House of Cyprus
The House of Cyprus, the Cultural Centre of the Embassy of the Republic of Cyprus in Greece, has been housed since December 2011 in the new Embassy building at 2Α Xenophontos Street, in the centre of Athens, very close to Syntagma Square. However, its presence in the cultural life goes back to 1987 when it was inaugurated in Kolonaki by the President of the Republic of Cyprus, Spyros Kyprianou and the Prime Minister of Greece, Andreas Papandreou.
With consistency and stability, the House of Cyprus plays a decisive role in the cultivation and strengthening of the spiritual and cultural ties between Greece and Cyprus, serving as a hub of inspiration and creativity, promoting contemporary art, literature, the traditional values of Cyprus and the age-old unbreakable ties between the two sister countries.
In its premises it has hosted cultural events, art and other exhibitions, musical events, theatrical performances, film screenings, book presentations and other publications as well as conferences, workshops, lectures and seminars on art, literature, history, archaeology and ancient literature.
At the same time, the House of Cyprus has an important library of Cyprus-related content, which includes 8,000 book titles, rare and old publications and a remarkable collection of periodicals that constitute a valuable source of information, reference and research for students and scholars.
In addition, the House of Cyprus maintains close cooperation with the Michael Cacoyannis Foundation, as well as with many Cypriot, Greek and international institutions, including universities in Cyprus and Greece. As a founding and active member of the Athens Branch of the European Union Network of Cultural Institutes, EUNIC Athens, it participates in cultural and educational activities, with the aim of promoting cultural diversity and strengthening international dialogue and cooperation on culture within the framework of a united Europe.
The House of Cyprus has modern infrastructure and two, fully equipped, large halls, the event hall on the 1st floor and the art exhibition hall on the 2nd floor of the Cyprus Embassy building.
Today, after almost four decades of continuous operation, the House of Cyprus is renewing and enriching its programme with new themes and actions, developing new partnerships, always remaining faithful to its name, its history, its choices, while continuing to actively participate in the cultural life of Athens.
Directors of the House of Cyprus have been: George Georgis, Andreas Malekos, Nasa Patapiou, Eleni Antoniadou, Kostas Lympouris, Maria Panagidou, Nadia Stylianou, Maria Ragia (supervisor) and Loukas Xenophontos (Advisor for Educational and Student Affairs).
From 2024 to date, Diomedes Nikita.
www.spititiskyprou.gr
Σπίτι της Κύπρου. (© Days of Art in Greece / Stavros Tsiaras)
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
When vacation, wellness, tradition and tranquility align in a harmonious co-existence.
In the beautiful island of Argosaronikos Gulf, situated in a small picturesque alley - between the island's capital, Dapia, and the beach of Aghios Mammas- stands a picturesque mansion of traditional Spetsian architecture, the elegant boutique hotel Yayaki Spetses.
Within its fine, stylish spaces of superb architecture, guests experience a unique combination of a luxury boutique hotel with family warmth. Yayaki Spetses opens its doors from April to November each year, offering visitors and nomads, more than just accomodation in the heart of Spetses. It is a peaceful space of enjoyment and well-being, where the emphasis is on personalized service and on the needs of each and every resident. Every service and activity at Yayaki Spetses is a personally tailored experience.
Yayaki’s creators, the couple Hannah and Karl, had the chance to transform their common vision into action. Initially co-students and their renowned Swiss hotel school of Glion, they began their life together and their professional career initially in London and Paris but along the way they consciously chose to make their idea feasible; marking a new kind of hospitality by bringing Yayaki to life just opposite the coast of the Peloponnese, on the magnificent island of Spetses.
Inspired by their Greek, German, Lebanese and French grandmothers, Yayaki (which in greek is a nickname for beloved grandma) became a space designed with tranquility, simplicity and the sense of discretion, inspired by the atmosphere of the island itself.
The guests are firstly welcomed by its exterior surroundings!
Its garden is a true nursery of aromatic herbs such as lavender, rosemary, and thyme, ideal substances for the herbal teas offered.
Shortly after, crickets start twittering and they can be heard softly throughout the day. In the evening, silence reigns and guests can enjoy the music from the bar through the lounge playlist or they get the opportunity to relax around the pool and under the stars.
The Yayaki cuisine is full of original, tangy, ideas and imagination. Local, seasonal and piquant products, tomatoes, figs picked from the branch, Kalamata olives fresh from the market and others are always there awaiting to be tasted. A vegetarian breakfast is also part of the morning menu. All meals are full of local appetizers and delicious treats, such as The sweet Yayaki Pancakes or The Classic Yayaki French Toast.
Since 2024, Yayaki has become a hotel that gives back to its community, thanks to the owners’ non-profit organization, NISSIMOU (“my island”). Inspired firstly by their daughter’s needs, Nissimou is the first inclusive center created on the island, giving access to essential therapies to children and families, right here on their island. So when staying at Yayaki, when purchasing souvenirs from the shop, or ordering a delicious “Nissimou cocktail”, guests know that they participate in the hotel’s effort to do good!
Yayaki is an intimate guest house in a family atmosphere and it welcomes with intimacy its visitors on an island which stands full of historical treasures as heritage of the Greek Revolution and full of charm today due to its cosmopolitan aura and its sophisticated guests and visitors. Yayaki Spetses offers with generosity and finesse a uniquely personalized service to all of those who dream of a stay dedicated entirely to the art of well-being, recreation and also to the magic of the sea and nature.
Yayaki Spetses 18050, Spetses www.yayaki.com
info@yayaki.com
Just a few minutes away from Mykonos Town is the brand new Mykonos Earth Suites. Newlyweds, couples and group of friends will enjoy the unique experience of hospitality on the famous island of the Cyclades.
Located in front of the beautiful beach of Megali Ammos, the hotel becomes part of the landscape while from its open spaces the view of Chora, the traditional mills, the blue sea and the brown rock is impressive.
Both the rooms and the public areas are designed and decorated with respect to the local architecture. Materials, colour details, surfaces and modern infrastructure complement each other creating an ideal environment for a holiday in Mykonos.
Γιάννης Λουκάς, Ιστορικός – Δημοσιογράφος
For reservations please click here
Get ready to set sail for HydroMediT 2026, the 6th International Conference on Applied Ichthyology, Oceanography, and Aquatic Environment, to be held on November 5-8, 2026, at the University of Thessaly in beautiful Volos!
Scientists, students, stakeholders, and partners from around the world will come together to address the challenges facing oceans, rivers, lakes, and the Mediterranean—from climate change to biodiversity loss.
HydroMediT 2026 is the ideal platform to present your research on aquaculture, fisheries, marine sciences, and other topics.
Participate in four days of:
Keynote speeches and guest lectures
Oral presentations and electronic posters
Networking with researchers, students, and industry expertsυ
Take a look at this year’s areas of interest, submit your paper, and become part of an international community eager to exchange ideas, initiate collaborations, and promote solutions for aquatic environments.
Explore the possibilities and submit your own presentation here..
With the practical institutional support and active participation of AUTODIA, a team of executives from the Organization attended the proceedings of the annual meeting of the Association of Private Radio Station Owners of Attica – E.I.I.R.A., entitled “All Things Radio 2026“.
The event, held on Wednesday, February 11, at the Library of the Hellenic Parliament (former Public Tobacco Factory), brought together a large number of professionals from the fields of radio production, market research & marketing, advertising, and the advertisers’ association, while also hosting institutional figures and foreign market experts.
Among those present at the event were Mr. Konstantinos Fotopoulos, President of E.I.I.R.A., and Mr. Ioannis Bratakos, President of the Athens Chamber of Commerce and Industry, while representing the State were Mr. Pavlos Marinakis, Deputy Minister to the Prime Minister and Government Spokesperson, and Mr. Dimitris Papastergiou, Minister of Digital Governance.
Representing AUTODIA were Ms. Iliana Antoniou,, Director of Communications & International Relations, and Ms. Gioulina Manolatou,, Head of Marketing, as well as Mr. George Stambolis,, Director of Digital Strategy & Business Development, Dimitris Varouxis,, Head of Broadcast Media, and Stathis Pantzis,, Head of Online Media.
AUTODIA executives met with many professionals in the sector and informed the public about the Organization’s activities, providing specialized information and printed informational material.
As part of the event, Ms. Iliana Antoniou gave a speech entitled “Musical Content & Artificial Intelligence: Copyright at the Center,” emphasizing that the essence and longevity of radio, however it evolves in the age of Artificial Intelligence, remain in human connection, trust, and authentic stories. All that is needed is mutual respect for the professional integrity of each sector and serious investment in people: producers, composers, songwriters, and lyricists.
The 7th International Creative Writing Conference welcomes you from October 8 to 10, 2026, in Larnaca, Cyprus, at UCLan Cyprus University.
The Master's Degree Program (MA) in Creative Writing in collaboration with the Inter-institutional Master's Degree Program in Rhetoric, Communication, and Creative Writing in Education , Lund University (Centre for Languages and Literature/Modern Greek Studies) and the Cyprus Pedagogical Institute of the Ministry of Education, Sport and Youth of Cyprus, with the support of the Municipality of Larnaca, invite you to the 7th International Conference on Creative Writing.
