The independent gallery CYPHER presents Daisy Bells, a solo exhibition of paintings by Panagiotis Kefalas, opening on Friday18 September 2026, at 19:00, and running through 7 November 2026. The exhibition brings together a series of reenactments of historical documents, filmic images and other personal archives that draw on states of exhaustion, conditions of sociopolitical and financial collapse, symptoms of dissociation, impositions of detachment. Through new and older works and whilst using painting not only as an artistic means, but as a process that subverts the racings of time, production or expectation, Kefalas’s works act as chasms breaking the concrete, the seemingly functional, the surely operational. That which suddenly breaks or rapidly grows, that which fights against or is temporarily absorbed by neoliberal frameworks forms and informs the main axes of the show.

Borrowing its title from the homonymous song written by Harry Dacre 1892, which has later been associated with 2001: A Space Odyssey, Daisy Bells touches on the themes of consciousness and of everything that lies beyond it, thinks across of technology and its promises, lingers over of the willful or wrongful collapses that have marked recent history. It moves through moments of triumph that soon failed, glimpses of hope that fell through, exploitations of material and immaterial possessions, manipulations of psyches and minds. It engages with all the contradictory schemes and unofficial social contracts we daily perform or survive, within a system able to often morph quicker than we, human beings, do.

In the film, the dissolving singing voice of HAL, a computer unable to betray its truthfulness and therefore to process conflicting orders, functions as a portal to an aesthetics and a discourse that affects or intersects with Kefalas’s work. The show raises questions on what it takes to constantly optimize, produce and remain visible while remaining honest to an ethics that resist such power impositions. It asks if we, subjects of a western world, can surpass acceleration and find ways of connecting with one another otherwise, against success, isolation, social control. Is it possible to think of collapse as a vessel towards revolt?

Through fragmentally reviving the historically tangible and intangible images related to breakdowns following eras of emblematic development, banking crises, major stock market rallies and the sacrifices made at the altar of economic expansion and sociopolitical control, Daisy Bells hopes to remind us of that which cannot be recorded, measured, classified, of that which stubbornly remains unpredictable or gains back its agency. It’s a show that breaks in parts and becomes with time in order to destabilize the power of scaling.

The exhibition is realized with the financial support of the Hellenic Ministry of Culture.

Panagiotis Kefalas is a painter and a founding member of Ammophila curatorial collective. He is a graduate of the Athens School of Fine Arts and holds a Master’s degree in Art History from the National and Kapodistrian University of Athens. His work examines contemporary individuals and their states of melancholy, loneliness, and isolation in everyday environments. He has exhibited his work in solo shows such as: “Of Minor Importance”, curated by Persephone Nikolakopoulou, exhibition text by Evi Roumani, Former Irinodikio Agiou Nikolaou, Lasithi, Crete (2025), “An ordinary day: I thought of us lying on the ground”, exhibition text and curating: a conversation with Theophilos Tramboulis, EIGHT Athens (2023), “…and they told us we would find the way” curated by Anna Chadjinasiou, Salon de Bricolage (2016), “Entropy and Denial”, Gallery Genesis (2014). He has also participated in group exhibitions in Greece and abroad, including: “The Ember’s song”, curated by Sylvia Sachini & Florent Frizet, Misc Athens (2025),“Guts in Knots” – curated by Ammophila, Ueberlinger Kulturschutzgebiet (2024), “INSTITUTING”, curated by Gigi Argyropoulou, Vasilis Noulas, and Kostas Tzimoulis, EIGHT Athens (2023), “Encore: New Greek Painting”, curated by Eleni Koukou, Christoforos Marinos, and Theophilos Tramboulis, Athens Municipal Art Gallery (2023), “Bestiary”, Crux Gallery (2023), Ammophila vol.3 There Was Land Here Before (2022), “The Soft Underbelly”, curated by Poka-Yio, Zoumboulakis Gallery (2022).

Daisy Bells
Solo Exhibition by Panagiotis Kefalas at CYPHER Gallery
Curated by Ioanna Gerakidi
18.09 – 07.11.2026
Opening: Friday 18 September 2026, 19:00
Opening hours: Friday and Saturday, 18:00-21:00
CYPHER: 1 Lefkados Str., Kypseli, Athens
Website: cypherathens.com | Instagram: @cypher.athens

Jacqueline Lentzou won the Orizzonti Award for Best Director at the 83rd Venice Film Festival for A Day in the Life of Jo: Chapter Phaedra, a film inspired by the killing of Alexis Grigoropoulos.

