the Old Fortress is the only access to the interior of the monument. It serves pedestrians and vehicles, meeting the needs of the services and bodies housed in the Fortress, such as the Historical Archive, the Public Library, the Department of Music Studies of the Ionian University, the Ephorate of Antiquities, the ODAP refreshment bar, and the Sailing Club. The pathology of the bridge and the parapet was recorded in the approved, since 2022, Management Strategic Plan for the fortification complex, approved in 2022. As part of this plan, a study was proposed for the complete restoration of the bridge and the enhancement of the parapet. During our recent inspection, we determined that the restoration of the bridge and the parapet was an immediate priority, following the removal of the temporary structures from the moat. Upon completion of the project, the safe use of the bridge will be ensured and access to the iconic Old Fortress of Corfu will be aesthetically enhanced.”
The Old Fortress dominates a rocky peninsula at the eastern end of the Old Town. The bridge, which connects the western counterscarp (controscarpa) with the eastern scarp (scarpa) and the central gate (Porta Maggiore), is located above the moat (fossa). It was originally built by the Venetians in the 16th century, after the peninsula was converted into an artificial island as part of the modernization of the fortifications. The existing bridge rests on six stone piers, with a composite metal deck. However, years of exposure to a corrosive environment and inadequate maintenance have led to serious damage to the metal structure and the concrete reinforcement.
The restoration project includes:
The dynamic, creative evolution of Greek art from the 19th century to the present day is reflected in the works included in VERGOS Auctions’ auction of 19th and 20th century Modern Greek Painting and Sculpture. The auction will take place on Wednesday, December 3, at 6:00 p.m. at the Zappeion Megaron, while all works will be on display with free admission to the public at the same venue from November 30 to December 2.
For more information about the auction and how to participate, visit the website www.vergosauctions.com.
Konstantinos Parthenis’ “Resurrection” is expected to attract keen interest from collectors. This museum-quality work was created during the Greco-Italian War and was intended for the Athens City Hall in Kotzia Square. It is the third part of a triptych with the central theme of the Virgin Mary with the Infant Jesus and the Crucifixion. The other two are currently on display at the National Gallery.
A characteristic example of Nikos Engonopoulos’ mature surrealist period, the work “Hero” is a conscious synthesis of myth, history, and symbolism, and is included among the works that stand out alongside Yannis Tsarouchis’ “Young Thinker.” This work is the first in the artist’s series “Young Thinker” and was presented at the retrospective exhibition “Yannis Tsarouchis 1928-1981” at the Archaeological Museum of Thessaloniki (October 1981), as well as at the Benaki Museum exhibition, “Yannis Tsarouchis 1910-1989” (Athens, December 2009-March 2010).
The work “Advertisements” by Greek-American artist Chryssa also occupies an important place in the auction, as it is one of the most representative examples of her artistic approach. In the mid-1980s, the artist drew inspiration from the bustling city of New York, where she lives, transforming symbols of mass communication into sculptural forms.
Many other renowned artists contribute their creations to the catalogue, including Theophilos (Hatzimichael), N. Gyzis, G. Halepas, K. Volanakis, Th. Rallis, K. Maleas, A. Geralis, G. Gounaropoulos, S. Vassiliou, N. Hatzikyriakos Gikas, D. Diamantopoulos, Th. Tsigos, Takis, P. Tetsis, D. Mytaras, A. Fassianos, P. Samios, G. Psychopedis, G. Kottis, G. Lappas, E. Sakagian, and others.
Finally, the sculpture section is one of the most interesting parts of the auction, with works by K. Varotsos, G. Moralis, E. Vernadakis, G. Zongolopoulos, H. Kapralos, S. Vari, T. Papagiannis, among other renowned artists.
Exhibition open to the public – Zappeion Megaron
Sunday, November 30, 12:00 p.m. – 9:00 p.m. Monday, December 1, 10:00 a.m. – 9:00 p.m. Tuesday, December 2, 10:00 a.m. – 9:00 p.m.
On Thursday, October 30, 2025, the opening of the double solo (interdisciplinary) exhibition “Tactile Connectivities” by Marios Fournaris and Guillaume Marès, curated by Niki Papaspyrou, was successfully held at the House of Cyprus, in the presence of many artists and art lovers. Tactile Connectivities” by Marios Fournaris and Guillaume Marès, curated by Niki Papaspyrou, was successfully held at the House of Cyprus, in the presence of many artists and art lovers.
The exhibition presents a dialogue between two visual artists: a Cypriot living and working in Greece and a Frenchman living and working in Switzerland. Through different paths, they meet on common ground of aesthetic pursuits, where the personal and the collective intersect creatively.
The starting point of the exhibition is the apparent “insignificance” of detail, of small gestures, of momentary images. Amidst the barrage of information and images in everyday life, the two artists invite us to pause and consider the minimal, recognizing in it a condensation of the world.
Έργο του Μάριου Φούρναρη
Through his artist’s books, Guillaume records his daily life and transforms the private into the collective, revealing the creator’s inner world and inviting the viewer to find themselves within the images. Marios, through photographs and sculptures, highlights the decay of matter and the sanctity of reality, transforming the humble into a vehicle of meaning.
Their encounter forms an aesthetic dialogue on the value of closeness, tangibility, and empathy. In the colorful kaleidoscope of forms, nothing is truly insignificant; everything matters.
Venue: The House of Cyprus, Xenofontos 2Α, Syntagma
Duration: 30 October– 22 November 2025
Opening Hours: Monday, Wednesday: 10.00 – 19.00
Tuesday, Thursday, Friday: 10.00 – 15.00
Saturday: 11.00 – 16.00
The group exhibition“Black & White”, explores monochrome as a field of aesthetic and conceptual exploration (Black and White), which opens on Sunday, October 26, 2025, at the Kalamata Dance Hall (Black Box Hall, 12 p.m.).
The exhibition, curated by Artemis Potamianou, is organized by the Visual Arts Department of the Municipality of Kalamata, under the direction of Panagiotis Lambrinidis. It features works by 33 Greek and foreign artists who focus exclusively on black and white.
Nikos Alexiou, Curtain, paper, thread, reed, 100 x 85 cm, no. 2.253, Courtesy of: George N. Vogiatzoglou Gallery
It is a multidimensional conversation about the limits of the color spectrum, where painters, sculptors, and engravers from different generations and countries come together around the concept of contrast—not only as an aesthetic choice, but also as a tool for dialogue. In the works presented, the creators stand at the extremes of the color palette to emphasize complexity, difference, and contrast, creating a space where the viewer is invited to explore questions about the body, nature, gender, society, and artistic practice itself.
The artists in the exhibition essentially do what mythmakers do: they start from a basic dichotomy (black/white, nature/culture, representation/abstraction) and use it to explore the much more complex field of their visual practice, drawing on constants familiar to the collective subconscious.
