Category: Fellows/Grantees

Myth and Kinship
KATES-FERRI PROJECTS & WILHELMINA GALLERY
561 Grand Street NY 10002
On view January 16 – February 21, 2026
Opening Reception: Friday, January 16th 6-8pm

The Metropolitan Museum of Art, NY 10028
Thursday, January 15th 2:00pm
Salvador Jiménez-Flores presents a Spanish-language talk on the ritual and symbolic significance of huésped figurines and the transformation of Mesoamerican ceramics from utilitarian objects into vehicles of identity and spirituality.

Thursday, January 15th 3:00pm
Athens-born artist Iasonas Kampanis leads an intimate walkthrough of The Metropolitan
Museum of Art with select arts and cultural members in New York City. Kampanis will
highlight works from the collection that inspire his artistic practice and share personal insights into his creative process.

Free with museum admission

Kates Ferri Projects & Wilhelmina Von Blumenthal’s Art Gallery with curatorial advisor Micaela Giovannotti, are pleased to present Myth and Kinship, a compelling dialogue between Greek artist Iasonas Kampanis and Mexican-American artist Salvador Jiménez- Flores on view January 16 to February 21, 2026 with an artist’s reception on Friday, January 16th 6-8pm at 561 Grand Street NYC 10002.

This exhibition brings together two visionary practitioners whose work excavates the transformative power of ritual, mask, and the sacred within their respective Mediterranean and Mesoamerican cultural landscapes. Iasonas Kampanis’ work is accompanied by a text written for the exhibition by International curator Marina Fokidis with Jimènez- Flores’ presentation featuring a text by Ulises Matamoros Ascensión.

Iasonas Kampanis grounds his practice in Mediterranean animistic traditions, investigating humanity’s lost kinship with the natural world. His work channels the Dionysian essence within Greek spiritual tradition, predating the famous myths, where life and death exist not as opposites but as dual celebrations within the eternal circle. Through symbols drawn from ancient theatre, ritual dance, and ceremonial practice—eyes that witness, masks that transform—Kampanis creates portals to ekstasis, the Greek concept of standing outside oneself to merge with the collective. His chromatic vocabulary generates emotional states that acknowledge our place within, rather than above, the natural order. In an era of anthropocentric conquest, Kampanis reminds us that wearing the mask allows becoming, recognizing that humans are not superior to nature but integral threads in its transcendental fabric.

Salvador Jiménez-Flores inhabits a dual geography: born in Jalisco, Mexico, and raised from age fifteen in the United States. His practice emerged from the migrant experience of embodying multiple worlds. Through engagement with the Ngiba nation in Santa Inés Ahuatempan, Puebla, he discovered the tonal musicality of Indigenous language and transformative power of ancestral craft. His ceramic masks, evolved from his grandmother’s transgenerational woven techniques, function as containers for cultural hybridity, merging pre-Columbian iconography with futuristic imaginaries in what he calls “temporal futurism.” Glass eyes witness history while flame-like eyelashes reference wrestling masks; protruding tongues signal both thirst and defiance, doubled tongues speak to bilingual identity. Working between refined materials and “rascuache” aesthetics—a Mexican term for crafting from humble, second-rate materials—Jiménez-Flores transforms cultural contamination into creative resistance, producing exuberant forms that refuse binary logic.

Within these convergences and divergences, both artists recognize the mask as sacred technology—not mere representation but instrument of metamorphosis. For Kampanis, rooted in Greek theatrical and Orthodox traditions, the mask (or prosopon) enables ekstasis. For Jiménez-Flores, influenced by Ngiba ceremonial practice and Mexican folk traditions, the mask permits becoming other—a survival strategy and liberation tool for the diasporic subject. They converge in understanding that transformation, not preservation, constitutes the sacred act.

Yet their approaches to cultural memory diverge significantly. Kampanis seeks to restore humanity’s kinship with nature, positioning his work as recuperation of ancient spiritual interconnectedness severed by Western conquest and observation. Jiménez-Flores conversely, embraces fragmentation as generative force. The migrant body exists in pieces across territories; hybridity and contamination become innate strengths rather than wounds. His circles spiral outward into speculative futures marked by irony and humor rather than nostalgia.

Color operates as emotional language for both artists, yet with distinct grammar. Kampanis employs chromatic intensity to generate transcendence, channeling Mediterranean light as communion with the sacred. Jiménez-Flores deploys color as festive rebellion—a vivid palette evoking both cartoon superheroes and ceremonial regalia, collapsing high and low culture into the “rascuache” aesthetic that transforms poverty of means into richness of invention.