The Greek filmmaker and ARTWORKS Fellow (2018) received one of the major distinctions of the Orizzonti competition with her second feature film, which had its world premiere in Venice. The film is in Greek, runs for 88 minutes and is a co-production between Greece, Germany and France.

The award carries particular significance for Greek cinema, recognising the directorial vision of a filmmaker with an established international presence in a story that brings together adolescence, memory, loss and sudden death with one of the events that marked contemporary Greece.

The Orizzonti Best Director Award

Orizzonti is one of the Venice Film Festival’s main competitive sections and is dedicated to new cinematic trends and different forms of storytelling.

Jacqueline Lentzou won the Orizzonti Award for Best Director for A Day in the Life of Jo: Chapter Phaedra, completing her first feature-film appearance at Venice with one of the section’s major prizes.

The Orizzonti jury was chaired by French filmmaker and actress Valérie Donzelli, alongside Peter Becker, Elizabeth Lo, David Pablos and Barbara Ronchi.

While accepting the award, Lentzou spoke about the difficulties of independent filmmaking and the creative risk involved in the project, closing her speech with the words “Stop killing children.”

Check out all the awards of the 83rd Venice Film Festival here

Words and materials, memories and dreams circulate through the space of MOMus-Museum Alex Mylona in Thissio, Athens. The solo exhibition eternal fan by Myrto Xanthopoulou, recipient of the Art Athina 2025 Young Artist Award, is presented in the museum’s temporary exhibition space from 10 September to 25 October 2026.

Language, both as a means of expression and as an artistic tool, lies at the core of Xanthopoulou’s research and experimentation. Her interest in language is also informed by her own bilingual background. She has developed an idiosyncratic archive of words and expressions, improvised poems and fragmentary sentences that evoke imagined everyday conversations or elliptical inner monologues. At the same time, she is drawn to misunderstandings, puns and different forms of wordplay. In parallel, Xanthopoulou systematically collects a wide range of disposable and construction materials, different types of paper—which she works on with glue, acrylics and spray paint—as well as single-use objects gathered from the city, her home and her studio. These used, discarded materials of everyday life become, together with language, the primary “materials” of her compositions. The works emerge through a demanding and time-consuming manual process that invariably requires the artist’s direct physical engagement.

Drawings, installations and constructions of medium and large scale come together to form a single visual environment. The works appear to remain standing only just—and therein lies their strength: in the need to hold their ground even within a condition of instability and uncertainty. The exhibition is organised within the framework of the ongoing collaboration between the Metropolitan Organisation of Museums of Visual Arts of Thessaloniki (MOMus), the Hellenic Art Galleries Association and Art Athina for the Young Artist Award, an initiative aimed at supporting and promoting the work of emerging contemporary artists. The exhibition is accompanied by a bilingual catalogue, with the support of Art Athina.

Curator: Giannis Bolis, Art Historian, Head of the Department of Contemporary Sculpture, MOMus-Museum Alex Mylona | The Art Athina 2025 Young Artist Award

Myrto Xanthopoulou, represented by CITRONNE Gallery, is the recipientof the Art Athina 2025 Young Artist Award. Established by Art Athina in2022 in collaboration with the Metropolitan Organisation of Museums of Visual Arts of Thessaloniki (MOMus), the award seeks to support and encourage contemporary artistic practice. Artists up to the age of 45 who live and work in Greece are eligible for nomination by the gallery that represents them, where they must have presented at least one solo exhibition.

Following the assessment of fourteen nominations submitted by participating galleries, Myrto Xanthopoulou was   “Her practice has developed with consistency and coherence and is distinguished by the breadth and multiplicity of its artistic media—installations, constructions, drawings, video and performance. Reflective in approach, while at times melancholic or playful in tone, she creates environments through small gestures, overturning and transforming the givens of reality.”

The Art Athina 2026 Young Artist Award will be announced at a special event taking place as part of this year’s Art Athina programme, held from 12 to 16 November 2026 at Onassis Ready.

Artist Biography

Myrto Xanthopoulou was born in Helsinki in 1981 and grew up in Athens, where she lives and works. She studied at the Athens School of Fine Arts from 2004 to 2009. In 2009, she presented her graduation project at the School’s Third Painting Studio: an installation using ordinary, inexpensive materials and exploring writing as a  narrative of everyday experience.

These concerns have remained central to her artistic practice ever since, while her work has expanded to encompass video and performance. She has presented seven solo exhibitions in Athens and has participated in group exhibitions in Greece and abroad, collaborating with galleries, museums and independent art spaces. In 2020, she was awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (visual arts). In 2025, her first artist book, terma Asklipiou, was published, and she received the Art Athina Young Artist Award.
Myrto Xanthopoulou is represented by CITRONNE Gallery.