Professors, researchers, doctoral students, graduate students, writers, people who love reading and writing from different countries and continents will have the opportunity to meet in the city of Kozani and discuss writing, reading, criticism, research, and the study of texts. The official guests of the conference, Theodoros Theodoulidis, Gouliamos Kostas, Xavier Mínguez-López, Sarioglou Irini, Vissarion Natasa, and Zou Fu, will contribute their scientific knowledge and creative experience to the discussion on Creative Writing.
The President of the Scientific Committee
Triantafyllos H. Kotopoulos, Professor of Creative Writing and Modern Greek Literature, University of Western Macedonia
Central Scientific Committee
Tzina Kalogirou, Professor of Modern Greek Literature and Teaching, National and Kapodistrian University of Athens.
Vasileios Sabatakakis, Associate Professor of Modern Greek Studies, Center for Languages and Literature, Lund University, Sweden, President of the European Society for Modern Greek Studies
Dr. Elena Hatzikakou, Director of the Cyprus Pedagogical Institute, Ministry of Education, Sport, and Youth of Cyprus
PRESIDENT
SCIENTIFIC COMMITTEE
OF THE SCIENTIFIC COMMITTEE
ORGANIZING COMMITEE
CULTURAL COMMITTEE OF THE UNIVERSITY OF WESTERN MACEDONIA (UoWM).
An international conference entitled “The Epigraphy of Healing: Sanctuaries & Dedications in Attica” will be held at the Epigraphic Museum on Saturday, December 20, 2025.
Here’s the full schedule of events
Saturday 20 December 2025
10.00-10:15 Registration
10:15-10:30 Greetings
Panel 1: Asklepios and Hygieia and the Politics of Healing in Attica
Chair: Dr Athanasios Themos
10:30-10:50 Dr Milena Melfi (University of Oxford)
“Reinstating Healing: Reused votive reliefs in the Athenian Asklepieion of the 1st century BC.
10:50-11:10 Dr Luigi Lafasciano (National Hellenic Research Foundation)
“Performing for the God: Actors’ and Dramatists’ Dedications at the Asklepieion of Athens”
11:10-11:30 Dr Francesco Camia (Sapienza Università di Roma)- online ““IG II/III23240 and the cult of Hygieia in Attica during the Roman imperial period”
11:30-11:50 Discussion
11:50-12:10 Coffee Break
Panel 2: Other healing deities of the asty
Chair: Eleni Zavvou
12:10-12:30 Professor Maria Elena Gorrini (Università degli Studi di Pavia) “Dedicants of minor healing deities: the cases of Amynos and Heros Iatros”
12:30-12:50 Dr Brian Martens (University of St. Andrews)
“Statuettes for Health and Healing from the Agora Excavations”
12:50-13:10 Discussion
13:10-15:00 Lunch Break
Panel 3
Healing cults on the Attic Demes and Frontiers
Chair: Dr Aikaterini-Iliana Rassia
15:00-15:20 Professor Graham Oliver (Brown University)
“Integrating health from the margins: Rhamnous and the Hellenistic polis” polis”
15:20-15:50 Dr Kazuhiro Takeuchi (Danish Institute for Mediterranean Studies) “Prevention is Better Than Cure: The Healing Cults of Athena, Herakles, and Apollo in Attica”
15:50-16:10 Dr Francesco Sorbello (Università degli Studi di Pavia)- online “Healing Cults in Acharnai: Archaeological, Epigraphic, and Literary Evidence”
16:10-16:30 Discussion
Panel 4
Attic Healing Cults: Philosophical And Literary Dimension
Chair: Dr Georgia Petridou
16:30-16:50 Dr Matthias Haake (University of Bonn)
“Female Epicureans in Attic Healing Sanctuaries? The Case of the Asclepieion in Athens and the Amphiareion at Oropos”
16:50-17:10 Dr Alexia Petsalis-Diomidis (University of St. Andrews)
“Cult tables in the sanctuaries of Amphiaraos at Oropos and Asklepios at Athens”
17:10-17:30 Professor Andrej Petrovic (University of Virginia)-online “Purity and Epigraphy of Healing”online “Purity and Epigraphy of Healing”
17:30-17:50 Discussion
17:50-18:10 Coffee Break
Panel 5
The Epigraphy of Healing Heroes in Attica
Chair: Dr Alexia Petsalis-Diomidis
18:10-18:30 Professor Jessica Lamont (Yale University)-online “Epigraphy of Healing: The Heros Iatros in Athens”
18:30-18:50 Professor Laura Gawlinski (Loyola University Chicago)- online “Herakles and Health in Athens”
18:50-19:10 Discussion
Chair: Professor Graham Oliver
19:10-19:30 Professor Emeritus Kevin Clinton (Cornell University)-online “Asklepios at Eleusis”online “Asklepios at Eleusis”
19:30-20:00 Roundtable Discussion
20:00 Wine Reception
ORGANISING COMMITTEE: Dr Athanasios Themos (Director of the Epigraphic Museum)
Eleni Zavvou MSc (Head of the Department of Research and Documentation of Inscriptions of the Epigraphic Museum)
Dr Georgia Petridou (University of Liverpool)
Dr Aikaterini-Iliana Rassia (Open University of Cyprus & College Year of Athens)
The Oxbelly Retreat for Fiction Writers 2026, a meeting for international writers working in cinema and literature will take place from July 1 to 9 in Costa Navarino, Messinia.
The Fiction Writers Retreat hosts ten emerging writers who seek to upgrade their technique, strengthen their literary voice, and contribute to intercultural dialogues around the concept of storytelling. The program offers a series of workshops, led by a team of established writers, as well as free writing time in the peaceful atmosphere of Messinian nature.
Participants will have the opportunity to develop their work during the morning hours, while in the evenings, they will participate in a joint program of interdisciplinary events with distinguished guests, renowned professionals from the worlds of cinema and literature, as well as creators from the broader spectrum of narrative art.
The necessary elements of the application include a brief CV, a writer’s statement, and a sample of unpublished literary prose.
The Fiction Writers 2026 program is led by Program Director Chigozie Obioma, and previous advisors and guest experts have included Rebecca Makkai, Anuradha Roy, Nadifa Muhamed, Isabelle Hammad, Katie Kitamura, Fiammetta Rocco, and Bill Clegg,, among others. There is no application fee, and all expenses, including flights, accommodation, and meals, are covered by Oxbelly.
Applications are now open for Greek and international authors, with a deadline for submission on January 14, 2026, at 23:59 (EET-Greek time).
On Saturday, December 29, thousands of visitors of all ages saw the Stavros Niarchos Foundation Cultural Center (SNFCC) transform into a brightly lit place of celebration during an impressive event that was free to attend thanks to a donation from the Stavros Niarchos Foundation (SNF). The lighting of the SNFCC has become an institution since 2017, marking the start of the festive season in the city in a spectacular way, with a participatory experience of light, music, and joy open to all.
At exactly 7 p.m., thousands of LED lights, with a total length of 34 kilometers, lit up the 80 plane trees along the Canal, the three towering (12-meter) fir trees in the Market, decorated with more than 1,000 baubles, were revealed in all their glory, while the fountains in the Canal also took part in the spectacular show, dancing to two beloved Christmas songs: “Santa Tell Me” by Ariana Grande and “Winter Wonderland” by Michael Bublé.
All of these elements combined to create an enchanting Christmas setting for a grand celebration at the SNFCC Agora, hosted by actress Eugenia Samara. The evening began with the Loop Quartet, a vocal ensemble that creates music exclusively with the power of the human voice. Carols, swing classics, and pop hits, from “Carol of the Bells” and “Rocking Around the Christmas Tree” to “All I Want for Christmas,” were transformed into contemporary polyphonic experiences that thrilled the audience.
Next, Nina Mazani,, one of the most dynamic new faces on the domestic music scene, took to the stage with a program designed exclusively for the evening, combining swing and jazz covers of big hits such as “Careless Whisper,” “Gimme! Gimme! Gimme!”, “Let’s Get Loud,” “Hot Stuff,” and others.
The celebration also marked the official opening of the Biolumina Light Installation Festival at Stavros Niarchos Park. Featuring works by internationally renowned artists, as well as Greek artists selected through an open call by the SNFCC, the Lighting Installations Festival invites young and old alike, every day until January 7, from 5 p.m. to midnight, with free admission, to a meeting place where art becomes a dialogue between man and light.
The SNFCC Ice Rink has also opened its doors, welcoming skaters of all levels to dance on the ice while listening to their favorite Christmas tunes. Visitors will find the Ice Rink, as always, on the north bank of the Canal, where they can enjoy the illuminated spectacle of the SNFCC and the Choreographed Fountains as they twirl around on their ice skates. The Ice Rink is open daily until January 7, from 10:00 a.m. to 10:00 p.m., with free admission. Online pre-registration is recommended here for better service to the public.
This year’s Christmas World at the Stavros Niarchos Foundation Cultural Center offers a rich and varied program of Christmas events every day of the month, including concerts, performances, films, and DJ sets. The highlight of it all is the New Year’s Eve celebration, which promises to be more spectacular than ever this year!
Major Donor of the SNFCC Christmas World: Stavros Niarchos Foundation (SNF)
VERGOS Auctions is inaugurating a new era for Greek wine production and, at the same time, a new category for the House, by organizing an auction exclusively dedicated to Greek wine. .The auction will take place in front of an audience on Sunday, December 14, 2025 (at 1:00 p.m.) at the Papagiannakos Winery in Markopoulo, Attica, and aims to highlight the uniqueness, quality, and international potential of Greek winemaking.