George Lazogas, Female Body, spray on canvas, 180 x 110, no. 355, Courtesy of: George N. Vogiatzoglou Gallery
“Art is not just an aesthetic phenomenon that concerns art lovers and experts. It is an act of reflection, a vehicle for ideas, an invitation to a new way of thinking and coexisting. And this exhibition proves that, even through the simplest of materials—black and white—we can draw strength, hope, and inspiration for the future,” notes the Mayor of Kalamata, Athanasios Vassilopoulos.
Η Άρτεμις Ποταμιάνου αναφέρει στο επιμελητικό της σημείωμα: «Οι εικαστικοί της έκθεσης “Black & White”, με αφετηρία θέματα όπως το σπίτι, το περιβάλλον, η ανθρώπινη συνθήκη, το γυναικείο ζήτημα, η αναπαράσταση (Φύση/Πολιτισμός/Γραφή κατά τον Derrida ή Φύση/Πολιτισμός, Ζωή/Θάνατος, Αρσενικό/Θηλυκό, Μαύρο/Άσπρο κατά τον Lévi-Strauss), θέτουν ερωτήματα, καταγγέλλουν πρακτικές, επισημαίνουν τα ίχνη της ύπαρξης, της έννοιας, της καλλιτεχνικής πρακτικής».
Στους χώρους του Black Box παρουσιάζονται έργα των (αλφαβητικά): Νίκου Αλεξίου, Άγγελου Αντωνόπουλου, Terry Atkinson, Guerrilla Girls, Γιώργου Γυπαράκη, Βαγγέλη Δημητρέα, Bella Easton, Νίκου Εγγονόπουλου, Νίκου Έξαρχου, Γιώργου Λαζόγκα, Παναγιώτη Λαμπρινίδη, Γιάννη Λασηθιωτάκη, Boris Lafargue, Μαριάνο και Ντένις Καπουράνη, Βάσως Κατράκη, Νίκου Κεσσανλή, Ειρήνης Μπεχλιτζανάκη, Takashi Murakami, Mj Tom of LosOtros, Δημήτρη Μυτά, Yoko Ono, Νίκου Παπαδόπουλου, Άρτεμις Ποταμιάνου, Γιώργου Σικελιώτη, Τάκη, Α. Τάσσου (Αναστάσιου Αλεβίζου), Mark Titchner, Τάσσου Τριανταφύλλου, Γιάννη Τσαρούχη, Κώστα Τσόκλη, Γιώργου Χαρβαλιά, Βαγγέλη Χατζή και Διονύση Χριστοφιλογιάννη.
George Sikelotis, Village in Wales, 1971-75, engraving, 75 x 106 cm, no. 1217, Courtesy of: George N. Vogiatzoglou Gallery
“We want to bring the city’s audience into contact with both the most daring and experimental directions in visual arts—aspects that are rarely encountered—and the work of important artists who have left their mark on the field. This year, the Visual Arts Department is taking a step further, presenting an exhibition that attempts to transport the visual arts into the realm of ideas and critical thinking. It is a proposal that seeks, above all, to encourage viewers to reflect, to generate thoughts and reactions. It is a pioneering and groundbreaking exhibition that combines boldness and high artistic quality,” notes Panagiotis Lambrinidis, Director of the Visual Arts Department of the K.E. “Faros” of the Municipality of Kalamata.
The visual arts event is organized by the Public Benefit Organization “Faris” of the Municipality of Kalamata, with the assistance of the George N. Vogiatzoglou Gallery, the Polly and Christos Kollialis Contemporary Art Collection, Dimitris Lymberopoulos, and all participating artists. The Georgios and Victoria Karelia Foundation made a significant contribution to the financing of the exhibition.
Νίκος Έξαρχος, Θεόφιλος, 2015, 3/7, κατασκευή, 87 x 50 x 80 εκ. άρ. κτ. 4.206, Ευγενική παραχώρηση: Πινακοθήκη Γιώργου Ν. Βογιατζόγλου
Information:
Έκθεση: «Black & White» (Μαύρο και Άσπρο) Συμμετέχοντες καλλιτέχνες (αλφαβητικά): Νίκος Αλεξίου, Άγγελος Αντωνόπουλος, Terry Atkinson, Guerrilla Girls, Γιώργος Γυπαράκης, Βαγγέλης Δημητρέας, Bella Easton, Νίκος Εγγονόπουλος, Νίκος Έξαρχος, Γιώργος Λαζόγας, Παναγιώτης Λαμπρινίδης, Γιάννης Λασηθιωτάκης, Boris Lafargue, Μαριάνο και Ντένις Καπουράνη, Βάσω Κατράκη, Νίκος Κεσσανλής, Ειρήνη Μπεχλιτζανάκη, Takashi Murakami, Mj Tom of LosOtros, Δημήτρης Μυτάς, Yoko Ono, Νίκος Παπαδόπουλος, Άρτεμις Ποταμιάνου, Γιώργος Σικελιώτης, Τάκης, Α. Τάσσος (Αναστάσιος Αλεβίζος), Mark Titchner, Τάσσος Τριανταφύλλου, Γιάννης Τσαρούχης, Κώστας Τσόκλης, Γιώργος Χαρβαλιάς, Βαγγέλης Χατζής, Διονύσης Χριστοφιλογιάννης. Εγκαίνια: Κυριακή 26 Οκτωβρίου 2025, 12:00 μ.μ. Χώρος: Μέγαρο Χορού Καλαμάτας – Αίθουσα Black Box Διάρκεια: έως και 17 Νοεμβρίου 2025 Καλλιτεχνικός Διευθυντής: Παναγιώτης Λαμπρινίδης Διοργάνωση: Εικαστικός Τομέας Δήμου Καλαμάτας Επιμέλεια: Άρτεμις Ποταμιάνου
In the presence of Minister of Culture Lina Mendoni, the Benaki Museum amphitheater hosted the presentation of the project “Tatoi Collections: Unlocking the Material Culture and History of a Century,” an innovative project by the Ministry of Culture to document, record, and digitize the movable monuments of the former royal estate of Tatoi. The online portal (https://tatoicollections.culture.gov.gr/), created by the National Monuments Archive Management Directorate of the Ministry of Culture, offers the public the largest collection of its kind in the country, dedicated to the fine and applied arts, history, and material culture of modern Greece.
Τετραευαγγέλιο. Χρονολογείται το 1840
Referring to the laborious effort involved in cataloguing, digitising and documenting the objects and their historical significance, Lina Mendoni said: “The documentation and digitisation of the Tatoi Collections is not simply an act of preservation. It is an act of knowledge and responsibility towards history. Each object acquires its own voice and place in a broader narrative that connects the past with the present and offers valuable tools for research, education, and public understanding of history. Documentation is not a one-off action; but a long, complex, and scientifically demanding process. It begins with inventorying, continues with study, research, and identification, and ends with publication. Through this process, each object acquires identity, content, and meaning.”