INFO

Myrto Xanthopoulou – eternal fan
Art Athina 2025 Young Artist Award
MOMus-Museum Alex Mylona
5 Agion Asomaton Square, Thissio, Athens

Opening: Thursday, 10 September 2026, 20:00
Exhibition dates: 10 September – 25 October 2026
Opening hours:
Tuesday, Wednesday, Friday, Saturday, Sunday: 10:00–18:00
Thursday: 12:00–20:00
Monday: closed

Website: www.momus.gr

K-Gold Temporary Gallery presents the group exhibition SPECTRAL, curated by Nicolas Vamvouklis. New and historical works spanning different disciplines bring contemporary art into dialogue with photography, dance, and fashion. Participating artists include Bas Jan Ader, Anders Edström, Angelos Frentzos, Bruce Nauman, Jackie Nickerson, Erwin Olaf, Yorgos Sapountzis, Hans van Manen, and Serpil Yeter.

The exhibition explores how presence and absence can coexist in the same space. To grasp these ideas is to attempt to lend contour to that which resists easy sight or naming: the other, the unseen, the unsaid. Memory does not summon a stable image; more often, it opens a fissure within the familiar. Rather than treating this shifting terrain as atmosphere alone, the show approaches it as a gesture. Traces, imprints, sounds, and silences reveal that reality is shaped not only by what appears, but also by what persists as residue, return, and overlay.

The participating artists move through this field like ghosts. They become travellers and observers, embody interrupted voices, and tell stories that reach us indirectly, obliquely, through unexpected routes. Their works do not converge into a single “spectral” aesthetic. Instead, they operate as allegories with metaphysical and political weight, examining what the form can hold and what slips beyond it. At the same time, they question what language can contain and where it fails, especially in relation to what is overlooked today: lives pushed to the margins, narratives erased from history, and experiences still struggling to find public expression.

K-Gold Temporary Gallery also presents its annual RE-COLLECTION exhibition, bringing together works from its art collection and material developed through projects in Lesvos. The selection traces artistic collaborations that have taken shape since the organisation was founded in 2014, proposing new encounters and interpretations. This year’s edition features an installation by Dan Stockholm and photographs by Polly Brown, Louis De Belle, Christian Michael Filardo, and Diego Saldiva.

K-Gold Temporary Gallery
SPECTRAL
A Ghost Exhibition on Lesvos
25 July–6 September 2026

Opening event: Saturday, 25 July 2026, at 20:00
Exhibition opening hours: Saturday and Sunday, 11:00–14:00 and 19:00–22:00
Free admission
K-Gold Temporary Gallery

Agia Paraskevi, 81102 Lesvos, Greece
+30 6942202222
kgoldtemporarygallery.tumblr.com
[email protected]
@kgoldtemporarygallery

Founded in 2014 on the island of Lesvos, K-Gold Temporary Gallery brings contemporary art closer to broad audiences through innovative cultural and educational programming. It is a co-founder of the Miramar network, which supports artistic mobility and professional development across Europe. Recent collaborators include the Athens Conservatoire, the Institut Français, the Municipality of Milan, and the Mediterranea Young Artists Biennale.

Supported by the Hellenic Ministry of Culture
Research partner: Villa Filanda Antonini, Italy

Tracing the footsteps of the soldiers of the French colonial forces who served on the Macedonian Front
during the First World War, AKROVOLISTES/SKIRMISHERS uncovers overlooked chapters in the history of
Western Macedonia, and more specifically of the city of Florina. Drawing on original archival material, the
exhibition at the Archaeological Museum of Florina brings together a photography installation by visual
artist and photographer Yiannis Hadjiaslanis, a performance by musician and visual artist Maria Sideri in
collaboration with trumpeter Antonis Kostopoulos, and theatre-based workshops for children and
adolescents designed by Chara Lioliou.

The exhibition centres on the soldiers of the Tirailleurs Sénégalais (Senegalese Riflemen), who travelled
thousands of kilometres from France’s West-African colonies, traversing geographical and cultural lengths
before arriving in the unfamiliar landscape of Florina during a decisive period in the region’s
transformation throughout the First World War. While dominant accounts of modern Greek history have
largely been framed through the geopolitical axis of East and West and the histories of powerful actors,
how were these upheavals experienced at the local level, in collective and personal memory? Do great
historical events leave their traces upon the mountains? Can the landscape itself become a living archive
of historical rupture? The artistic and curatorial research sought to listen to testimonies that linger like
whispers: those of water, forests, animals and mountain peaks; of their sounds, and of the voices of the
human and more-than-human communities that inhabited or passed through this land.