How to participate
Anyone present at the Papagiannakos Winery on the day and time of the auction may participate. Interested parties can also participate by submitting a written or telephone bid, as well as online – live via the House’s website. www.vergosauctions.com.
Nineteen wineries from all over Greece are participating in the auction, offering 127 select and rare labelsfrom the cellars and personal collections of the wine producers themselves. These include, among others, bottles that are over 20 and in some cases 30 years old, large 3, 6, and 9-liter bottles, and even bottles with hand-painted labels.
With this new themed auction, the House offers collectors, wine lovers, and professionals the opportunity to acquire distinctive labels that are not easily found on the primary market. At the same time, the auction:
The catalog for the House’s first auction in the wine sector was compiled by wine critic and author Yiannos Konstantinou. Yiannos Constantinou has been writing about wine for 27 years and has published 13 books and wine guides. His book “The Cyprus Wine Guide” was awarded the Gourmand International Award for “Best Wine Book in the World” among all languages (Best Wine Guide in the World 2006), while his book “Discovering Wine,” published by Metaixmio, was awarded at the Gourmand International Awards as the Best National Wine Book in the Greek language.
Andreas Vergos, Managing Director of VERGOS Auctions, says of the Greek wine auction: :“Our involvement with Greek wine is a completely natural next step for our company. We believe that the time has come for great Greek wines to take their place in an organized, transparent, and outward-looking secondary market, just as is the case internationally with the “fine & collectible wines” category. The particularly warm response from winemakers and professionals in the field confirms that Greek wine production is now mature enough to stand on equal footing with some of the most recognized wine regions in the world.”
The Laboratory of Hygiene, Epidemiology and the Quality of Life Laboratory of the Medical School of the University of Patras is organizing the ONE-Bridge in Health International Conference from December 8 to 11, 2025, at the Conference and Cultural Center of the University of Patras, as part of the European project “One Bridge: One Health Nexus: Bridging Human, Animal & Environmental Health Across Europe” (EU4Health), with Mr. Apostolos Vantarakis, Professor of Hygiene, as scientific director.
The conference, which will be held in a hybrid format (in person and online), is free and open to students, professionals, and researchers from all scientific disciplines related to human, animal, and environmental health.
The four-day program includes topics such as:
All participants will receive an official certificate of attendance.
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.
Γιάννης Λουκας, Ιστορικός – Δημοσιογράφος
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 Athens & Epidaurus Festival kicks off its Farewell Celebrations at the Odeon of Herodes Atticus with a concert by the distinguished Icelandic pianist Víkingur Ólafsson, making his debut in Greece, on Wednesday, June 3, 2026.
Vikingsur Ólafsson is undoubtedly a rare phenomenon of our time. Now in his early forties, his performances have lost none of the youthful enthusiasm, the groundbreaking spirit, and the deep spirituality that have characterized him since he burst onto the global music scene fifteen to twenty years ago. One of the most acclaimed artists of our time, having signed an exclusive contract with Deutsche Grammophon years ago, Olafsson is above all a visionary musician, and his artistic choices stand out for their originality and the subversive perspective with which he approaches well-worn works—landmarks of the piano repertoire.
His recordings have resonated widely with audiences around the world, surpassing one billion streams and winning numerous awards, among them the recent GRAMMY for Best Classical Solo Performance (for Bach’s Goldberg Variations, 2025), the award for Best Album from BBC Music Magazine, as well as—twice over—the Opus Klassik for Best Solo Recording of the Year.
In his highly anticipated debut in Greece, Olafsson presents works by Bach, Beethoven, and Schubert, putting together a program titled *Opus 109*, the same title as his latest album released in November 2025. The title obviously refers to Beethoven’s Piano Sonata No. 30 in E-flat major, Op. 109, which the artist places alongside (or even in contrast to) other works by Beethoven himself and Schubert, without, of course, omitting his beloved Bach—after all, as he himself says, the two nineteenth-century composers confront the eighteenth-century giant “as every great composer ought to do.” The program’s connecting thread is the key of E (major and minor). Within this tonal field, Olafsson utilizes synaesthesia as a beneficial means to explore a wide range of the rich and vivid shades of green.
The program itself clearly illustrates the artist’s way of thinking: as he argues, one need only look to the past to see what is missing from today’s concert programs, which often give the listener the feeling of “leafing through a library catalog.” In nineteenth-century recital programs, he notes, one feels a true sense of liberation: they are striking, full of improvisational spirit and unexpected elements. And it is precisely this modern perspective on old masterpieces that makes Víkingur Ólafsson a great artist of the twenty-first century.
Numerous items reflecting our country’s intellectual and cultural heritage are included in the “Rare Books, Manuscripts, Documents & Engravings” auction by VERGOS Auctions. The auction is divided into two parts and will take place on Tuesday, April 29, and Wednesday, April 30 (at 5:30 p.m.) at the “Parnassos” Literary Society.
Find out more and learn how to participate in the auction on www.vergosauctions.com.
Part I of the auction includes, as in every auction of this category, extremely rare books, documents, and manuscripts of historical interest, photographs, posters, and engravings, while Part II consists entirely of travel and history books from the collection of physician and bibliographer Athanasios D. Hatzidimos (1910–1967).
Highlights from the auction catalog include, among others:
The studies for the modernization of the National Archaeological Museum and the Epigraphic Museum—which form part of the building complex defined by the Patission, Tositsa, Bouboulinas, and Vas. Irakleiou.
Following the approval of the final curatorial study for the new National Archaeological Museum (NAM) and the Epigraphic Museum (EM), the Council of Museums unanimously approved the corresponding preliminary museological studies for their new exhibitions. The preliminary studies were prepared by the architectural firm Atelier Bruckner, in collaboration with staff from the NAM and the EM, as well as with the architectural firms David Chipperfield Architects and Tombazis and Associates Architects, which have undertaken the architectural design for the museum’s renovation and expansion, and the companies Kardoff Engineering, Werner Sobek, and WHP, for the lighting, electrical, and mechanical engineering designs, as well as the structural engineering designs, respectively.
The Minister of Culture, Lina Mendoni, stated: “The preliminary museum design is based on all the approved studies—architectural, structural, and electromechanical—for the expansion and renovation of the National Archaeological Museum, the most significant and richest repository of ancient Greek art in the world. The museological preliminary study focuses primarily on general design choices, the spatial planning and layout of the exhibition sections, the exhibits, and the equipment, aiming, at this stage, to comprehensively address the requirements of the museological concept while exploring the optimal approach to their implementation. Key parameters of the architectural design have been taken into account, as well as, to a significant extent, the thematic content and the needs of the exhibition material. The collaboration between the designers—from all disciplines and specialties—and the staff of our two museums is ongoing and exemplary. A shared goal is adherence to the timelines as stipulated in the Donation Agreement between the Greek State and the couple Spyros and Dorothy Latsis. The comprehensive redesign of the exhibitions at both museums, based on the expansion and renovation of the building complex, will result in a modern museum of global significance.”
The primary consideration and rationale behind the development of the exhibition design—which defines its overall aesthetic and layout—is the synergy and complementary nature that should be achieved, based on the expansion study for the historic building, at the stage of the preliminary museographic study for the two museums. The museographic design at the National Archaeological Museum focuses on the works along the main route running through the entire exhibition, both in the extension and in the historic building, functioning as “magnets,” serving as the thread that unifies the museological narrative and guides the visitor. As for the Epigraphic Museum, the main proposed museographic interventions can be summarized as follows: the guided exhibition route, the grouping of the extensive exhibition narrative into thematic sections, the integration of open storage into the exhibition route, and the combination of a paratactic-chronological presentation of the exhibits with the creation of clusters of prominent, primarily epigraphic monuments that convey the specific themes of each chronological period. The new exhibition at the National Archaeological Museum features up to 650 inscriptions in a space covering up to 1,400 square meters.
Specifically, the museological feasibility study for the National Archaeological Museum and the Epigraphic Museum focuses on:
– the methodology for organizing the archaeological material to be exhibited
– the organization of the main exhibition sections. At the National Archaeological Museum, the focus is on highlighting and positioning the introduction and conclusion of the exhibition, as well as presenting the “central axis,” which is structured around emblematic objects—exhibits—alongside the central axis and the axes surrounding it. For the Epigraphic Museum, the exhibition is organized on three levels (island displays, freestanding monuments, panorama, open storage, and research).
– the basic design principles (exhibition equipment, lighting, visual aids, signage), the functionality of all types of exhibition equipment, and the geometry of the basic exhibition structures (display cases – pedestals – shelves – visual aids) .
– the overall aesthetic of the building’s exhibition spaces (the monument and the extension) and, more generally, the way in which – the visualization of the curatorial concept and the main exhibition sections within the space, presenting the exhibition sections—primarily—through the visitors’ journey and the levels of information tailored to each exhibition section and the visitor’s potential choices.
– the visual identity of the exhibition spaces, equipment, and visual materials (color palette, typography, illustrations, content hierarchy, etc.)
– issues of physical and cognitive accessibility to the exhibition content and how to address them.