Μαύρο ξύλινο πιάνο με ουρά. Φέρει την επωνυμία του κατασκευαστή C.Bechstein
Today, the Portal presents more than 70,000 documented objects, offering a rare, multi-layered picture of Greek and European history from the 19th to the 20th century. Focusing on European art and design of the 19th and 20th centuries, the Tatoi Collections span chronologically and geographically from Greek antiquity to everyday objects of the 1960s and from Europe to the Far East.
Λευκό μεταξωτό μαντήλι, με την πρύμνη του γαλλικου πλοίου Soleil Royal. Σχεδιαστηκε το 1963 για τον γαλλικό οίκο Hermes
Furniture, works of art, metalwork, porcelain, jewelry, clothing, military equipment, medals, books, religious objects, and personal artifacts comprise a unique cultural collection that reveals aspects of artistic production, everyday life, and the political history of modern Greece.
Προσωπογραφία της Σοφίας, έργο του Αυστριακού ζωγράφου Heinrich Anton Von Angeli
Lina Mendoni also referred to the importance of recording and documenting the material: “The competent Directorate has proceeded and continues to comprehensively and systematically record and document all of the objects. Through two co-funded projects, with a total budget of €2.87 million, it is expected that by the end of the year, more than 90,000 objects from the Tatoi collections will have been digitized, recorded, and documented by a large team of specialist scientists and Ministry officials, with the support of renowned external experts. Each object acquires its own place and voice in a broader narrative that connects the past with the present and offers valuable tools for research, education, and further cultural planning. Today’s launch of the online portal and print edition gives us a truly exceptional preview, arousing our interest in the upcoming comprehensive and in-depth presentation of the collections in the new museum spaces of the Tatoi estate, which will extend beyond the palace to other buildings, covering a variety of specific themes. I am confident that the imminent completion of all the projects currently underway, which are being implemented by a total of five departments of the Ministry of Culture at the former royal Tatoi estate, will fully justify their efforts and meet all our expectations.”
Petra Terzi, besides being an award-winning director and screenwriter, is the driving force behind international film festivals such as the Cyprus International Film Festival and the BRIDGES International Film Festival, held in Cyprus and cities in Greece respectively (Nafplio, Corinth, Loutraki).
Ms. Terzi’s face equally reflects her love for creating cinematic images—in an extensive body of work that includes titles such as “She Should Run-Cyprus” and the upcoming “Kanela” —with an organizational spirit that promotes diversity, the empowerment of women’s voices, and borderless collaboration at every step of the festivals she curates.
The prolific Petra Terzi spoke to Days of Art in Greece about the milestones in her life, the InspireTV+ platform, artificial intelligence, her dreams for the next chapters of the film festivals she directs, and the International Cultural Center “Petra Terzi” (“Petrosophy”).
Petra Terzi with Kevin Costner
Dear Ms. Terzi, thank you very much for granting us this interview. Looking at your work, both in terms of your creative output and your organization of various festivals in Greece and Cyprus, one can sense your passion for the seventh art. Do you remember that defining moment for you, or a specific work of art that sparked the beginning of your career?
From an early age, I felt the power of images to tell stories without words. I vividly remember the first time I saw Francis Ford Coppola’s film Dracula; that was when I realized that cinema can be a bridge between people and their emotions, between reality and dreams. This feeling led me to seek out the filmmaker in 2005, who even gave me an autograph for the Cyprus International Film Festival we were starting at the time, to study film directing and digital video production later on, and to create and serve the seventh art with passion and consistency to this day.
Both the Cyprus International Film Festival and the InspireTV+ platform you curate focus on promoting films that address equality, multiculturalism, and the empowerment of the Greek language abroad. What criteria do you use to select the films shown at your festivals or on your platforms? Is it easy these days to find films that are both well-produced and relevant to the themes you focus on?
At the festivals we organize—the Cyprus International Film Festival and the Bridges International Film Festival—and on the Inspire-TV.com platform, we seek out voices that inspire. We are not only interested in technical excellence, but above all in the message, truth, and sensitivity of the creators. Issues such as equality, empowerment, multiculturalism, and hope are in our DNA. Although independent production has its difficulties, there are now more creators than ever who dare to express something meaningful.
“Independent cinema is the soul of freedom in art.”
How do you connect the themes of peace, the environment, and women’s empowerment through Cyprus Women Environmental Peacemakers?
CWEP was born out of my need to raise international awareness of the violent division of Cyprus in 1974, which tends to be forgotten, but also to make women’s voices heard in the construction of peace and the protection of the environment. Women have a natural role as mediators, healers, and caregivers.
Through CWEP, we create dialogues, workshops, and actions that connect environmental awareness with social cohesion and reconciliation. For me, peace begins first with the ecology of the soul.
Our vision to create greenery in the buffer zone of Cyprusby planting trees in honor of the missing persons from both communities has resonated and inspired women in other countries to do the same: to plant trees and declare peace through their work.
The more we talk about peace and express it through actions that care for the environment and ourselves, the more we strengthen the ecosystem, our soul, and ultimately influence the mindsets of those who fight against it, often in the name of economic interest.
Petra Terzi
One can see from your social media posts that the festivals you organize, such as BRIDGES, have the support of independent filmmakers from the US and European countries. What is your vision for international collaborations with independent filmmakers from around the world?
Independent cinema is the soul of freedom in art. Through our festivals, we want to build bridges between cultures — and we are succeeding in doing so, bringing together creators from Europe, America, Asia, and Africa. My vision is to create an international network of collaborations, where stories travel across borders, languages, and production formats. The inspire-tv.com platform was born during the pandemic to host our festivals online, but it seems to have the potential to evolve into the opposite of commercial platforms, by showcasing and promoting independent artists.
“Through international collaboration, you learn to see the world differently…”
How do you assess the application of Artificial Intelligence in cinema? Does it enhance the work of creators technically, or does it hinder the development of their personal voice?
Artificial intelligence is a tool—not an adversary. Like any innovation, it requires awareness and an ethical framework. It can technically enhance creativity, accelerate processes, and open up new ways of storytelling. However, the soul of art, emotion, and inner truth remain purely human. I believe in a dialogue between technology and humanity, not a conflict.
As a creator, you are involved in international co-productions, such as the upcoming Kanela. Tell us, if you like, about the challenges an artist faces, but also about all the new things they discover when collaborating with high-level colleagues from abroad.
Kanela is a labor of love, inspired by true stories and deep memories. Through international collaboration, you learn to see the world differently—to respect other cultures, enrich your perspective, and evolve. The challenges are many, but the reward is a joint creation that transcends the boundaries of country, language, and tradition. It is a co-production of Greece, Spain, and Armenia.
Dirty Roses| a film by Petra Terzi
You are a member of the European Film Academy and have given lectures outside Greece, including at the Communication University of China. What has been your experience from this contact? Can we “learn” something from the way film artists in China communicate their art and produce film genres?