On Friday, 10 July, and Saturday, 11 July, at 7:00 p.m., the performance Qui va vous chanter? will be
presented by visual artist Maria Sideri in collaboration with musician Antonis Kostopoulos. On the same
dates, at 11:00 a.m., theatre educator Chara Lioliou will lead a two-hour theatre workshop for children
and teenagers, titled Written in the Snow, at the Archaeological Museum of Florina. The workshop draws
on original archival material from the collection of the Folklore Museum of the Florina Cultural Club.
The production is presented as part of the Ministry of Culture’s “All of Greece, One Culture” 2026
programme.

The event is offered free of charge by the Ministry of Culture. Participants are only required to pay the
archaeological site’s admission fee of €5, which applies to visitors over the age of 25. Participation in
the workshops is free of charge.

ΑΚΡΟΒΟΛΙΣΤΕΣ/SKIRMISHERS

Archaeological Museum of Florina (3, Sidirodromikou Stathmou, Florina)
Οpening: 10-11 July 2026, 19:00
Duration: 10 July-30 August 2026
Photography Installation: Yiannis Hadjiaslanis
Performance: Maria Sideri in collaboration with musician Antonis Kostopoulos
Theater Workshops (10-11/7, 11:00-13:00): Chara Lioliou
Curated by: Christina Petkopoulou
Production Assistants: Efthymia Tseprailidou, George Toulios

*Christina Pektopoulou is ARTWORKS Fellow & Maria Sideri is ARTWORKS Grantee

Athens-based artist Theo Triantafyllidis has won the 2026 Frieze London Artist Award, for the first time in collaboration with Google Arts & Culture, and co-commissioned and co-produced with Forma. His new commission – a very big spider that visitors can engage with – will be on display at this year’s Frieze London at

Theo Triantafyllidis has been announced as the winner of the 2026 Frieze London Artist Award. The award, co-commissioned and co-produced with Forma, and, for the first time, in collaboration with and sponsored by Google arts culture, supports an artist at a pivotal moment in their career to realize an ambitious new work and present it during the fair. ⁠
⁠
At Frieze London (14 – 18 October 2026), Triantafyllidis will present ‘Feral Metaverse (Spider)’, 2026, a sculptural installation that includes a multiplayer game. A climbable physical structure, the work will be an entry point to a shared digital environment in which players cooperate to move, connect and form temporary group bodies – towers, wheels and hugs. Players can only proceed if they collaborate with one another, try things out, fail and try again, while the artwork’s tactility and participatory dimension will transform the exhibition space from a place of passive observation to one of active engagement. ⁠
⁠
The artist was invited to explore advanced technologies, including AI, as a tool and collaborator in the development of the artwork. ⁠
⁠
‘It’s a great honour to be given this kind of opportunity,’ said Triantafyllidis. ‘I get to assemble my team in Athens and push both the game and the sculptural form further than ever before.’ ⁠
⁠
⁠Global Lead Partner – Deutsche Bank, Deutsche bank art ⁠ ⁠

*Theo Triantafyllidis has been supported through the ARTWORKS Grants Program (2025) for his work Resonant Forge.

THIRAS opens its doors with Margins of Collapse, a group exhibition curated by Dinos Chatzirafailidis.

The exhibition brings together seven artists working across painting, sculpture, installation, photography, video and works on paper. The exhibition is concerned with material, architectural and perceptual structures at the point just before they fail to function. The selected works focus on conditions that precede collapse rather than depicting it as event: states where pressure builds without release, forms pushed slightly out of alignment.

The exhibition unfolds across a sequence of compressed and open spaces where spatial arrangements make balance feel provisional. Some works treat the architecture as a structure already compromised, inserting objects where circulation tightens, puncturing walls, activating thresholds. Others hold back, introducing pause or delay where density might be expected. The two tendencies stay in friction throughout. Anticipation gathers, disperses and reconcentrates. Elsewhere, image and sound share the same body, where eleven minutes of fragmented footage are absorbed into a raw wall surface.

Materials absorb, resist or contain forces that remain unseen, while weight and texture press back. Steel bends without breaking; mineral surfaces carry traces of extraction; drawn lines hesitate between measurement and drift. Each attends to moments that come before a shift: a vibration, a brief pause, a movement slowed, diverted or suspended.