In addition, at the National Archaeological Museum, the open-display exhibits are presented in a way that allows for a 360-degree view wherever possible. Selected sculptures, particularly those with polychrome decoration or made of delicate materials, are displayed in glass cases. Self-guided tours of the exhibition are supported for all visitor groups. Multimedia applications are used judiciously, while a mixed lighting system is adopted, combining built-in display case lighting with accent lighting within the galleries. The museographic preliminary study for the Epigraphic Museum outlines the spatial layout, the organization of the sections, the “shelf display,” and the design of the display cases, so that the thematic sections and significant artifacts are presented effectively.
*Η φωτο ανήκει στην συλλογή φωτογραφιών του Mykonos Earth Suites
By Venia Pastaka
Art Historian
It has been 31 years since 1995, the year in which Georgios Costakis’s collection (1913–1990) was presented at the old building of the National Gallery, featuring leading works of the Russian Avant-Garde, curated by Anna Kafetsi.. That exhibition marked the beginning of the acquisition of a large portion of the collection by the Greek state and also led to the creation of two important museums: the Thessaloniki Museum of Contemporary Art, which houses the works, and the National Museum of Contemporary Art in Athens..
Three decades later, in the National Gallery’s new building—and curated by its director, Syrago Tsiara , and the director of the Museum of Modern Art of Thessaloniki, Maria Tsantsanoglou,, selected works from the Costakis Collection are presented through a new approach that seeks to highlight the dynamism of the Russian avant-garde and its enduring relevance, linking it to issues that concern people today. The exhibition The World of the Avant-Garde: City, Nature, Universe, Man opens on April 15 and will run through September 27, 2026.
Άποψη της έκθεσης
The exhibition unfolds within and around a pavilion reminiscent of those found at international expositions, creating a unique spatial experience. The visitor’s path is not linear but leads them through a continuous alternation between open and enclosed spaces, enhancing the sense of discovery. Inside the pavilion, separate “rooms” are organized, where the main thematic sections are presented: City, Nature, Humanity, and the Universe.
The City section captures the transition to a modern way of life, where technology and industry are radically transforming everyday life. Artists seek new forms of expression that respond to this change, emphasizing geometry, functionality, and simplicity. Art is linked to architecture, design, and mass production, proposing a new role for the artist within society.
In the Nature section, the focus shifts to the organic world. Here, starting with the oldest and most representational works in the collection (such as the early works of Malevich and Popova), we are led to new experimental approaches to the forms, movement, and transformations of the natural environment. Nature is presented not merely as a subject, but as a dynamic system in which humans are embedded and with which they interact.
In the “Universe” section, art takes on a highly abstract and philosophical dimension. The artists turn toward the unknown and the infinite, attempting to transcend the boundaries of visible reality. Through experimental compositions, the desire to explore and expand knowledge is expressed, as well as the need to develop new ways of understanding the world. Man serves as the connecting link between all sections. They are the active subject that interacts with them. In this section, humans are presented as creators, researchers, and agents of change who, through art, seek to redefine their place in the world and envision a different future.
The thematic sections are not limited to the interior of the pavilion but extend to its exterior as well. Inside and around the pavilion, films from the experimental cinema of the era are screened, enriching the visitor’s experience. At the same time, special attention is given to the historic 1995 exhibition through archival material, photographs, and audiovisual presentations that highlight its significance for the Greek art scene. The tour concludes with a documentary dedicated to the collector himself, offering a more personal glimpse into the man behind the collection and shedding light on his passion and vision.
Both the selection of works and the way they are presented create a multi-layered experiential environment, where visitors engage with the Russian avant-garde and connect it to contemporary concerns. In this way, the exhibition becomes a truly immersive experience, one that certainly isn’t exhausted in a single visit, but rather fosters a desire to return, revealing new aspects and interpretations of the works each time.
«“Hélène Glykatzi-Ahrweiler was not merely the President of the European Cultural Delphi Centre; she was the very embodiment of the Center.”
Under the direction of Dr. Andreas Gofas, the European Cultural Delphi Centre is entering a new creative phase, continuing a journey that connects the legacy of Delphi with Europe’s contemporary cultural dialogue. Building on the legacy of the great figures who brought it international renown, the Centre is redefining its role as a space for the convergence of art, science, and thought, presenting the Greek spirit as a living point of reference for the universal cultural experience.
Dr. Andreas Gofas, professor of Theory and Epistemology of International Relations at Panteion University, brings his interdisciplinary perspective and a clear strategy of outreach to the Centre’s leadership. His work places equal emphasis on cultural engagement, pioneering academic research, and social awareness—elements that form a new foundation for collaboration with Greek and international institutions. Through programs, exhibitions, and educational initiatives, the Centre promotes a contemporary Delphic dialogue centered on the values of humanism, creativity, and collective responsibility.
In this context, Andreas Gofas cites the longstanding contributions of Eleni Glykatzi – Ahrweiler , who, as honorary president of the European Cultural Delphi Centre, shaped its identity with her vision. As he states in his remarks at Days of Art in Greece, his collaboration with her was not only an honor but also a constructive one: an experience that determined the Centre’s direction today—toward a new era of cultural relevance, international dialogue, and continuous renewal in the spirit of Delphi.
Days of Art in Greece. Dear Mr. Gofas, the European Cultural Delphi Centre, a centre for the study and exploration of the sciences and arts with an international reach, has experienced the loss of its president of nearly thirty consecutive years, Dr. Hélène Glykatzi-Ahrweiler. As director of the European Cultural Delphi Centre, based on your long-standing collaboration with her, how would you describe the role of the iconic academic and intellectual Hélène Glykatzi – Ahrweiler in the development of the European Cultural Delphi Centre and in establishing its international character as a dynamic space for intellectual discourse?
Andreas Gofas. Hélène Glykatzi – Ahrweiler was not merely President of the European Cultural Delphi Centre for nearly three decades. For those of us who had the good fortune to work with her, she was the heart and soul of the Centre. She saw Delphi not only as a place of historical memory, but as a living space for thought—a place where people from different countries and traditions can meet and think together.
Anyone who has spent even a few days at a meeting of the Centre knows that Delphi is not merely a backdrop. The landscape itself, the history of the place, and the presence of people from diverse fields create a unique setting for dialogue. Ms. Ahrweiler believed deeply in this power of the place.
With her international prestige, she decisively strengthened the Centre’s presence on the global map of intellectual discourse. But what I personally consider decisive is that she shaped an ethos: that culture is not about managing the past; it is a proposal for the future.
“In Delphi, one often sees people conversing who, under different circumstances, might never have met—scientists, artists, students, and creators from different countries. This encounter is not accidental; it is the result of a conscious vision that she herself cultivated.”
D.A. How did she envision the connection between the culture of ancient Greece and Byzantine history, and how did she foster a dialogue between them—always in relation to modern Europe and the world?
A.G. For Hélène Glykatzi-Ahrweiler, Hellenism was not a succession of eras, but a unified intellectual journey. Antiquity, Byzantium, and modern Greece were not distinct chapters, but different expressions of an enduring question: how does a tradition remain alive through dialogue and creative renewal?
Byzantium, as he emphasized, was the place where Greek thought was transformed into a universal discourse, bridging civilizations and eras. In Delphi, he sought to transform this continuity into a living experience of encounter with contemporary Europe and the world. And indeed, in the discussions taking place here, history is not presented as a distant past but as an active dialogue.
D.A. What do you consider to be the most significant innovations she introduced during her presidency to transform the Centre into a dynamic hub for science and the arts, an international center of culture and thought?;
A.G. If I had to single out one thing, it would not be an action but an attitude. Hélène Glykatzi-Ahrweiler believed that Delphi ought to be a meeting place—not only for the sciences but also for the arts, ideas, and cultural experiences.
In Delphi, one often sees people conversing who, under other circumstances, might never have met—scientists, artists, students, creators from different countries. This encounter is not accidental; it is the result of a conscious vision she cultivated herself.
She did not merely build institutions; she shaped an attractive intellectual environment. This culture of dialogue, marked by rigor and moderation, was her most substantial legacy.
“As we approach 2027—fifty years since the Centre’s founding—we are working on two parallel tracks. The first involves strengthening the Centre’s international initiatives and partnerships. The second involves upgrading the infrastructure and surrounding area so that the Delphic landscape and modern cultural facilities function as a unified creative environment.”
D.A. How does the Centre, under the chairmanship of Dr. Panagiotis Roilos and your leadership as general director, define its role from now on? Obviously, by continuing to link Greek cultural heritage with the international European values envisioned by Dr. Glykatzi-Ahrweiler. What new initiatives and activities are planned?
A.G. Continuing her work is not merely a formal obligation for us, but a conscious responsibility. The Centre is moving on to the next chapter of its journey, with her intellectual legacy as a constant point of reference.
Many of the experienced staff members who have worked with her for decades continue to serve the Centre, passing on knowledge and institutional memory, while at the same time new generations of researchers and creators are joining the ranks. This convergence of experience and renewal is one of the most promising aspects of the present moment.
As we approach 2027—fifty years since the Center’s founding—we are working on two parallel tracks. The first involves strengthening the Centre’s international initiatives and collaborations. The second involves upgrading the infrastructure and surrounding area so that the Delphic landscape and modern cultural facilities function as a unified creative environment.