My experience at the Communication University of China was eye-opening. Chinese artists approach art with discipline, collectivity, and respect for their history. We in Europe have a more personal, existential relationship with creation. When these two approaches meet, they give rise to something new and extremely interesting.
“Petrosophy is my vision for a space where art, culture, and human philosophy come together.”
Tell us about the next chapter for the festivals you run. Do you have any dreams, expectations, challenges, or goals as they progress and develop as institutions?
Our festivals develop organically, with respect for the creators and the audience. That is why the BRIDGES Festival now takes place in three cities, Corinth, Loutraki, and Nafplio, with different programs, themes, and awards. The next step is further internationalization, networking with film institutions, universities, and streaming platforms. I want the festivals to function not only as fronts, but as workshops for ideas, creativity, and cultural diplomacy.
The completion of the International Cultural Center “Petra Terzi” (“Petrosophy”) in Corinth is currently underway. What will its character be, and what kind of events will it focus on? Will international meetings and conferences be held there?;
Petrosophy is my vision for a space where art, culture, and human philosophy come together. It will host exhibitions, screenings, seminars, international meetings, and artist residencies.
I aspire for it to become a point of reference in Agioi Theodoroi, Corinth, just one hour from Athens—a place of spiritual and artistic exploration that will reflect the harmony between aesthetics, thought, and action.
I have been advocating decentralization since 2006, and I see that the provinces are thirsty for high-quality artistic events in their local areas. Young people, in particular, need more sources of inspiration and influence beyond the internet—they need vibrant cultural experiences that cultivate imagination and thought.
To mark the 200th anniversary of the founding of the Ionian Academy, the Ionian University and the National Gallery-Alexandros Soutsos Museum are organizing an exhibition entitled Painting in the Ionian Islands: 18th-19th Centuries at the Annex of the National Gallery in Corfu.
This special exhibition presents painting in the Ionian region from the late Venetian period to the first decades after the Union, aiming to highlight an artistic production of key importance for the Greek countries in general, for the Greek state itself and, more broadly, for the Adriatic region.
Παχής Χαράλαμπος(Κέρκυρα 1844-Κέρκυρα 1891) Πρωτομαγιά στην Κέρκυρα, π. 1875-1880 Λάδι σε μουσαμά Διαστάσεις έργου: 61 x 50 εκ. Διαστάσεις έργου ΕΝ: 61 x 50 cm Π.483
The exhibition features more than 70 paintings by 30 artists (tempera, oil paintings, drawings, engravings), as well as related evidence (manuscripts, printed publications, archival documents) from the collections of the National Gallery as well as museums, cultural institutions, and archives.
The exhibition begins with examples of painting from the late Venetian rule in the Ionian Islands, on the one hand by the “naturalists” who followed Panagiotis Doxaras and on the other by those who followed a Byzantine style. Next, the exhibition highlights the work of Ionian artists who studied systematically at Italian academies of fine arts from the late 18th century onwards, and includes works from the time of the Revolution until the last decades of the 19th century, a period during which the so-called “Heptanese school” experienced a period of prosperity. Finally, the exhibition presents the impact of this art in the capital of the Greek state as well as in other areas of the Adriatic and the eastern Mediterranean.
Πέτρος Παυλίδης-Μινώτος Πορτρέτο Ισαβέλλας Θεοτόκη-Αλμπρίτζη, α μισό 19ου ελαιογραφία, 55×41 / 70x55x5 Αναγνωστική Εταιρία, Κέρκυρα
The exhibition will feature educational programs for all levels of education, while an interesting public program with activities and numerous events is also being prepared.
As part of its strategy to reorganize its branches and in order to host this important exhibition, the National Gallery has upgraded the infrastructure of its Corfu branch, with a view to improving the visitor experience and ensuring the optimal presentation of the works. has upgraded the infrastructure of its Annex in Corfu, with a view to improving the visitor experience and ensuring the proper presentation of the works, in accordance with contemporary museological and museographic standards. A temporary exhibition space was created, giving the branch a new dynamic. In this way, in addition to the re-exhibition of the permanent collection, which is planned for 2026, it will now be possible to host important temporary exhibitions, which will be a magnet for residents and visitors to the island.
Artists whose works are featured in the exhibition
Georgios Avlichos, Aristidis Varouhas, Themistoklis Varouhas, Dionysios Vegias, Spyridon Ventouras, Nikolaos Viskontis, Angelos Gialinas, Panagiotis Doxaras, Konstantinos Iatras, Nikolaos Kallergis, Dionysios Kalivokas, Nikolaos Kantounis, Efstathios Karousos, Ioannis Korais, Nikolaos Koutouzis, Georgios Minatis, Vikentios Bokatsiambis, Nikolaos Xydias-Typaldos, Charalambos Pachis, Petros Pavlidis-Minotos, Gerasimos Pitzamanos, Ieronymos Plakotos, Eleni Sp. Prosalenti, Pavlos Prosalentis, Spyridon Prosalentis, Georgios Samartzis, Periklis Tsirigotis, Dionysios Tsokos, Raffaello Ceccoli.
Collaborating Institutions
Ministry of Culture – Ephorate of Antiquities of Zakynthos – Museum of Zakynthos, General State Archives, National Historical Museum – Historical and Ethnological Society of Greece, Benaki Museum, Literary and Historical Archive (ELIA) of the Cultural Foundation of the National Bank of Greece (MIET), National Library of Greece, Library of the Hellenic Parliament, Library of the University of Crete, Public Central Historical Library of Corfu, Library and Information Center of the Ionian University, Art Collection of the Bank of Greece, Alpha Bank Art Collection, Solomos and Eminent Zakynthians Museum, Museum of Ecclesiastical Art of the Holy Monastery of Strofades and Agios Dionysios, Art Gallery of the Municipality of Central Corfu and the Diapontia Islands, Reading Society of Corfu, Angelos Gialinas Art Gallery Foundation, Antonios E. Komninos Foundation, Yannis Perdios Collection, Museo Correr, Greek Orthodox Community of Trieste (Comunità Greco Orientale di Trieste), Accademia Nazionale di San Luca, Archivio Storico (Rome), Accademia di Belle Arti, Archivio Storico (Naples).
Ξυδιάς Νικόλαος, (Ληξούρι Κεφαλλονιάς 1828-Αθήνα 1909) Ο γιος του καλλιτέχνη, 1870 Λάδι σε μουσαμά Διαστάσεις έργου: 40 x 33 εκ. Διαστάσεις με πλαίσιο: 55 x 47,5 x 8 εκ. Βάθος,κορνίζα και τελάρο Διαστάσεις έργου ΕΝ: 40 x 33 cm Συλλογή Ιδρύματος Ε. Κουτλίδη Κ.330
Chair of the Committee for the Celebration of the 200th Anniversary of the Founding of the Ionian Academy: Elias Giarenis, Ionian University
Proposal-General Coordination: Elena Hamalidi, Ionian University
Scientific Supervision: Panagiotis Ioannou, University of Crete
General Management– Artistic Planning: Syrago Tsiara, Art Historian
Museological Study – Exhibition Curator: Marina Papasotiriou, Curator of the Annex
of the National Gallery in Corfu
Exhibition Production and Space Design: Irini – Daphne Sapka, Technical Advisor to the National Gallery
The exhibition is accompanied by the catalogue Painting in the Ionian Islands: 18th-19th centuries, scientific curators: Panagiotis Ioannou / Elena Hamalidi, Melissa Publications.