Reduced forms oscillate between function and abstraction, resisting the clarity of either, as the works give no clear account of themselves. Fault lines cut across the exhibition as both geological realities and psychic formations, the tectonic and the interior folding into each other.

References remain deliberately open. The exhibition resonates with a prevailing atmosphere of unease without anchoring itself to a single context or fixed reading. What it traces instead are the subtle fractures running through systems, bodies and territories, present but not yet broken open.

The exhibition is pulled between two registers of scale: small panels grouped tightly, photographs that reward proximity, a mound that rises slowly from the floor, set against works that occupy the room bodily and structurally. Neither cancels the other out, and neither settles. Certain works do not address the viewer frontally but demand a different kind of attention, downward or circular. Distance and duration become the primary coordinates.

What remains is a charged stillness, where disruption is sensed but never fully arrives.

MARGINS OF COLLAPSE
June 19–August 29, 2026

Participating artists:
Stelios Kallinikou, Andreas Ragnar Kassapis, Athina Koumparouli, Christian Lagata, Irini Miga, Cezary Poniatowski, Evangelia Spiliopoulou

Curated by:
Dinos Chatzirafailidis

With the support of:
Adam Mickiewicz Institute

THIRAS
100 Thiras Street, 104 46 Athens, Greece

Opening:
Friday, June 19, 7 pm

Opening hours:
Wednesday–Friday: 4-8 pm
Saturday: 12-5 pm

*Andreas Ragnar Kassapis, Athina Koumparouli, Irini Miga & Evangelia Spiliopoulou are ARTWORKS Fellows

9th Thessaloniki Biennale of Contemporary Art
everything must change. RIS9
curated by Nadja Argyropoulou

Participating artists: Basma al-Sharif, Minos Argyrakis, Meriem Bennani, Danielle Brathwaite-Shirley, The Callas (Lakis & Aris Ionas), Leonidas Christakis, Disobedience Archive, Sofia Dona, Errands Group, Stelios Faitakis, Alexis Fidetzis, Forensic Architecture, Matsi Hatzilazarou with Andreas Embirikos, Pierre Huyghe, Arthur Jafa, Christos Karakolis, Maria Karavela, Dionisis Kavallieratos, Katerina Komianou, Dimitris Korres, Panos Koutrouboussis, Maria Kriara, Stefanos Levidis, Ligia Lewis, Le Nemesiache, Eva Papamargariti, Nikos Gravriil Pentzikis, Agnieszka Polska, Oliver Ressler, Ben Rivers, Kostas Sfikas, Jakob Steensen, Eleni Tomadaki, Antigoni Tsagkaropoulou, Nanos Valaoritis, VASKOS (Vassilis Noulas, Kostas Tzimoulis), Marina Velisioti, Lewis Walker, Phillip Warnell & Juri Akiyama, Marie Wilson, Anna Zemánková, an anonymous work [Anon., Zante (?), 18th c., Three-Faced Christ, Loverdos Collection (L 434/CL 429), Byzantine and Christian Museum, Athens], Pan Daimonium. surrealism as a state of mind, The Museum of Friendship, Earth in Turmoil and Agitprop machines, Flipper Zone. Playing against the spectacle, ResigNation / A script on the dead, Rap Riot, Playing Otherwise, Wayward Waters, Moving in Riot, In Motion

Opening on June 23, 2026

23 May – July 5,  2026

https://biennale9.gr/

More info

Thessaloniki International Fair—HELEXPO, Pavilions 2 & 3, 154 Egnatia Av., 54636 Thessaloniki, Greece
MOMUS-Museum of Contemporary Art, 154 Egnatia Av., TIF-HELEXPO premises, 54636 Thessaloniki, Greece
Kalochori Lagoon, Axios Delta National Park, 57009 Thessaloniki, Greece

Insular Animisms as part of the Anargyros Art Residency public program.
Opening Friday June 5 at 7pm

After exploring alternative knowledge systems and collective processes in its first edition, this year the residency turns its attention to the insular condition of its location and the particularities of its ecosystem. What is the place of new myths, animisms, and forms of storytelling within this geography? How can artistic practice challenge existing understandings of separation and connectivity across islands, cultures, and histories? And what alternative futures can be imagined for the Mediterranean?

Six artists working across visual arts, dance, cinema, and sound will present the outcomes of a six-week residency hosted by the Anargyrios and Korgialenios School of Spetses Foundation.