Something special happens in Delphi: the interplay between the landscape and the cultural infrastructure creates a unique sense of time. Many of those who stay here—scientists, artists, students—say that for a few days they step away from the usual rhythm of daily life and find the space for more meaningful reflection. This is what we want to preserve and strengthen.
Some of the initiatives we are planning will be announced in the coming weeks. Our goal is for Delphi to remain a vibrant place of creation and exchange of ideas—a place where cultural heritage becomes the starting point for new thinking.
The renowned “Spring Auction of Modern Greek Art” invites art lovers to discover 177 carefully selected works by established artists at exceptionally affordable starting prices. The online auction will take place on Tuesday, March 31, at 6:00 p.m. and will be broadcast live (online) on the auction house’s website.
Learn more about the auction items and find out how to participate on the website www.vergosauctions.com.
With prices starting at €200, this auction is ideal for anyone interested in taking their first steps into the world of modern Greek art. It features works by 93 prominent artists, including Alekos Fassianos, Alexis Akritakis, Antonis Kyriakoulis, Vasilis Sperantzas, Vasilis Fotopoulos, Vlasis Kaniaris, Georgios Gounaropoulos, Yannis Gaitis, Yannis Tsarouchis, Yannis Psychopedis, Giorgos Hadoulis, Dimitris Mytaras, Dimosthenis Kokkinidis, Diamantis Diamantopoulos, Thanasis Tsigos, Kyriakos Mortarakos, Leda Kontogiannopoulou, Marios Prasinos, Nikolaos A. Christopoulos, Nikos Stefanou, Panagiotis Tetsis, Panos Valsamakis, Tassos Mantzavinos, Christos Kagkaras, Chronis Botsoglou, and many others.
The affordable starting prices in this particular auction category encourage the wider art-loving community to discover modern Greek art through works by major artists who have made a significant mark on the Greek art scene.
The GSA/Historical Archives – Museum of Hydra presents an exhibition by painter Katja Nagel titled ANTHEA, a series of works inspired by Greek mythology and the natural world. The artist is already familiar to the Museum’s audience, as in the summer of 2024 she presented the exhibition “Arts Aegeo” at the same venue, a series inspired by the aquatic landscape and the mythological memory of the Aegean. Her new exhibition in Hydra deepens the creative dialogue with the Greek world, shifting the focus from the archipelago’s maritime geography to the land and the blossoming of nature.
In Greek mythology, the world is strewn with traces of the divine. A tree or a fruit can become places where divine power leaves its mark. Nagel returns to this ancient language, attempting to “read” nature as an alphabet of the divine. Her painting is built upon the purity of form and the autonomy of color. The compositions are organized into flat, almost emblematic surfaces, where the line precisely defines the shape and color serves as a vehicle for intensity. The GAIA series proposes a symbolic mapping of the earth. The animal forms are placed within flat planes of color that resemble simplified fields, where space is rendered through the coexistence of pure chromatic surfaces. Thus, the animal—bull, horse, or ram—takes on the character of an emblem, a formal core around which the composition is structured.
The new ANTHEA collection draws our gaze toward the world of blossoming. The name itself refers to the ancient Anthéa, one of the Graces of Greek mythology, a deity associated with the joy of spring and the floral wreaths of festivals. In these paintings, fruits and trees—olive, pomegranate, cypress—appear as symbols of a cosmic rebirth. Symbols of a force that permeates nature and reappears every spring, reminding us of the world’s ceaseless process of rebirth. The artist’s visual language transforms the botanical motif into a form that encapsulates the idea of vital energy, giving the ANTHEA series a character that is both poetic and symbolic.
Nagel’s works evoke a pictorial Pompeii: figures of animals and paradisiacal plants recall the ancient world, where nature and the divine coexisted in a shared language of symbols. In the artist’s work, this “Edenic painting” is transported into the light of Hydra; through the surface of the canvas, the island landscape lends a new pictorial substance to the myth.
Katja Nagel lives and works between Germany and Greece, drawing constant inspiration from Greek mythology and the Mediterranean landscape. Her painting revolves around the relationship between nature and symbol, creating a visual world where mythology is reimagined through contemporary forms.
On the opening night, Katerina Hatzinikolaou, violinist and concertmaster of the Athens State Orchestra, will perform at the exhibition venue.
More about the painter at www.katja -nagel.art About GSA www.iamy.gr
The House of Cyprus, in collaboration with the Michael Cacoyannis Foundation and with the support of the Department of Contemporary Culture of the Deputy Ministry of Culture of the Republic of Cyprus, is organizing “Cyprus Choreography Athens 2026,” on Tuesday, March 10, and Tuesday, March 17, 2026, at 8:00 p.m., at the Michael Cacoyannis Foundation, 206 Piraeus Street, Tavros, tel. 210 3418550.
This year’s event is part of the Cultural Program of the Cyprus Presidency of the Council of the European Union 2026.
Five contemporary Cypriot choreographic creations are presented, which were successfully performed in Cyprus as part of the Dance Platform 2025.
ADMISSION FREE | first-come, first-served basis
TUESDAY 10 MARCH 2026 | AT 20:00
ARTIFACT | Duration: 15΄
Concept, Choreography, Direction, Performance: Dimitris Charalambous
Music composition: Quique Rios Ellis
Set design: Dimitris Charalambous, Christina Siakola
Dramaturgical support: Marita Anastasi, Quique Rios Ellis
Text: Dimitris Charalambous
Mentor: Christos Polimenakos
Lighting designer: Panagiotis Manousis
2974Duration: 15′
Choreographer & dancer: Elias Clark
Dancer & co-creator: Avgoustina Triarou
Sound design: Dimitra Sofroniu
Costume design: Hayden Bouvet
Pangolin, something rolling| Duration: 23′
Pangolinos, something is rolling
Choreography: Elena Christodoulidou
Dancers: Julie Charalambidou, Ioanna Savva, Elina Karakosta, Andrea Manti
Music: Haris Sofokleous
Visual art: Alexandros Dimitriou
Costumes: Fani Mouzaki
Lighting: Aleksandar Jotovic
Performance video camera: Suzanna Fiala
Performance trailer: Banz
Photographs: Pavlos Vryonidis
TUESDAY 17 MARCH 2026 | AT 20:00
EPISODES|Duration: 18΄
Choreographer: Maria Gerasimou
Dance Group: Diversity Dance Company
Dancers: Isabella Anastasiou, Chris Mills
Concept and Production: Maria Gerasimou, Polina Panagiotou, Diversity Dance Company
Set design: Rafaella Christoforou
Costumes: Magda Rouggeri
Lighting designer: Aleksandar Jotovic
Project production support through movement / human movement specialist: The Stoned Ape Therapy by Raphael Eleftheriou
Sprt!</strong| Duration: 25΄
Concept, Text, Choreography: Dimitris Cheimonas
Guest Performer: Liam Warren
Stage Management & Lighting Design: Dimitris Siambas
Music Direction: Stelios Antoniou
Dramaturgical Support: Seta Astreou-Karydi
Movement Consultant: Belinda Papavasiliou
Creative Collaborator: Dory Samuel
SCHEDULE OF SHOWS here
70 Years of the Eugenides Foundation (1956–2026)
An institution that “…contributes to the education of young Greek citizens in the scientific and technical fields.An institution that “…contributes to the education of young Greek citizens in the scientific and technical fields.“
Born in Didymoteicho (1882) but based in Constantinople, Eugene Eugenides was an active and restless businessman. In Istanbul, he was involved in the import of timber, but after 1922 he settled in Piraeus to take over the agency of the Swedish Orient Line. The Scandinavian Near East Agency S.A. imported Scandinavian timber to Greece and gradually to the entire Near East. It was distinguished by its ability to anticipate developments and recognize business opportunities, investing in the coal trade and the establishment of the passenger shipping company Home Lines, initially sailing ships to South America and Australia and then to North America. America and Australia, and then to North America.
Eugenides died in 1954, leaving in his will the wish to establish a foundation in Greece with the aim of providing technical and scientific education to young Greeks, as he foresaw that our country was not following the same direction as the rest of Europe in this field.
Ευγένιος Ευγενίδης| Credits ι.ε
Indeed, on February 10, 1956, the Eugenides Foundation was established by Royal Decree, with Marianthi Simou as its Director-Administrator. There were many shortcomings in technical education, and the Foundation immediately proceeded to award scholarships to young graduates of technical schools for further training abroad, writing and publishing technical education books, and building a Technical Center, which would house: a Technical and Scientific Library, physics and technical exhibition halls, a planetarium, an amphitheater and lecture halls where scientific and technical conferences and lectures would be held.
Απόσπασμα διαθήκης Ευγένιου Ευγενίδη|Photo Credits ι.ε
This year, the Foundation celebrates 70 years of operation and, alongside its regular activities, has planned a series of events to mark the anniversary. The celebrations will begin in Evros, both for practical and symbolic reasons, as this is the birthplace of Eugenios Eugenides. However, most of the events will take place at the Foundation’s premises in Athens: Science and Technology Festival, training programs for young sailors, discussions on the future of technological and scientific education,
The preparation of interdisciplinary studies for the protection and promotion of the Odeon of Herodes Atticus, on the southern slope of the Acropolis, was the subject of a research project commissioned by the Directorate for the Restoration of Ancient Monuments of the Ministry of Culture to the National Technical University of Athens in July 2025. The Ministry of Culture’s goal is to completely restore the monumental complex of the Odeon of Herodes Atticus and upgrade its operating infrastructure so that it blends harmoniously into the natural landscape and the wider built environment.