Both recognize ritual dance as embodied knowledge. Kampanis sees dance as celebration of life and death unified, theatre as relational practice connecting human gesture to cosmic rhythm. Jiménez-Flores, influenced by Ngiba understanding that speaking, singing, and dancing form a continuum, creates sculptures that move and resonate, translating Indigenous tonal musicality into three-dimensional rhythm. Where one seeks to dissolve boundaries between artificial and natural worlds, the other negotiates borders between antagonistic cultural systems: Mediterranean unity meeting migrant multiplicity.

This exhibition stages not synthesis but dialogue: dia logos, the Greek term meaning “through meaning” allowing difference to remain visible while revealing unexpected kinship.

The exhibition will feature new ceramic and mixed-media mask works from Salvador Jiménez- Flores, including Kutha/máscara: Lengua larga (2024), a dynamic stoneware sculpture incorporating oxide stain, glaze, blown glass, and gold luster. Combining petate-inspired (palm-woven) clay forms with the artist’s characteristic use of gold, the work transforms the extended tongue into both gesture and bridge between interior and exterior worlds. Kampanis will present his signature paintings, including 100 Protectresses #14 (2025), which continues his investigations into animal presence and absence, symbolic eyes as witnesses to place, and color-saturated environments that generate states of ekstasis and interconnection.

About the curatorial advisor: Micaela Giovannotti is a curator and writer based in New York, London, and Rome. She focuses on artist management and career mentorship, supporting creative artists practices through a holistic vision-driven strategy.

KATES-FERRI PROJECTS
561 Grand Street NY 10002
1 917 536 1999
[email protected]

*Iasonas Kampanis is a visual arts ARTWORKS Fellow

What does “making of” mean?

When is a performance ready?

Inside Out is a hybrid performance where dance and film practices blend in a playful duet. The two creators-performers explore what happens when the “inside” and the “outside”, the “front” and the “back”, refuse to stay in place. Elements that are usually unseen are revealed, transforming the stage into a constantly changing environment that illuminates different perspectives. The performance navigates between choreographic structure and the cinematic frame, creating an experience that raises questions regarding stage practices.

With humor and self-mockery, the two choreographers try to “direct” themselves, leaving room for awkwardness, excitement and surprises that arise in the creative process. Inside Out, a raw and multifaceted performance, opens a dialogue with the audience by inviting them to follow the journey from backstage to center stage.

Credits

Concept / Choreography / Performance Konstantina Barkouli-Gavri, Nadi Gogoulou

Music Composition / Sound design Nefeli Lysimachou

Lighting design Tasos Palaioroutas, Evita Skrimizea

Dramaturgy Betina Panagiotara

Video / Editing Konstantina Barkouli-Gavri, Nadi Gogoulou

Assistant choreographer Anna Anousaki

Photos Patroklos Skafidas

MUA Kristalia Tsami

Graphic design Markellos Kolofotias  

Communication Eleni Tsekou

Production manager Olga Tsatsouli

Production METANEIRA AMKE

Special thanks to Markella Manoliadi, Filippos Vasiliou, Ioanna Zymariti, Nefeli Gioti and FLUX Laboratory Athens.

Info
Dates: 17 & 18 January 2026 at 21;00 & Friday 23 January at 21:30
Location: MAMMOT, (52 Sina Str, Athens 106 72)
Duration: 45’
Tickets presale: https://www.ticketservices.gr/event/inside-out

Ticket price: 12€ general admission
For more info, contact: 6973921747

With the support of NEON Organization for Culture and Development, Goethe-Institut Athen and ARTWORKS.

Production METANEIRA AMKE 

The Pista 500 Prize 2025 has been awarded to Iris Touliatou presented by the gallery Sylvia Kouvali, London and Piraeus.

Born in 2023 in collaboration with the Pinacoteca Agnelli, the prize offers the winning artist the opportunity to create a work on the permanent billboard of the circuit on the roof of the Lingotto, the ex FIAT car testing track.

Jury: Claude Adjil, Curator, Serpentine Gallery, London; Hendrick Folkerts, Curator and Head of Exhibitions, Moderna Museet, Stockholm; Pietro Rigolo, Chief Curator, Pinacoteca Agnelli, Torino; Nicola Trezzi, Curator, Pinacoteca Agnelli, Torino.