Artists: Nabil Aniss, Mariangela Ciccarello, Nona Inescu, Matilde Meireles, Konstantinos Papanikolaou, Myrto Vratsanou

Curated by Eva Vaslamatzi

Production/Coordination: Simone Niarou

Graphic design: The Birthdays design

Opening Program
7:30 pm – The Vampyre, performance by Konstantinos Papanikolaou (choreographer)
8:00 pm – Screening of GORGONAI by Mariangela Ciccarello (filmmaker)
9:00 pm – Live performance Entangled flows by Matilde Meireles (sound artist)

After party at Jinx Bar.

A 50% discount is offered on ferry tickets. Also, a bus will be departing from Athens on June 5 at noon and returning the same day at midnight. Please contact [email protected] to reserve a seat.

Choreographer Dimitris Mytilinaios and his company are touring this year with his latest performance, REDUNDANCes. Continuing his experimentation with the reinterpretation of the balletic stage code, the choreography unfolds as a choreographic collage of adapted classical variations.

Choreography & libretto: Dimitris Mytilinaios
Performed by: Konstantina Barkouli, Pagona Boulmpasakou, Dimitris Mytilinaios, Spyros Dogkas, Myrsini Petroutsou
Music: Antis Skordis
Lighting Design: Dimitris Kasimatis
Costumes: Ellada Damianou, Dimitris Mytilinaios
Voices: Hectoras Lygizos, Amalia Moutoussi
Production: Olga Tsatsouli / htmylh

The tour is supported by the Hellenic Ministry of Culture.

Special thanks to: Ecati, Polina Galopoulou Dance School, Kalliopi Simou, Olympia Tassopoulou, Ariadni Psychogiopoulou and Akropoditi Dance and Performing Arts Centre, Dimitris Tsakoniatis, METANEIRA Dance School, and Manolis Karadimitrakis.

PERFORMANCES

VERIA
April 19, 2026 | 21:00
Thanos Mikroutsikos Arts Venue

PATRAS
May 3, 2026 | 20:30
Dansarte Dance & Arts Center

NAXOS
May 17, 2026 | 21:00
Iakovos Kampanellis Municipal Theatre

SYROS
May 19, 2026 | 21:00
Apollo Theater

ATHENS
June 8 & 9, 2026 | 20:30
Roes Theater

Callirrhoë presents the second solo exhibition by Vasilis Papageogiou at the gallery, titled Grounding. Working through molding and casting, he examines how built environments, particularly those shaped by tourism and real estate overdevelopment, intervene in and transform natural landscapes. In this context, alluvial deposits such as bricks and concrete increasingly merge with limestone, forming hybrid terrains continuously reshaped by sun, sea, salt and wind. For the purpose of his presentation Papageorgiou produced a series of works that function as negative spaces: forms to be reinterpreted materially and conceptually as tools for reconsidering landscape and history.

Grounding
Vasilis Papageogiou
27 May – 26 September 2026
Opening day: 27 May 2026, 7 pm – 10 pm

Callirrhoë
Sina 9
106 80 Athens
Greece

*Vasilis Papageogiou is a visual arts ARTWORKS Fellow 

The Alekos Fassianos Museum, located since 2023 in the space where the artist lived and worked, will inaugurate the new temporary exhibition titled Malvina Panagiotidi: Bucolic Fever. A Dialogue with Alekos Fassianos on May 27.

“Beauty lies behind what you feel, not what you see,” Fassianos said. Following this philosophy, the Contemporary Intervention Program invites modern creators to perform artistic interventions within the museum, fostering intergenerational dialogue and offering new perspectives connecting Fassianos’ art with contemporary art.

Within the framework of this program, visual artist Malvina Panagiotidi focuses on a lesser-known but fundamental aspect of his work: design. Through extensive research in his archives, the artist reconstructs reality in her own poetic way.

Malvina Panagiotidi is an Assistant Professor at the Department of Architecture at the University of Patras. She studied architecture at the University of Thessaly and completed her postgraduate studies in the “Art in Context” program at Universität der Künste in Berlin. In 2018, she was a fellow of the Stavros Niarchos Foundation (SNF) Artist Support Program from ARTWORKS.

The exhibition, supported by SNF as Lead Donor, will remain open through October 11, 2026.