The Minister of Culture, Lina Mendoni, stated: “The Odeon of Herodes Atticus is a major cultural asset for the city of Athens, of great historical significance and with supra-local value. These characteristics also govern the framework of studies and any contemporary intervention on it. The proposed interventions are in line with internationally recognized principles for the protection of monuments, as well as the contemporary operation of a monument for viewing and listening. As we have already announced, the maintenance, restoration, and upgrading of the Odeon will take at least three years from the start of the works, during which time the monument will remain closed. Today, the Odeon of Herodes Atticus has structural problems that need to be addressed. It shows signs of deterioration, mainly in the upper arch of the facade, loss of mass and cracking of stones, minor deformations, as well as localised signs of instability. In addition, biodeterioration is observed, caused by the growth of microorganisms in areas where cavities are formed and water accumulates, the development of root systems, mainly in the joints, but also the failure of previous interventions. Our goal is that, upon completion of the works, the monument will be adequately protected against natural and man-made damage, improved in terms of its legibility, and fully upgraded to support the functional requirements of contemporary cultural events, with the Athens Festival being the most prominent of these. In parallel with the restoration and archaeological work, a set of operating regulations for the monument will be drawn up by a team of scientists and artists, which will soon be appointed for this purpose. The regulations will take the form of an institutional text to ensure the high quality of events and maximum protection of the monument.”
The general idea of restoration is based on preserving all existing structural and architectural elements, as well as applying absolutely necessary reinforcements, additions or replacements of lost parts, in order to ensure the long-term protection, stability, solidity, functionality, legibility, and educational value of the monument. The following studies were carried out: Architectural restoration study, structural adequacy study, structural restoration and reconstruction study, architectural study of other interventions (modern interventions in the area of the stage building, infrastructure for the “Hellenic Festival,” renovations to dressing rooms, sanitary facilities, interventions in the square, ticket office, refreshment bar, etc.), structural design of architectural interventions, mechanical study (external water supply and sewerage networks) and acoustic study.
Structural restoration work includes the removal of incompatible newer materials, the fixing and bonding of stones, the replacement of worn elements, the filling of gaps, and the correction of deformations. Restoration work is also planned, including: Restoration of walls and structural elements, restoration of the dome and staircase, restoration of architectural members, fixing and restoration of the south wall of the stage, reconstruction of the logeion and its perimeter wall. In addition, the structural adequacy of the restored parts of the 1950s restorations and their repairs will be checked. Of particular interest is the uncovering and highlighting of the stage building and its mosaic floors, which are currently hidden from view. At the same time, the stress on the monument from sound loads will be studied and assessed. For the monument as a whole and its surrounding area, rainwater drainage is being addressed, the electrical and mechanical networks are being redesigned, and the fire protection of the monument and the upgrading of the drainage system are being studied.
The architectural study focuses on the necessary additions to the stonework and the reconstruction of parts of the monument, with the aim of revealing its architectural structure and restoring its functionality.
The interventions concern:
1. The Stage Hall, where its outline will be restored to a height that will highlight its third dimension, but also serve the installation of temporary structures for the operation of performances.
2.Στο Προσκήνιο, προκειμένου ο χώρος να καταστεί ασφαλής και επισκέψιμος, και η μορφή του να είναι σαφής, ευανάγνωστη και διδακτική.
3.Στα τόξα των παρόδων.
4.Στον κεντρικό μετωπικό τοίχο, όπου προτείνονται συμπληρώσεις για την προστασία του τοίχου, καθώς και την ενοποίηση και αποκατάσταση των αποσπασματικά σωζόμενων στοιχείων της όψης.
5.Στον ανατολικό και στον δυτικό μετωπικό τοίχο.
6.Στο ανατολικό κλιμακοστάσιο, όπου οι αναστηλωτικές επεμβάσεις έχουν στόχο την αποκατάσταση της κίνησης από το Ηρώδειο και τη Στοά του Ευμένους, προς την ανιούσα οδό, προς τον Περίπατο.
7.Στον κάμπυλο τοίχο για την αποκατάσταση του αρχικού περιγράμματος και εν γένει της γεωμετρίας του μνημείου, αναδεικνύοντας αυθεντικά στοιχεία της αρχιτεκτονικής και της οικοδομικής του διάρθρωσης, που συμβάλλουν στην αναβίωση της κίνησης κατά μήκος του Περιπάτου και εξυπηρετούν τη λειτουργία των εκδηλώσεων.
8.Στο κοίλο, όπου θα συνεχιστεί η συντήρηση των αυθεντικών μαρμάρινων μελών και οι συμπληρώσεις εδωλίων, καθώς αυτά καταπονούνται από τη χρήση του κοινού στη διάρκεια των παραστάσεων.
9.Η αποκατάσταση του Περιπάτου έχει ως στόχο να απαλλάξει τα δυτικώς του Ασκληπιείου αρχαιολογικά κατάλοιπα από τη βλαπτική διέλευση της κυκλοφορίας των επισκεπτών.
10.Η αναστήλωση του ανατολικού κλιμακοστασίου και της ανιούσας οδού προς τον Περίπατο επαναφέρει την αρχική λειτουργική σύνδεση του Ηρωδείου με τη Στοά του Ευμένους.
The architectural interventions in the courtyard and the park area surrounding the Odeon aim to free the square from ancillary uses and improve its functionality and aesthetics. This includes the extension of the courtyard with the creation of a raised platform and an underlying covered area for a refreshment bar, ticket offices, and electrical and mechanical installations. It also includes the reconstruction of sanitary facilities at the western end, the redesign of the Herodion’s side streets, and the creation of new stone structures and covered spaces within the park to support events. The study focuses on the coexistence of functionality, aesthetics, and respect for the monument and the natural environment, with reversible interventions and discreet integration of mechanical installations.
The studies also include the installation of a new, self-contained, semi-circular lighting and support structure, replacing the existing scaffolding, combining aesthetic harmony with the monument and rational lighting organization. At the same time, a complete upgrade of the water supply infrastructure and connection to the dressing rooms and sanitary facilities of the Odeon is planned, while the external drainage network will be completely rebuilt. The acoustic study examines the extent to which the south wall of the Odeon of Herodes Atticus is affected by the natural and amplified sound of events. Due to the lack of established methodologies and commonly accepted safety limits for the “acoustic” behavior of the space, an original, customized research methodology was developed and applied for the objective and reproducible assessment of the effects.
Rare historical relics, works of art, and many other items that are representative examples of Greece’s history and folkloric wealth are included in the upcoming auction of “Historical and Folkloric Items from the 19th and 20th Centuries” organized by VERGOS Auctions. The auction will take place on Wednesday, February 18, at 5:00 p.m. in the hall of the Parnassos Literary Society (8 Ag. Georgios Karytsis Square, Athens).
The auction will be broadcast live on the website www.vergosauctions.com. Interested parties may attend the auction or participate online, as well as by written and/or telephone bid.
From February 15 to 17, an exhibition will be held at the same venue, presenting the 296 lots of the auction. Among other items, these include rare watches, folkloric jewelry and costumes, weapons from the period of the Greek Revolution, works of art depicting themes from the history of modern Greece, ceramics from Iznik, Kutahya, and Greece, and much more. Από τον πλούσιο κατάλογο, ξεχωρίζουν τα παρακάτω:
The following stand out from the extensive catalog:
In a targeted statement, the new director of the Athens Epidaurus Festival, Michail Marmarinos, presented the titles that will entertain audiences this summer at the Argolic theater. Revivals, contemporary interpretations of ancient drama, and a highly anticipated return to Aristophanic comedy make up a diverse festival that will appeal to all tastes.
““At Epidaurus, a meeting place, the audience will have the opportunity to encounter unique interpretations by Greek and foreign artists, in well-known but also rarely performed works. Different fields of the performing arts – such as theatre, dance and opera – are woven together in this year’s programme, with the aim of highlighting the timeless value and dynamism of ancient drama,” emphasises Michail Marmarinos in his welcome address.
SCHEDULE OF EVENTS
20 JUNE 2026| OPERA-REVIVAL
National Opera
Medea
by Luigi Cherubini
The Greek National Opera revives Luigi Cherubini’s opera Medea at the Ancient Theater of Epidaurus for a unique performance on June 20, 2026, sixty-five years after the legendary 1961 production with Maria Callas in the title role, directed by Alexis Minotis, with sets and costumes by Yannis Tsarouchis and choreography by Maria Hors.
As part of its thematic focus for the 2025/26 artistic season, which explores the concept of “the opera of the future through the lens of the past,” the Greek National Opera has chosen to revive the 1961 Medea with today’s materials. Through Minotis’s director’s books, Tsarouchis’ designs, and the rich photographic material preserved from Callas’ legendary performances at Epidaurus, an attempt is made to reconstruct the performance as it was inspired and presented by those legendary artists who left their mark on Greek culture.
Following the closure of the Odeon of Herodes Atticus for restoration work, the GNO continues its great tradition of summer opera productions, this time at the Ancient Theater of Epidaurus, almost seven decades after the last time it presented an opera production there and for the first time in the 21st century.