National Gallery – Alexandros Soutsos Museum
Corfu Annex
Castellino Building, Kato Korakiana
Duration: 22 October 2025 – 22 March 2026
Opening Hours: Monday– Wednesday– Thursday– Saturday- Sunday: 8.30 – 15.30
Friday: 10.00 – 14.00 and 18.00 – 21.00, Tuesdays: closed.
Access: The Annex is located 14 kilometers from the city of Corfu, in the area of Kato Korakiana, on the National Road of Paleokastritsa, in the direction of Dasia. Urban bus: No. 7, starting point: Saroko Square – KatoMeri stop
How many stories, how much effort, how many difficulties and obstacles lie behind a publication? And even more so when it comes to an iconic publication of high aesthetic value and Czech difficulty, the result of an idea by Antonis Benakis.
The album Greek National Costumes was a publishing effort that came out of its time, the 1930s, when the bourgeoisie and intellectuals of the country sought to highlight timeless Greek identity in folk tradition and modern culture. Work on the publication began in 1930, a year before the Benaki Museum opened its doors to the public. Despite the many difficulties of the time, the effort was not abandoned, and Volume I was finally published in 1948 and Volume II in 1954. The pages of the album unfold the history of Greek clothing and highlight its variations according to location, lifestyle, and social class.
Nicolas Sperling, «Πορτρέτο Αντώνη Μπενάκη», 1927, παστέλ σε χαρτί επικολλημένο σε μουσαμά (Μουσείο Μπενάκη).
And while Antonis Benakis and his associates are on one side of the album, on the other is the Corfu-based graphic arts company Aspiotis – ELKA S.A., which undertook the extremely demanding task of printing the publication. The realization of the exhibition “The stories behind the publication Greek National Costumes” is the result of the fortunate collaboration between the two institutions that are the “successors” of the pioneers, on the one hand the Historical Archiveσ of the National Bank Γρεεψε, which maintains the Aspiotis archive – ELKA S.A., and on the other, of course, the Benaki Museum. The decision to hold the exhibition came after a proposal by the head of the Archive, Mr. Paris Kalamaras, and the parallel completion of a related study by the curator of the Modern Greek Culture Collection of the Benaki Museum, Ms. Xenia Politou.
Nelly’s, (Elli Souyoultsoglou- Seiradari), collaborators of the Folk Handicraft Exhibition organized as part of the Delphic Festivals, wearing costumes from various regions of Greece, Delphi 1930 (Benaki Museum).
In the museum’s exhibition space, visitors will learn step by step about the process of creating the album Greek National Costumes. Starting, of course, with the people chosen by Antonis Benakis to collaborate on the project: Russian painter Nicolas Sperling, folklorist Angeliki Hatzimichali, and, of course, the Aspiotis-ELKA S.A. company. The photographs, drawings, and correspondence will be on display. The photographs, drawings, correspondence, and other evidence on display in the showcases not only highlight the technological innovations that were applied and the methodical approach taken by the contributors to the album, but also recount the ideological context of the interwar period, when craftsmanship and folk tradition were used to forge a Greek identity in response to the collective trauma of the Asia Minor Catastrophe.
Nicolas Sperling, “Male figure in urban attire,” pastel and pencil on paper. Depicts Antonis Benakis (Benaki Museum).
The exhibition is accompanied by a catalog which, with its rich photographic material and documented texts, could also serve as an independent scientific publication, contributing to the bibliography of folklore and history of the interwar period. The catalogue is a joint publication of the two organisers, the Benaki Museum and the Historical Archive of the National Bank of Greece.
In modern Greek sculpture, the dominant theme in the field of representation is the human form. Animal sculpture is a secondary theme, cultivated by certain sculptors, but usually only occasionally.
The National Gallery’s sculpture collection includes works by artists such as Polygnotos Vagis (1894-1965), Thanasis Apartis (1899-1972), Bella Rafopoulou (1902-1992), Christos Kapralos (1909-1993), Evripidis Vavouris (1911-1987), Antonis Karachalios (1919-2009), Kostas Karachalios (1923-2007), Natalia Mela (1924-2019), Yannis Antoniadis (1935-2001), and Nikolas Dogoulis (1937-2013) offer a fairly representative picture of this aspect of their work. The only artist who dealt extensively with animal sculpture was Frosso Efthymiadou Menegaki (1911-1995), while Euripides Vavouris was the first to begin systematically working with animal forms.
Of the works belonging to the collection, only those whose size and material allow them to be exhibited outdoors were placed on the Farm. Works by Bella Rafopoulou, Antonis Karachalios, Yannis Antoniadis, Nikolas Dogoulis, and especially Froso Efthymiadou Menegaki, create a fantastic artistic environment, integrated into the natural landscape of the park, with familiar and lesser-known figures in characteristic poses. At the same time, however, they reveal the relationship, feelings, and unique perspective of each artist towards the animals or birds they chose to depict: tenderness for their own pet or a neighbor’s pet, but also for the unknown animals they used as models. The intimacy created with animals that are common images of his everyday environment, but also the admiration aroused by the dynamism, grandeur, and even mystery hidden in wild animals and birds.
At the Farm, which will be permanently displayed in the already established outdoor space of the National Sculpture Gallery, visitors will have the opportunity to learn about a rarer, but very interesting theme of sculpture, not only through a unique approach, but also through the style of each artist, sometimes intensely realistic and sometimes minimalist and abstract, from the 1940s to the 1970s.
The opening of the exhibition will be accompanied by the musical event “Antonio’s Farm: soundscapes and symbolism in Antonio Vivaldi’s cosmos” performed by Athens Classical.
Exhibition curator: Tonia Giannoudaki, curator of the Modern Greek and European Sculpture Collection at the National Gallery, Alexandros Soutsos Museum
Exhibition contributors
General Director – Artistic Planning: Syrago Tsiara
Concept – Exhibition curator – Coordination: Tonia Giannoudaki
Architectural design and supervision: Giorgos Parmenidis, Ifigeneia Mari
Director of Collections, Artistic and Museum Planning: Efi Agathonikou
Director of Conservation and Physicochemical Research of Works of Art: Agni Terliki
Director of Administration and Finance: Katerina Arvanitaki
Artwork Conservation: Maria Kliafa (Head of Sculpture Conservation Workshop), George Gargaridis
Financial Management: Irini Antoniadi, Dimitra Anagnostopoulou
Technical Advisor: Irini-Daphne Sapka
The Ministry of Culture announces the registration of eleven new items in the National Register of Intangible Cultural Heritage of Greece, in accordance with the Convention for the Safeguarding of Intangible Cultural Heritage (UNESCO, 2003). The Directorate of Contemporary Cultural Heritage of the Ministry of Culture was responsible for collecting and processing the data. These were approved by the Intangible Cultural Heritage Council, with the participation of the communities and organizations that bear this living heritage.