Why did I come in here again; ‘Here’, Richard McGuire

JUNE JULY is a cosmology of the Now, of our microcosm and the macrocosm, drawing references from sci-fi and retrofuturism. A performance about nostalgia, anticipation and time, unfolding through the creation of choreographic haikus, condensed, fleeting, fragmentary impressions. It takes its initial inspiration from the groundbreaking graphic novel/comic Here (2014) by Richard McGuire. In that, the same location, a corner of a room, is depicted across multiple moments in time, from thousands of years of past into the future. The piece invites us into a choreographic liminal space, a zone of reminiscence and anticipation, an undefinable feeling that connects the familiar with the unknown, everyday glimpses with imaginary futures. How do we inhabit -literally and metaphorically- places of personal and collective nostalgia? Of intimacy and vastness? How can the ephemerality of the natural world and human nature unfold in parallel with cosmic time and the time of everyday life? What remains if we “blow this cosmic dust”? Maybe a trace of a Japanese hip-hop song is heard from the depths as a background on a spring afternoon, or somewhere on a night screen, the first scenes of 2001: A Space Odyssey playing. The performance weaves a narrative of an imaginary story without end, containing traces and memories. It expands and self-ignites to create something new, an alchemy of nostalgia, memory, surrealism and fantasy. In the context of an expanded choreography, JUNE JULY becomes a living hybrid landscape of bodies, movements, sounds, objects, voices, words, microphones, neon signs, screens, and minimalist digital elements. They are activated and evaporate, creating an open composition within a multi-layered universe.

With the financial support of the Ministry of Culture of Greece With the support of International Theatre Institute – German Centre and Motion Bank Project, in the framework of an artistic residency program, Berlin, 2024

Concept, Choreography, Art Direction: Eleonora Siarava
Performance, co-development of movement material: Maria Vourou, Mairi Giannoula, Sofia Pouchtou
Texts, lyrics: Eleonora Siarava
Sound Design: Aliki Leftherioti
Media Design: Eratw Tzavara
Set: Sofia Theodoraki, Adonis Douroudis
Lighting Design: Tasos Palaioroutas, Evita Skrimizea
Costumes: Eirini Georgakila
Video Αrt: Antigoni Iliadi
Press Relations: True Colours Comms
Production: Per_Dance Choreographic Research Platform

PLYFA, Athens
23-26 April 2026
Premiere 23-25 April 21.00 | 26 April 19.00
Duration: 45 minutes

Tickets: https://www.more.com/gr-el/tickets/dance/junejuly

*Eleonora Siarava is a dance ARTWORKS Fellow

Sofia Dona presents her work Katarakt as part of Unstill Image, a program curated by Alper Turan for the Images Festival in Toronto (April 9–13, 2026).

Images Festival is a non-profit, artist-led festival dedicated to experimental film, media arts, contemporary art, and the spaces in which these forms coexist. Images’ programming interrogates the conditions of contemporary moving image culture, and provides a platform for artists, filmmakers, curators, and other practitioners to engage with experimental practices in both form and content.

Katarakt by Sofia Dona links blurred vision and the borders between Turkey and Greece. In Katarraktis, testimonies of a woman who once fled the Nazi invasion to Turkey and a political exile now stranded and facing Turkey intertwine, tracing memory, distance, and the strained act of looking across water toward an unreachable elsewhere.

AFK | Screenings
Unstill Image

A sovereign gaze always fixes us within a single frame, one shot, a capture—in the prison cell, on the border shoreline under watch, the street in revolt, or the city under bombardment. The works in Unstill Image both submit to and sabotage that capture. Here, vision is blurred, saturated, withdrawn, or blacked out altogether: a cinematic rehearsal of freedom; sight narrowed by exile; perception torn between what happens on the street and what is projected on the screen; an actress who withholds her image; and finally, the image’s disappearance into a black field that leaves only imagination. When power reduces each of us to a single frame, can we move out of it together by moving with moving images?

Unstill Image gathers paired and impaired gazes that strain the single frame, convening multiple agents of the moving-image world in a shared field of looking.

An imprisoned filmmaker, Çiğdem Mater, imagined into freedom in Zeynep Dadak and Çiçek Kahraman’s Weird Absurd Whatever, where rehearsal becomes a fragile space to think and speak with someone the state has excised from view. The double shoreline of Sofia Dona’s Katarakt, filmed from the village of Katarraktis on the island of Chios, where a fixed strip of sea between Greece and Turkey becomes a blurred horizon through which a WWII refugee and a contemporary political exile look toward—and away from—their lost homelands. Arief Budiman’s Last May in Theaters, where ticket sellers in Jakarta and Gwangju stay at the cinema counter while uprisings rage outside, remembering revolt as an endless war film the screen could never translate. In Elisabeth Subrin’s Manal Issa, 2024, a Lebanese Arab actress revisits questions once posed to Maria Schneider—whose exploitation in Last Tango in Paris hangs heavily over the conversation—while an empty balcony in Beirut under bombardment holds the frame. And Clint Enns’ [ pink noise ], a silent cinematic text in which a black screen and closed captions, drawn from the SRT file, invite spectators to “see” only through imagination. Across these correspondences—freedom/incarceration, exile/homeland, screen/street, text/sense, presence/absence—images move as they resist the isolating frame, loosening vision from sovereignty so that impaired looking may proceed through unusual alignments.