The phenomenal 1961 performance
Directed by Alexis Minotis • Set and Costume design by–Yannis Tsarouchis • Choreographer Maria Hors
The 2026 Revival:
Artistic director Giorgos Koumentakis • Music director t.b.a. • Director Panagis Pagoulatos • Set design Lili Pezanou • Costumes Tota Pritsa • Lighting Christos Tziogas • Choir direction Agathangelos Georgakatos • Performed by Anna Pirotsi Medea, Danae Kontora Glauke, Alicia Kolosova as Neris, Jean-François Boras as Jason, Tasis Christoyannopoulos as Creon • With soloists, the orchestra and choir of the Greek National Opera
3 & 4 July| THEATRE-PREMIERE
Christos Theodoridis
The Persians
by Aeschylus
With the news of the devastating defeat at Salamis as its narrative starting point, the central theme of the story is mourning—uncompromising, constant, repetitive—for those who were lost, for the happy past that was lost.
In his first appearance at the Argolic Theater, this young director from Thessaloniki takes on Aeschylus’ tragedy. Written in 472 BC, it is the oldest surviving complete work of ancient Greek drama and, at the same time, the oldest transcription of historical events into theater.
Departing from the mythical narrative that usually dominates tragedy, Aeschylus composes here the only work of the “documentary theater” genre found in ancient Greek tragedy.
Translation Panagiotis Moullas • Direction Christos Theodoridis • Dramaturgy Isabella Konstantinidou, Christos Theodoridis • Costumes Angelos Mentis • Lighting Tasos Palaioroutas • Music The Boy • Choreography – Movement Xenia Themeli • Production Marossoulis Productions • Co-production Athens & Epidaurus Festival
10 & 11 July
More to be announced in a later date…
17 & 18 July | THEATRE-PREMIERE
National Theatre Greece
Dimitris Karantzas
Alcestis
by Euripides
A contemporary parable with strong political overtones. A dual-natured work. A constant oscillation between life and death, play and nightmare, overwhelming tragedy and unexpected comedy. The National Theater presents Euripides’ Alcestis, directed by Dimitris Karantzas, at the Ancient Theater of Epidaurus. Άλκηστη του Ευριπίδη, σε σκηνοθεσία Δημήτρη Καραντζά.
Admetus will be saved from death only if someone else agrees to die in his place. Alcestis, his wife, offers herself in exchange. Her sacrifice takes place in public, before the eyes of the citizens, as a premeditated murder—an act that today is inevitably interpreted as femicide, legitimized by the social and political order.
Alkestis is orchestrated by Dimitris Karantzas as a theatrical experiment, where music, sound, movement, and acrobatics coexist organically, creating a fluid, liminal, and constantly changing world. With a great team of actors and contributors, the performance becomes a theatrical argument that does not simply narrate the myth, but raises crucial questions about power, gender, sacrifice, and society’s responsibility towards the death of the eponymous heroine—and others.
Adaptation – Direction Dimitris Karantzas • Dramaturgy Consultant Gelly Kalabaka • Set Design Konstantinos Skourletis • Costumes Ioanna Tsami • Music Panagiotis Manouilidis • Movement Tasos Karachalios • Lighting Eliza Alexandropoulou • Cast (in alphabetical order) Konstantinos Avarikiotis Feris, Dimitra Vlagopoulou Maid, Giorgos Zygouris Hercules, Iro Bezou Alcestis, Giannis Niarros Admetus, Kostas Nikouli Apollo, Aeneas Tsamatis Servant, Theodora Tzima Death
Chorus to be announced soon
24 & 25 July| THEATRE-PREMIERE
Nikos Karathanos
Piece
A visitation to Aristophanes
Nikos Karathanos, Foivos Delivorias, and Angelos Triantafyllou are the main collaborators in a new performance, a new adaptation, a response to madness with madness.
Peace occupies a central place in Aristophanes’ overall work as the most conciliatory and optimistic of his political comedies. Despite its strong connection to the era that gave birth to it, it remains timeless because it sheds light on a mechanism that continues to this day: wars that are prolonged at the expense of the many and for the benefit of the few. The persistence of ordinary people in demanding peace, even against the logic of power, makes the play absolutely relevant in a world like today’s, where invasions, violence, threats, insecurity, and cynicism continue to be presented as an inevitable reality.
Adaptation – Original text – Songs by Foivos Delivorias • Direction – Concept by Nikos Karathanos • Assistant director Angelos Triantafyllou • Collaborating in dramaturgy Eri Kyrgia • Set design Eva Manidaki • Costumes Angelos Mentis • Music Foivos Delivorias, Angelos Triantafyllou • Songs – Lyrics Foivos Delivorias • Lighting design by Eliza Alexandropoulou • Movement by Amalia Bennett • Consultant on the ancient text by Giannis Asteris • Assistant directors Dimitris and Orestis Stavropoulos • Cast Galini Hatzipaschali, Thanasis Alevras, Panos Papadopoulos, Giannis Kotsifas, Ioanna Mavrea, Vasso Kavaliaratou, Foivos Delivorias, Nikos Karathanos, Angelos Triantafyllou, Yilmaz Housmen, Alkis Bakogiannis, Konstantinos Kontogeorgopoulos, Konstantinos Zografos, Vasilis Papadopoulos, Giannis Sampsalakis, Spyros Bosgas, Antonis Christou • Featuring Andreas Polyzogopoulos, trumpet soloist, and other musicians • Production: Theatrical Productions Technochoros • Co-production: Athens & Epidaurus Festival
31 July & 1 Augusut| THEATRE-PREMIERE
Eleni Efthimiou
The Trojan Women
The quintessentially human-centered and deeply anti-war work of the great tragedian is brought to life by a group of twenty-two performers—including members of the En Dynamai Theater Company—of all ages, with and without disabilities, and with live music on stage. At the Ancient Theater of Epidaurus, the National Theater presents Euripides’ The Trojan Women, directed by Eleni Efthymiou, in a performance about the timeless horror of war and loss as collective memory, but – mainly – about the female body as a universal symbol of human tragedy.
In Eleni Efthymiou’s staging, the Trojan Women are not just the beautiful, healthy bodies of the privileged women of the royal family awaiting the final selection. Their bodies are mixed with other bodies—minors, disabled, elderly—who even before the war had no say in their own lives and who usually do not have the privilege of narrating their stories. Bodies that the system ostentatiously ignores, that the authorities choose how to manage or eliminate. In this respect, at least, war is ‘fair’: it always equates the much with the little and with the nothing.
Translation by Yannis Tsarouchis • Adaptation – Direction by Eleni Efthymiou • Dramaturgy consultant Sofia Efthymiadou • Set design by Evangelia Kirkine • Costumes by Angelos Mentis • Music by Lefteris Veniadis • Lighting design by Zoë Molyvda-Fameli • Sound design by Sofia Kamagianni • Music instruction by Melina Paionidou • Cast (in alphabetical order) Giorgos Karamichos Menelaus, Argyris Xafis Talthybius, Evi Saoulidou Andromache, Nancy Sideri Cassandra, Vasiliki Troufakou Helen, Lydia Fotopoulou Hecuba • Chorus Myriam Arzani, Maria Dachlythra, Eleni Dimopoulou, Nikos Kyparissis, Irini Kourouvani, Loxandra Loukas, Lygiri Mitropoulou, Theano Papavasiliou, Katerina Papandreou, Niki Petala, Chrysa Toumanidou • Michalis Mitsis in the role of young Astyanax
7 & 8 Αυγούστου| DANCE-FOR THE FIRST TIME IN GREECE
Alan Lucien Øyen
Antigone
Inspired by the work of Sophocles
A new, radical interpretation of Antigone, a performance that combines the poetry of movement with the poetry of text and spoken word. Created by Alan Lucien Øyen , one of Norway’s most restless contemporary choreographers, writers, and directors. On stage, the performing arts group winter guests, which he founded twenty years ago and consists of dancers, actors, writers, and designers. They are joined by important collaborators and dancers from Pina Bausch’s Tanztheater Wuppertal, with Ogen being the first choreographer invited to create a new, complete work for the group after the death of its founder.
Director– Choreographer Alan Lucien Øyen • Artistic collaborators Andrew Wale, Daniel Proietto • Performers Enoch Grubb, Douglas Letheren, Pascal Marty, Antonin Monié, Nazareth Panadero, Héléna Pikon, Julie Shanahan, Fernando Suels Mendoza, Meng-Ke Wu • Set designed Åsmund Færavaag • Costumes Stine Sjøgren • Lighting Design Martin Flack • Sound Gunnar Innvær, Mathias Grønsdal • Video Mathias Grønsdal • Photographer Mats Bäcker • Technical consultant Chris Sanders • Stage Manager Daniel Hones • Wardrobe Anna Lena Dresia • Produced by winter guests • C0-produced by Fondazione Teatro di Roma, The Norwegian Opera and Ballet, Centro Servizi Culturali Santa Chiara • production runner Essar Gabriel • production managers Ornella Salloum, Syv mil / Tora De Zwart Rørholt, Ingrid Saltvik Faanes (for winter guests troupe) • with the support of Arts Council Norway City of Bergen • kindly provided rehearsal venue by Pina Bausch Zentrum
21 & 22 August| THEATRE
National Theatre of Northern Greece
Asterios Peltekis
Lysistrata, by Aristophanes
Lysistrata is not just a comedy about war and love. It insists on being a deeply political, human-centered work that focuses on the moment when a society, exhausted by decay, urgently seeks a new way of organizing itself. The National Theater of Northern Greece presents a contemporary stage reading of Aristophanes’ comedy, which, through laughter, addresses us with genuine lyrical “comic” seriousness about the entropy into which a society often falls.