Their remarks: Iris Touliatou’s work is always situated, meaning that she, as an artist and writer, applies whichever discipline or approach is necessary for each intervention. She probes, on equal terms, the conditions of her own labor as an artist, and the infrastructures that produce institutional, social, economic, psychological, and libidinal conditions and relationships. She does this with a profound poetic sensibility. In her hands, situation—and thus site-specificity—becomes a play of appearance and disappearance, where her poignant questions linger between her work and the context it is embedded in. Pinacoteca Agnelli—a former factory that is now a shopping mall ‘crowned’ by museum and by a sculpture garden overviewing Torino, flanked by the Alpine landscape—invites such a situated approach, as it evokes questions of post-industrial labor, consumerism, and the relationship between the art institutions and its city. We are deeply excited to welcome Iris’s voice and work into this context, by inviting her to create the billboard for the 2026 Premio Pista 500.

The prize provides an artist with the opportunity to create a permanent artwork for a billboard on the track of the roof of the Lingotto — a monumental poster featuring photographs, images, and other visual projects. The work by Paul Pfeiffer, the winner in 2024, will be presented during Artissima 2025.

Athanasios Kanakis (ARTWORKS Fellow 2022) has been selected as one of the twelve fellows of the 2025/26 UNFOLD Fellowship Program, following a highly competitive international open call.

As part of the 9-month UNFOLD Fellowship Program 2025/26, Athanasios Kanakis will take part in an artist-in-residence in Portugal, working closely with a local community on the periphery. Throughout the fellowship, he will engage in research and participatory artistic practices that explore the social, cultural, and spatial dynamics of public space, with an emphasis on collaboration, dialogue, and collective experience.

The fellowship unfolds over nine months, allowing time for in-depth engagement, exchange, and experimentation. The residency will culminate in a public action and presentation in September 2026, when the developed work will be shared in the public space, in close connection with the community involved in the process.

Learn more about UNFOLD Fellowship Program here

Focusing on moving image, Like wildflowers in the cracks gathers eight films that consider hope through
the lens of resistance, rising from cracks in our existing dominant systems. As bell hooks reminds us,
“hope is essential to any political struggle for radical change when the social climate promotes
disillusionment and despair”. The project reflects on memory, persistence, resistance and love as deeply
human acts that survive within environments promoting uncertainty, exhaustion and apathy. Like
wildflowers that push their way through concrete, hope appears where the surface cracks, offering room
for new possibilities to emerge and take form.

Part A: 15 January 2026, 20.00
Like wildflowers in the cracks: What we carry
Part A turns to the ties between past and present, memory and identity. It looks at how lived experience,
oral histories, music, and poetry can unsettle official accounts and carry knowledge across generations.
Through these shared stories, openings appear that question the structures that shape how we
understand the world.

PART B: 16 January 2026, 20.00
Like wildflowers in the cracks: Signals from the otherwise
Part B focuses on word-building and alternative realities that challenge dominant narratives. These works
push against patriarchal, capitalist, technological, legal frameworks, as well as linear time. In this meeting
point between myth and reality, identity shifts, and new forms of resistance, care, and collective life begin
to emerge.

Participating artists: Diogo da Cruz and Fallon Mayanja, Shuruq Harb, Agape Harmani, Phuong
Thao Nguyen, Eva Papamargariti, Jonathan Uliel Saldanha, Tai Shani, Jala Wahid
Curated by: Despoina Tzanou
Location: B&M Theocharakis Foundation, Athens

*Despoina Tzanou and Eva Papamargariti are ARTWORKS Fellows

What does it mean today “to introduce oneself to the world”?

Mammot hosts the group exhibition Please Allow Me to Introduce Myself and presents the work of six Greek women photographers who explore different paths of personal narration.

Presence, self-presentation, the act of introducing oneself – through contemporary female approaches that focus on personal assertion. On each creator’s need to occupy the space that belongs to her and to redefine it, expressing through it her own personal narrative, which simultaneously becomes collective.

Photographers Yakinthi Koliodeze, Antigoni Papantoni, Alexandra Ripa, Eleftheria Stamu, Danae Charalambidou, and Ioanna Chatziandreou compose a polyphonic ensemble that highlights the richness of visual storytelling in contemporary Greek photography.

The exhibition Please Allow Me to Introduce Myself invites the public to reflect on what it means today “to introduce oneself to the world” within a visual culture increasingly shaped by self-promotion and forms of externally defined identity.

Exhibition Opening:
19 December 2025 | 18:00–22:00

Mammot
52 Sina St., Athens

Open Call for artists
Insular animisms
Anargyros Art Residency
Spetses island, Greece

April 27 – June 7, 2026
Submission deadline: December 15, 2025, 18:00 (UTS+2)

Following the successful launch of its inaugural edition in 2025, the Anargyros Art Residency invites applications from artists working in the visual arts, filmmaking, performance, dance, and music for its second residency cycle, entitled Insular Animisms, taking place from April 27 to June 10, 2026, on the island of Spetses, Greece.
Organised and housed by the historic Foundation of Anargyrios & Korgialenios School of Spetses (AKSS), founded initially as a boarding school in 1927, the residency offers artists the unique opportunity to live and work on an iconic campus deeply embedded in the island’s cultural fabric.