The Minister of Culture, Lina Mendoni, stated:
“The registration of the eleven new elements highlights the cultural diversity of Greek communities throughout our country, strengthening collective memory, historical continuity, and cultural sustainability. Each element of intangible cultural heritage is a valuable vehicle of identity, experience, and creative expression, connecting the past with the present and shaping the future. Intangible cultural heritage is alive, experiential, and transferable; it is a way of life, a way of perceiving and participating in the community. It is a constant priority of our cultural policy, not only as an object of protection, but as an active field of participation, education, and intergenerational exchange. The inclusion of these elements reflects the Ministry of Culture’s steadfast support for the communities and organizations working to preserve and promote intangible cultural heritage, strengthening their initiatives and jointly shaping a modern and sustainable framework for the continuation of this intangible, but also deeply tangible, cultural heritage.”
The eleven elements registered in the National Register of Intangible Cultural Heritage of Greece are as follows:
A Christmas custom performed at midnight on December 23 by the Cultural and Educational Association of Fytia, in collaboration with the community of Fytia. The members of the association, carrying torches, set fire to a large pile of cedar branches. Then everyone present joins in a dance around the fire. At the same time, the children of the association distribute nuts and raisins, known as “biblia,” as well as wine or tsipouro. In addition, a buffet is set up with traditional dishes prepared by the women of the village. Throughout the night, the phrase “Kolinta Kolinta and Christ is born” is heard rhythmically.
At the Psarologou-Rodopoulou family workshop in Tyros, Arcadia, the tradition of weaving kilims on a vertical loom has been going strong for three generations of weavers, with the craft being passed down from mother to daughter. Tsakonian weavings are made from cotton warp and woolen yarns and are single-piece creations with the same pattern on both sides. Weaving is done with the fingers, using only a comb as a tool. Today, Elizabeth Rodopoulou, a third-generation weaver, continues the family tradition together with her mother, Thomai Psarologou-Rodopoulou, preserving, developing, and passing on the traditional know-how of Tsakonian kilim weaving.
Bambiden is a cultural phenomenon observed in Petrouissa, Drama, on January 6, 7, and 8. For the people of Petrouissa, it is their most important festival, a celebration of a festive nature. For three days, all the residents of Petrouissa participate in parades and festivities, dancing and singing. The sound of the local musical instruments, consisting of lyres and dahares, the masked figures (Arapes, mannequins, prassophores), the camel paraded as the forerunner in the “gyres” and the dances and melodies dominated by the Leventiko/Haraptska (of the Arapis), always accompanied by the process of “constructive drinking,” characterize Babinden.
“Welcome, Lazarus, this year and next year, with white, red, and flowers…”
Every Lazarus Saturday, on Friday evening on the balcony of the historic Church of St. Paraskevi in Rodavgi, young and old, men and women, sing with passion some of the approximately 30 unforgettable songs of Lazarus, songs of our tradition. In the past, the “Lazaroudia” were sung by children in all the houses of the village. The Easter custom is still alive and well in Rodavgi, and the Rodavgi Cultural Association, together with all the village institutions (Church, Community, Women’s Association, etc.), support the folklore group.
The dance of “Gachelonas” is a unique traditional custom that takes place on New Year’s Day in Mikrokastro, Voio, Kozani. It is a circular, male dance with a strong satirical character, accompanied by singing without the use of musical instruments. The lead dancer stands out for his theatricality and passion, guiding the other dancers with gestures and improvisations. A man in the center of the circle, holding a stick, watches and supervises, while the participants imitate the movements of the lead dancer.
The song “Gachelonas” tells a funny story with animals like a turtle and a hedgehog as the main characters. The dance is the highlight of the New Year celebrations, with the men wearing traditional costumes and adding a special touch of humor and liveliness to the event. “Gacheloona” is an important part of the cultural identity of Mikrokastro and is kept alive through the efforts of the local community and the Cultural Association.
The Siniotikos dance is a Corfu dance in 2/4 time which, as its name suggests, originates from Siniés. It is danced in a circle by men and women. The lead dancer performs skillful movements and jumps.
The three-day annual Carnival, this festive celebration, takes place from December 31 to January 2 each year in Argos Orestiko, in the municipality of Argos Orestiko in the regional unit of Kastoria. It retains many Dionysian elements and coincides with the Roman Kalends. Its origins date back to at least the 19th century as a means of entertainment during the Ottoman occupation, beginning on New Year’s Eve with a special welcome to the New Year, continuing with a parade of groups on New Year’s Day, and ending with the Pateritsa, a traditional dance performed by women in costume on the second day of the year. It is the first carnival of the year and is unique in the world.
The folk art of pottery as developed in the Volos area from the late 19th century to the present day, through four generations of potters from the same family (the Anetopoulos family). Emphasis is placed on their historical journey, their relationship with the city of Volos, the production process, techniques, material objects (ceramics) and their uses, as well as the contemporary production and work of Vangelis Anetopoulos and his children Stelios and Athina.
The black Azan plum takes its name from the French town of Agen, where it originated before being transplanted to Skopelos, grafted, and producing its beneficial fruit. Juicy and sweet, it is dehydrated in wood-fired ovens, offering beneficial properties to the human body. During the summer, the people of Skopelos would gather at their country homes, known as “kalyvia,” to harvest and bake Skopelos black plums, which they sold at very good prices. Plum production shaped the social, cultural, and economic life of the agricultural community. The cultivation of Skopelos plums has been passed down from generation to generation and has been cultivated continuously in the traditional way since its inception, constituting an important element of sustainable development.
The Argos Orestiko Trade Fair is the leading commercial event in Western Macedonia, lasting one week, from late September to early October. Its origins date back to at least the 17th century, and it has operated continuously throughout the centuries, with the result that today’s trade fair is an evolution of the livestock and trade fair of that era. Merchants from all over the country come to sell their services and products, and visitors come from all over Northern Greece and the Southern Balkans. It is the most important event of the municipality in the cycle of the year in Argos Orestiko. It continues to be one of the largest and most successful trade fairs in the Balkans.
Fava is an ancient dish that is still traditionally consumed today on most Greek islands. It is made from crushed legume seeds (beans) from local varieties of five botanical species (3 types of lentils, 1 type of pea, and 1 type of chickpea). Farmers on each island have developed their own cultivation techniques and processing methods in accordance with local traditions. In traditional island society, fava beans are part of both the daily and festive food cycle, creating a unique food culture and surrounded by a multitude of verbal and symbolic practices. Fava continues to be included in local traditional cuisine as well as in contemporary gastronomic compositions.
strong>The Acropolis Museum and the strong>NEON organization present the second part of the trilogy Michael Rakowitz & Ancient Cultures, Michael Rakowitz’s work Lamassu of Nineveh (2018), curated by the General Director of the Acropolis Museum, Professor Nikolaos Chr. Stambolidis, and the Director of NEON, Elina Kountouri. It is a sculptural installation in the outdoor area of the Acropolis Museum.