Unstill Image curated by Alper Turan is in a conceptual romance with its companion program, Feral Vision. If Unstill Image traces how political violence and scopic regimes press visuality into fixed frames, Feral Vision turns to caged animals, strained comprehension, and unstable witnesses to trouble the limits of perception. Between them, the two programs plot a loose constellation of visions that never fully coincide with what settles on the screen.

Alper Turan

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*Alper Turan was the curator in residence in spring 2025 as part of the curatorial exchange program between SAHA and ARTWORKS.

*Sofia Dona is a visual arts ARTWORKS Fellow (2020). In 2025, her latest work in progress “Iliovasilemata” was selected for 2025 ARTWORKS Grants program.

Temple of Transmission is an interactive sculptural installation, the result of a collaboration between the organization Kathe Mia Istoria [Each One Story] and visual artist Marina Velisioti.

At its core is a metal loom, made of unorthodox materials, which bridges the materiality of the feminine tradition with the intangible richness of the lived experience. The loom acts as a transmitter: from its fibers emerge women’s voices, which are transported through headphones to seats arranged in a circle around the installation.

The narratives point the eye to the micro-scale of everyday life, highlighting the female experience as a central axis. Like a modern-day handiwork that invites people to gather around it, the installation creates a place of attention and togetherness.

Visitors are invited to sit down, listen to stories that rarely find their way to a public podium, and weave their personal meaning through these narratives. Individual listening is transformed into a collective experience, in which the audience forms a temporary community, an alliance around the act of joint listening.

Credits
Concept-Stories: Kathe Mia Istoria | Danai Dragonea – Dafni Anesti
Visual Creation: Marina Velisioti
Sound Design: Nicholas Kazazis

With the financial support of the Hellenic Ministry of Culture.

A few words about the stories
Narratives weave a collective portrait of women’s resilience and transformation. Women of different ages, backgrounds and identities share moments of rupture with social expectations, with fear, with the unseen side of everyday life. They resist silence, recognize their worth, and claim their right to define their own lives. Each story constitutes an act of courage. The project aspires that the weavework of the stories act as a safety net and a living junction, an occasion to approach the world around us with more solidarity and understanding.

Despina
Despina talks about the fear, injustice, and violation of personal boundaries she experienced from an early age. There was a moment when she felt that she would lose herself if she didn’t find a way to express herself. When she stopped being silent, she discovered that she was not alone. Her narrative sheds light on the power of the voice in the face of fear and silence.

Ioanna
Ioanna recalls the difficulty of accepting her body in adolescence, her experience as a child of Albanian parents, born and raised in Greece, and the pressure to excel in everything, a pressure that led her to the opposite extreme. Now, she is preparing to take the university entrance examinations for the third time. She doesn’t know where this path will take her; but she knows she is enough. And that is good enough for her.

Rodoula
A seamstress in a small town, Rodoula devoted her life to the struggle for the independence of her disabled daughter. A story of deep love and relentless female resilience.

Vanesa Niki
Vanesa Niki recalls the paths of her journey across the city, and how these were transformed as she delved deeper into her dual identity: Greek and Nigerian. A narrative about visibility, self-knowledge, and the sense of belonging.

Artemisia
Artemisia talks about the importance of choosing her name and about switching her identity card to her feminine name. From fragmentation to personal fulfillment, she shares her path, guided by deep faith in women’s solidarity and the legacy we leave behind us.

Dimitra
Dimitra Giannakopoulou recounts a journey that began at a bar in Exarcheia and reached all the way to Latin America. In her 40s, feeling trapped in everyday life, she decided to take the university entrance exams, a decision that redefined her life in numerous ways.

Mara
At 45, Mara made the decision to get a divorce and start over, on her own. She describes the first night she spent alone at home as a watershed moment, the starting point of a path to her own version of happiness.

Lida
Lida recounts the moment she came out to her parents. Through a journey from Athens to Volos, the place where she grew up, she unfolds her own path to acceptance, a journey of sincerity, love and reconciliation.

Maria
Maria tells the life story of her mother, Mitrodora, in Poliana, a small village of Mani. In a barren place and in difficult circumstances, Mitrodora—the only woman in the village who kept her own name—managed to save her husband’s life, raise five children on her own, and later pave the way for a new life, by moving to Athens.