After an exploration of alternative knowledge systems and collective processes in its first edition, this year the residency turns its focus toward the insular reality 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?

The five selected artists will be encouraged to engage with these questions through new work developed during the residency, culminating in a group exhibition within the historic spaces of the School.
During the residency, artists are expected to:
→ Live and work on site for the duration of the residency (one and a half months)
→ Offer one workshop or talk for the local community and fellow residents
→ Participate in the parallel program of lectures, talks and screenings organized by the residency

The working language of the residency is English.

In 2026, the residency connects to the broader international project “Atlantropa Will Not Take Place,” initiated under the Mediterranean Season 2026 by the Institut Français. Partner institutions include FRAC Corsica (France), 32Bis (Tunisia), and Marseille Capitale de la Mer (France). The project focuses on interrogating the political, ecological, and historical imaginaries of the Mediterranean region.

The residency is an initiative of the Foundation of Anargyrios & Korgialenios School of Spetses (AKSS). Curator Eva Vaslamatzi has been appointed by the Executive Committee of AKSS as the Artistic Director of the residency.

What We Offer
→ Round-trip travel
→ Individual accommodation (private room with single bed + private bathroom)
→ Shared studio spaces
→ Daily meals at the School’s café and dining room
→ Artist stipend of €1,000
→ Production support: a dedicated budget to cover material and production costs for the new work developed during the residency

Who Can Apply
→ Open to Greek and international artists working in visual arts, film, dance, performance, or music
No age limit
→ More information before you apply:
→ To understand the context of Spetses — its geography, population, history, and specificities — please consult this before submitting your application. To further explore the history of the school please consult this.

To Apply
→ Submit the following in English as a single PDF file to: [email protected]
→ Short Biography (max. 500 words) and CV (max. 2 pages)
→ Portfolio (up to 15 A4 pages)
→ Letter of intent outlining your interest in the theme and what you wish to explore during the residency (max. 500 words)
All applications must be submitted by December 15, 2025, at 18:00 (UTC+2)
All applicants will be informed by email about the result of their application by December 23rd, 2025.

2026 Selection Committee
Yannis Aesopos – Professor of Architecture and Urban Design | President, AKSS
Fabien Danesi – Director, FRAC Corsica
Afrodite Gonou – Art Advisor
Dr Tatiana Spinari – Art Historian | Director of CITRONNE Gallery | Member, Executive Committee, AKSS
Eva Vaslamatzi – Curator | Artistic Director, Anargyros Art Residency

Previous Residents: Rowena Hughes, Konstanza Kapsali, Natalia Manta, Ioanna Paraskevopoulou
Previous Mentors: Daphne Dragona, Ayumi Paul, Rachel Rakes, Leda Papaconstantinou
Previous Coordination and Production Manager: Foteini Salvaridi

If you have general questions about the application or anything regarding the program please email [email protected]

Myrto Xanthopoulou invites you to the book launch of “Terma Asklipiou” by Myrto Xanthopoulou on Thursday 27th of November, from 19:00, at her studio space at 5 Arianitou Street, Athens 11472, Greece.The same day at 20:30 there will be a performance by Myrto Xanthopoulou.

The artistic world of Myrto Xanthopoulou unfurls through small- and medium-scale works— sculptural assemblages and constructions born of humble, fragile, and often perishable materials: remnants of daily life such as packaging paper, bags, notebooks and note pages, models, sticks, reeds, plaster, tape, glue, paint, cigarette papers. And also: words and phrases written, glued, woven, cut apart, erased. Her works demand time and painstaking handcraft, a resolutely manual process through which the artist stretches her endurance and the resistance of her materials to decay. Through friction, repetition, and exhaustion, she seeks to forge a bond—both physical and spiritual— with materiality.

Her practice is firmly autobiographical, language-driven, and idiosyncratic, revealing her attentiveness to everyday life—visible and invisible, hidden and apparent. Infused with humour, playfulness, and a hint of existential unease, she lends significance to all that unfolds around us and all that we live through, again and again. Hers is a profoundly personal, inward-looking body of work, distilling the familiar, the mundane, and the candid into a poetics of the everyday. She experiments with the meanings that words convey, but also with rhythm, self-expression, poetry, autobiography, loss, and weariness. Her concerns curve toward affect and intimacy; she navigates states of love and longing, care and fatigue, disappointment and depletion.