Τα Lamassu, περήφανοι φύλακες των εισόδων της Nineveh, θύματά πλεoν της αρχαιοκαπηλίας και της αποικιοκρατίας, βρίσκονται στα μεγαλύτερα μουσεία του κόσμου. Η εγκατάσταση στο Μουσείο Ακρόπολής είναι ένα σχόλια για το άιτημα να επιστρέψουν τα γλυπτά στον τόπο τους. Το κεφάλι των Lamassu, ανθρώπινο για να συμβολίζει τη σοφία, το σώμα, λέοντα για να συμβολίζει τη δύναμη και τα φτερά της ράχης για την ελευθερία.
Michael Rakowitz, Ελίνα Κουντουρη, Διευθύντρια ΝΕΟΝ, Καθ. Νικόλαος Χρ. Σταμπολίδης, Γενικός Διευθυντής Μουσείου Ακρόπολη
Rakowitz uses metal cans from empty date syrup preserves from Iraq for his Lamassu. These cans represent the once-famous Iraqi industry that has been decimated, as well as the human, economic, and ecological disasters caused by the wars in Iraq and their aftermath. Through these objects, Rakowitz pays tribute to the people who live with them and their stories. The Lamassu “reappears” and continues to play its protective role as guardian of the past, present, and future.
The work is part of Rakowitz’s ongoing series The Invisible Enemy Should not Exist , which he began in 2006. It includes “reappearances” of objects looted from the National Museum of Iraq in Baghdad after the US invasion in 2003, as well as those destroyed from other archaeological sites after the war.
Second Part: NEON and The Acropolis Museum
Lamassu of Nineveh (2018) | Michael Rakowitz & Ancient Cultures
Curators: Professor Nikolaos Chr. Stambolidis, General Director The Acropolis Museum and Elina Kountouri, Director ΝΕΟΝ
Acropolis Museum, Sculpture Installation | Exterior area of the Acropolis Museum, west side
6 October 2025 – 31 October 2026
Admission Free
On Monday, October 6, 2025, the Gerovasiliou Estate will be present at the Makedonia Palace Hotel in Thessaloniki. The Gerovasiliou Estate belongs to the wineries of the association. Winemakers of Northern Greece participating with a multitude of wines from indigenous and international varieties, expressing the richness of the northern Greek vineyard.
The exhibition is aimed at both the general public and professionals in the catering and retail sectors, offering them the opportunity to experience the richness of Greek wine culture firsthand.
With the special tasting glass they will receive upon entry, visitors will have the opportunity to explore the creations of winemakers. From white, rosé, and red wines to orange, sparkling, and sweet wines; from new releases to aged, beloved labels. A journey that combines knowledge and enjoyment in the enchanting world of quality Greek wine.
What’s more, at the Winemakers’ tables we will find experimental wines, old vintages, different bottle sizes, and many other wine surprises.
The exhibition is accompanied by a rich and particularly interesting program of parallel events: “Amfitrion” Hall
Admission or participation in the parallel program is free with a general ticket to VorOinoi (except for the masterclass).
Information about the association “Winemakers of Northern Greece” , its profile, objectives, members, and activities (events, wine tourism, educational seminars, “The Wine Hub,” etc.), can be found here on the website. www.winemakersofnorthgreece.gr as well as in winemakersofnorthgreece, in facebook and instagram.
Το Συμβούλιο Μουσείων του Υπουργείου Πολιτισμού γνωμοδότησε ομόφωνα θετικά επί της οριστικής μουσειολογικής μελέτης, η οποία σχεδιάζει και οργανώνει τις νέες εκθέσεις του Εθνικού Αρχαιολογικού Μουσείου (ΕΑΜ) και του Επιγραφικού Μουσείου (ΕM) που αναπτύσσονται, εντός του ίδιου κτηριακού συγκροτήματος. Πρόκειται για δύο εξαιρετικά σημαντικά μουσεία: Το Εθνικό Αρχαιολογικό Μουσείο αποτελεί απαράμιλλη κιβωτό της αρχαίας ελληνικής τέχνης και το Επιγραφικό Μουσείο, αποτελεί το μοναδικό μουσείο στο είδος του παγκοσμίως. Το έργο της επανέκθεσης, της κτηριακής επέκτασης και της αναβάθμισης του Εθνικού Αρχαιολογικού Μουσείου και του Επιγραφικού Μουσείου, βρίσκεται στο στάδιο των μελετών, οι οποίες εξελίσσονται βάσει της αρχιτεκτονικής πρότασης των γραφείων Chipperfield-Τομπάζη. Το σύνολο των αναγκαίων μελετών εκπονείται με δωρεά του ζεύγους Σπύρου και Ντόροθυ Λάτση, ύψους 40.000.000 ευρώ, στη μνήμη των γονέων τους Ιωάννη και Εριέττας Λάτση.
Photorealistic depiction of the exterior of the National Archaeological Museum
National Archaeological Museum
The National Archaeological Museum (NAM) hosts the largest and most important collection of ancient Greek art in the world. The re-exhibition of the Museum includes both the existing building-monument and the new spaces of the extension, utilizing part of the collections already on display, new material from the Museum’s warehouses, as well as antiquities provided by Ephorates of Antiquities and other museums of the Ministry of Culture, in order to fully present the narrative and represent the entire Greek territory. The new building is developed in the garden in front of the historic building and the main entrance is moved to the level of Patission Street, strengthening the Museum’s relationship with the city. Two underground levels house various functional units: On the first floor are the public service areas, such as a visitor gathering area, ticket offices, cloakroom, information, restrooms, restaurant and café with independent entrance, bookstore and shop, amphitheater, educational program and temporary exhibition areas. Part of the first level and the entire second level are occupied by the permanent exhibition areas, creating a continuous flow for the visitor, which ends in the neoclassical building for the continuation of the exhibition narrative. A green space accessible to all is created on the roof of the new building.
The new museological approach moves away from the presentation “by Collections” and narrates the evolution of Greek culture, through thematic units and different levels of reading (main route, satellite axes, focused stories). The goal is a participatory, accessible and attractive museum that unites research, learning and entertainment with the help of various storytelling tools. The narrative becomes unified and coherent from the Neolithic to Late Antiquity, new routes are created for different groups of audience (e.g. families), the spaces are expanded and new or stored collections are presented (e.g. Minoan, Antikythera). Existing and unexhibited finds, loans from other institutions, as well as contemporary works of art are utilized.