Entropy—as a natural and philosophical term—denotes the gradual decomposition of order, the dissipation of energy, the inability of a system to “self-regulate.”
Translated by Konstantinos Bouras• Director– Dramaturgy Αsterios Peltekis• Performed by Elisavet Konstantinidou, Alexandra Paleologou, Krateros Katsoulis, Pagagiotis Petrakis, Nikos Georgakis, e.t.c
Λυσιστράτη, του Αριστοφάνη
28 & 29 August | THEATRE
Thomas Moschopoulos
Ion, by Euripides
It is one of the most enigmatic works of ancient drama. Ion is not a “pure” tragedy: it moves between the tragic and the comic, myth and realism, mysticism and skepticism, focusing on the issue of identity and belonging. It is a work that seems to speak directly to contemporary experience, at a time when everything is constantly being questioned and renegotiated.
The action takes place at the sacred oracle of Apollo at Delphi, a place that constitutes a threshold between the tangible and the invisible, between the public and the private. This is where the young Ion grows up, without a name or awareness of his origins. He struggles to piece together an identity from fragments, while the audience already knows the truth. Through contradictions, refractions, and misinterpretations, the blurred, almost invisible past crystallizes into a pure, tangible present, and an expectation of meaning emerges from the void.
Director– Translated by– Dramaturgy Thomas Moschopoulos
Cast and crew are currently being finalized.
The Ministry of Culture is upgrading the infrastructure and services provided at the archaeological site of Aristotle’s Lyceum in Athens. The Ministry is planning two projects, which are included in the Integrated Territorial Investment “Lavrio-Athens-Elefsina.” Their inclusion is scheduled for the NSRF 2021-2027. The first project, implemented by the National Center for Scientific Research “Demokritos,” involves the installation of a digital information kiosk on the life and work of Aristotle.
The second, implemented by the Directorate for the Restoration of Ancient Monuments and the Ephorate of Antiquities of the City of Athens, concerns the construction of an entrance building to house the ticket office, the visitor service office, and restrooms. At the same time, mild, completely reversible, and non-invasive digital interventions enhance the visitor’s understanding, interpretation, and experiential experience.
Proposed installation plan
The intervention implemented by the National Center for Scientific Research “Demokritos” involves the installation of a kiosk in the southern part of the archaeological site, which will house four interactive touch screens with access to multimedia information (texts, images, videos, representations, etc.). The composition includes four rectangular units covered by a corrugated roof. Access to the kiosk is via ramps at the ends. The project is the result of collaboration between the National Centre for Scientific Research “Demokritos”, the architectural firm Foster+Partners, the World Human Forum and the Ministry of Culture. The information has been selected by internationally renowned academics, scientists and artists. The digital installation allows for easy updating and enrichment of the information material, depending on the progress of research.
The project being implemented by the Ministry of Culture – for which the Athens City Archaeological Service collaborated with the School of Architecture of the University of Crete – involves the creation of a new main entrance on Rigillis Street, following extensive three-dimensional digital documentation of the site, combining aerial photogrammetry, static laser scanning, and mobile photogrammetry, thus ensuring high accuracy and scientific documentation. Next to the entrance, an elongated visitor reception building is located, running parallel to Rigillis Street. Part of the existing fence on Rigillis Street is being replaced, restoring direct continuity with the new entrance building. A secondary entrance will be created from the Conservatory (southern part of the archaeological site) to facilitate communication between the two areas. A semicircular bus stop for approximately 60 passengers will be constructed on the axis with the Conservatory.
The organized archaeological site of the Lyceum, accessible to people with disabilities, covering a total area of approximately ten acres, was opened to the public in June 2014. It operates under the responsibility of the Ephorate of Antiquities of the City of Athens. It has six conventional information signs, of the “analog” type, with information about the ancient Gymnasiums of Athens and the Lyceum, the life and philosophy of Aristotle, the palaestra and baths, and the work of promoting the archaeological site. There is also a small amphitheater for about 150 people, a fountain, and six benches for visitors to rest on.
According to ancient accounts, Lyceum was a verdant suburb east of Athens, outside the Gate of Diocharus, between the Ilissos and Eridanus rivers. The area where the Gymnasium was founded in the 6th century BC probably took its name from the Sanctuary of Lyceum Apollo, which predated the Gymnasium and has not yet been located. The Lyceum’s palaestra, a training ground for wrestling, boxing, and pankration, was founded in the second half of the 4th century BC. It was maintained, with various repairs, for about seven centuries, until the beginning of the 4th century AD, when it was finally abandoned. It consists of an inner courtyard surrounded on three sides by colonnades, behind which symmetrical, spacious, rectangular rooms are arranged. In the 1st century AD, a cold bath reservoir was built for the athletes. During the same period, the baths, which probably replaced the earlier baths of classical times, were incorporated with perfect symmetry into the northeast and northwest sections of the palaestra.
City of Athens inagurates, through OPANDA,, the renovated basement of the Museum of Folk Art and Tradition “Angeliki Hatzimichali,” which will begin operating as an exhibition space, hosting the exhibition “Let’s go like we used to…” from February 1 to April 19, 2026, from the collection of Christos and Polly Kolliali.
The renovation of the basement of the Hatzimichalis mansion was funded by a donation from Mrs. Aik. Papadaki in memory of her daughter, a collector of folk art objects, giving new life to the space and new possibilities to the Museum.
Almost a century after the first exhibition of Nikos Velmos’ “Anentachta” in 1928, in a basement on Nikodimou Street in Plaka, the Museum of Folk Art and Tradition “Angeliki Hatzimichali” symbolically returns to its own basement space, honoring two naïve painters, Ersi-Alexia Hatzimichali (1918-2001) and Giorgos Savvakis (1924–2004).
The selection of works by Hatzimichali and Savvakis is neither random nor exhaustive. The works presented do not seek to summarize their entire oeuvre, but rather function as fragments of lived life, as images that converse with the space, time, and collective memory of Plaka.
Their combination clearly evokes nostalgia for Old Athens, and the timing of the exhibition is no coincidence, as it coincides with Sunday, which marks the beginning of Lent, the start of the carnival season, during which the Plaka district was and continues to be the prime location for carnival events.
Ersi-Alexia Hatzimichali, daughter of the great folklorist Angeliki Hatzimichali, was born and lived in Plaka until her death in 2001. She grew up in an environment influenced by Greek folk art, tradition, and history, pursuing a career as a tour guide, but she had also taken courses in ceramics in England and philosophy in Athens.
ΑΡΧΑΙΑ ΠΟΛΗ
She began painting around the age of forty, with the freedom of someone who paints first to remember and then to share. Her first exhibition, in 1962, was hosted in a small gallery in Plaka. Her work is exuberant with intense colors, mainly blue, which she combines with simple lines and dreamlike forms. Ersi Hatzimichali is included in the naive art catalogue of the French dictionary E. Benezit, while her works can be found in galleries in England, the USA and France.
Giorgos Savvakis was born during the interwar period in the Psyrri neighborhood but lived in Plaka, a place that had a decisive influence on his work and vision. He was one of the most important naive painters who sensitively recorded life in its neighborhoods, and even as a student he drew scenes from everyday life in old Athens, recording the life of the streets and the small moments of the city with disarming immediacy.
Savakis’ painting, deeply naive but substantial, captures the pulse of the neighborhood, professions, and human figures, without strict linear outlines, simple and direct. People who seem to still inhabit the streets of the city like living memories of an Athens that breathes through his work.
His painting career began in 1956, on the walls of the “Vakhos” tavern in Plaka, followed by more than forty taverns, where his art meets the folk space and collective experience. In 1973, he moved on to canvas, developing a visual language inspired by Athens and its landmarks, charged with intense historical and cultural symbolism.
In 1980, he held his first solo exhibition in Athens. Numerous solo and group exhibitions followed in Greece and abroad, where his work was recognized and honored with awards and praise, and his works can be found in many European galleries and private collections.
The exhibition “Pame san allote…” is being held in collaboration with collectors Christos and Polly Kolliali and the Museum Collection. Both speak in the present tense about Ersi – Alexas Hatzimichalis and Giorgos Savvakis, pointing out that the works of naïve painters should be promoted because they are works that invite us to see life as it used to be… more beautiful, clearer, truer, and unmediated.
Curated by: Stavroula Pisimisi, folklorist, director of the Angeliki Hatzimichali Museum of Folk Art and Tradition, Municipality of Athens
Information: Duration: 01 February- 19 April 2026 Entrance Free
Museum of Folk Art and Tradition “Angeliki Hatzimichali” of the City of Athens: Angeliki Hatzimichali 6, Plaka, tel. 210 3243987 Opening hours: Tuesday – Friday 11:00 a.m. – 4:00 p.m., Saturday & Sunday 10:00 a.m. – 3:00 p.m., closed on Mondays