Radiograph of the cavernous exhibition spaces below the surface of the NAM garden
The exhibition is organized into two main themes: The first, “History and Collections of the Museum”, presents the history of the EAM, its architectural and institutional history, as well as the enrichment of the collections through donations and special collections (Stathatos, Karapanos, Vlastos-Serpieris, Cypriot, Egyptian, etc.). It is developed in “islands” of historicity in the exhibition spaces. The second, “Ancient Greek Civilization: History, Art and Society”, follows a chronological course through 13 sections, presenting the evolution of ancient Greek art as part of culture and society.
The exhibition narrative operates on three levels: Central axis: a basic chronological route with emblematic works. Satellite axes: thematic sections that delve into specific themes. Focused stories: smaller narratives that enrich the experience. Finally, a prologue and epilogue are added to the ground floor of the new building, in order to offer a complete museum experience and frame the overall rationale of the exhibition.
Five different routes are planned: A short basic route (245 objects) for visitors with limited time/interest, a longer route for those who dedicate more time and have a greater interest in archaeological heritage, a specialized and in-depth route for visitors with special interests, a targeted thematic route for special interest groups (e.g. schools, students), a family route, designed for children aged 5–12 and their companions, so that they can creatively experience the experience, with selected exhibits that enhance dialogue and interaction.
The re-exhibition of the National Archaeological Museum utilizes a wide range of interpretive media, combining conventional and digital practices to cover different visitor profiles. Texts at seven levels of information, maps, chronologies, visual material, as well as digital applications (projections, interactive stations, games, augmented reality, digital guides) are foreseen. Also, staged environments will be created and tactile exhibits will be integrated, with attention to accessibility (e.g. Braille).
Epigraphic Museum
The Epigraphic Museum hosts the largest collection of ancient Greek inscriptions in the world, with a total of 14,078 inscriptions in stone, clay and copper, dating from the 8th century BC to the modern era. The Museum’s renewed exhibition focuses on highlighting the inscriptions, emphasizing their access and understanding by different audiences. The presentation is experiential and interactive, facilitating the consolidation of the content. The central idea of the re-exhibition of the Epigraphic Museum is “History and the Greek language through stones”, highlighting the importance of inscribed monuments for understanding the life of the ancient Greeks and the evolution of the language. The Museum’s goal is to structure and present its new exhibition narrative in a modern, experiential and participatory way, in order to make the difficult-to-understand inscriptions accessible and to reach more and new audience groups.
The exhibition narrative is structured around four axes: 1. The Epigraphic Museum, a Stone Library – the history and identity of the Museum 2. Reading the Ancient World – the contribution of inscriptions to history, language and the humanities 3. Inscriptions and History – the main body with exhibits presented chronologically and thematically 4. Diachronic Thematic Unit – focusing on the political reform of Cleisthenes and Athenian democracy. The themes of the Museum are developed in 19 units, 58 sub-units and 33 individual themes or micro-stories, while 762 inscriptions and other exhibition material are also presented. Modern interpretive tools are utilized, such as smart applications, 3D copies and prints of inscriptions, tactile exhibits and other aids for people with visual impairments, various digital applications from projections, interactive games and augmented reality applications, etc., ensuring access and understanding for all visitors.
After the modernization and expansion of the Museum, the exhibition spaces have doubled, reaching 1,500–1,600 sq m. indoors, while the outdoor exhibition occupies an additional 900 sq m. Of the 14,078 inscriptions in the collection, 647 monuments will be exhibited (474 indoors, up to 200 in the courtyard), including 23 “landmark” exhibits and special tactile monuments. The majority come from ancient Athens, while other regions of Greece and Asia Minor are also represented, as well as inscriptions in Latin and other languages (Phoenician, Hebrew, Ottoman). The Museum’s goal is to help the visitor understand the importance of writing in human history, to learn about the ancient Greek language through official and everyday texts, and to learn about the political organization of Ancient Athens and other city-states.
NEON and the Acropolis Museum present the second part of Michael Rakowitz & Ancient Cultures trilogy with the work Lamassu of Nineveh (2018).
Lamassu of Nineveh (2018) is part of Michael Rakowitz’s series The Invisible Enemy Should not Exist (2006 – ongoing). The work was commissioned for The Fourth Plinth in Trafalgar Square, London.
Its location in the surrounding area of the Acropolis Museum places the work in dialogue with both the excavation and the ancient city that lies beneath the museum, as well as with its contemporary building, the rock of the Acropolis with its monuments, and the urban landscape.
SCHEDULE OF OPENING NIGHT EVENTS | 6 OCTOBER 17:30 | Gate Opening
18:00. | Lecture| Heritage, Genocide, and Memory with Dr. Alda Benjamen , Assistant Professor of History at the University of Dayton, specializing in contemporary Middle Eastern history. Moderated by Rachel Donadio, Journalist & Public Program Advisor, Acropolis Museum “Dimitrios Pandermalis” Amphitheater
19:30 | Opening of Lamassu of Nineveh in the Museum’s outdoor area (last admission at 9:30 p.m.)
Opening| 6 October 2025 | 17:30. – 22:00 (last entry at 9:30 p.m.)
The Acropolis Museum |Outdoor area
Admissions Free
Curated by Professor Nikolaos Chr. Stambolidis, General Director of the Acropolis Museum, and Elina Kountouri, Director of NEON.
Giorgos Machias presents his solo photography exhibition entitled “City of Characters.” It is a visual journey that explores the city as a living organism, full of personalities (not necessarily real ones!), traces, and stories.
The exhibition includes important archival material by Giorgos Machias, consisting of photographs that capture urban moments and corners of the city, reflecting the unique “psychology” of each street and building. The collection of these images from different periods focuses on the encounter between the everyday and the unexpected, illuminating small narratives that make up the collective identity of the urban landscape.
The city is full of characters – not only human ones, but also architectural, emotional and symbolic ones. Every corner has its own story, every shadow carries a memory.
The “City of Characters” invites viewers to wander through a new interpretation of Athens, rediscover its hidden secrets, and commune with its rhythm. Like another Metropolis, urban life accompanied by a camera was for the artist an act of daily observation and ultimately an act of getting to know the city from within. A confession of visual experiences that connects the past, present, and future of the city.
A Short Bio:
Giorgos Machias is a lecturer in the Department of Photography and Audiovisual Arts at the University of West Attica.
He studied Graphic Arts at the Department of Graphic Arts Technology of the Technological Educational Institute of Athens (degree in 1988) and attended the Departments of Architectural Space Decoration and Design (1987) Visual Communication and Advertising (1992) at the Vakalo School.
He holds an MSc in Interactive Digital Multimedia (1999) from the University of Westminster in Great Britain.
He collaborated for many years with publishing houses, newspapers, and magazines as an editor, and from 1993 to 2008, he worked as a freelancer in image processing, multimedia application creation, corporate identity design, and print editing. He has participated in conferences in Greece and abroad, as well as in group photography and art exhibitions.