Language, forms the very ground from which her artistic research and practice sprout. Xanthopoulou engages literal meaning and metaphor, plays with slang as readily as with the incomprehensible or the absurd, the overlooked and the paradoxical, embracing open meanings and the expressive indeterminacy of the words and phrases she welds together. Hers is a language that houses both the verbal and the non-verbal—the latter surfacing in pauses, erasures, tears, smudges, and the worn materials embedded in her works. In the simple, colloquial Greek she uses, we encounter stray words with double meanings, phrases that attempt to articulate, signify, but also negate, upend, or dismantle. Her language is silent yet sonorous, zestful yet on the brink of collapse, raw yet tender, open yet immediate; a language that repeats and falters, trivial yet poetic, wounded yet desirous.

This book records the artist’s world: her works alongside the notes scattered across her studio – on her desk, in her notebooks, pinned to walls – a trace of the making itself. And I say making deliberately, for this is precisely how she works: she sticks, unsticks, composes, decomposes, recomposes, breaks apart, balances, weaves—only then do these processes settle into the form of works, deciding which of these many makings will transcend the studio doors. This book scans her sketches and constructions, the scribbled comments and notes, before they fully crystallise into Works, before they assume their final shape. Here, repetition—of works or parts thereof—becomes essential, enabling the most penetrating observation, examination, and reading of her practice.

Xanthopoulou’s titles play a central role; they form the poetic core of each piece. Asklipiou St, Last Stop gathers the meanings these two words hold for her—together and apart: Asklipiou Street, where she kept her studio for years; the close of that life-cycle; the last stop of the 026 bus she used to ride; the existential dead-ends one can slip into; the fading of an urban condition and the new beginnings marked by the gentrification of Asklipiou and the broader Exarcheia area. In this title, the personal meets the collective; the autobiographical enters into dialogue with the political. —Daphne Vitali, Art Historian, Curator at National Museum of Contemporary Art Athens

Book Launch
Myrto Xanthopoulou
“Terma Asklipiou”
Edited by Katerina Vazoura
Design by Studio Lialios Vazoura
Photos (177-191 pp) by Peter Nikoltsos

Language: Greek
Pages: 192 pages
Format: 143 × 210mm, soft cover with flaps
Editions: 200 copies

October, 2025

ISBN: 978-618-87122-5-6

*Myrto Xanthopoulou is ARTWORKS Fellow

The exhibition series The Palpitating Root opens on 24.11.25 in the city of Florina and turns its attention to the magical channels running through manifold realities. Each chapter will present new works by contemporary artists, developed through on-site research in this borderland region where nature, rich historical narratives, and diverse traditions coexist within a cinematic landscape. For the first episode, Konstantinos Kotsis and Despina Charitonidi conduct field research and present a performative sculptural intervention titled The Last Map in the neighborhood of the municipal market which will be presented on 24/11 at 19:00 on Tagmatarhou Naoum Street.

Drawing from magical realism, as it appears in literature and as explored in feminist and postcolonial studies, the exhibition highlights the inescapable entanglement of the natural and the spiritual, searching for the elements that constitute “the mystery breathing behind things.” By allowing ground-up, local, and oblique narratives to emerge on surface, The Palpitating Root challenges singular interpretations of history, nature, and gender, inviting us instead into a queer perspective, attuned to their countless expressions.

Konstantinos Kotsis creates multimedia installations informed by sculptural thinking, focusing on naturalistic and folkloric observation within broader social and economic landscapes to intertwine personal and historical narratives. Despina Charitonidi, working across sculpture and performance, investigates the relationships between nature, materiality, and human-made structures. In their collaborative research and final work, “materiality becomes a starting point for reflecting on the relationship between locality, collectivity, and historical linearity, drawing from the dawn of human societies,” as they mention.

The Palpitating Root inaugurates the ΦΑΝΚΑ Florina Art Residency Program, produced by A-DASH. Later episodes throughout the year will feature Maria Varela, Catriona Gallagher, and the artist duo Phantom Investigations (Ino Varvariti and Giannis Delagrammatikas). Curated by Christina Petkopoulou, the Residency Program aims each year to welcome artists, writers, and curators to Florina, offering them the opportunity to conduct site-specific research, produce and exhibit work through collective processes, in response to the curatorial prompt of each thematic chapter. Its annual themes draw inspiration from local narratives, the sensibility of liminality, and the unique qualities the above can offer to artistic practice, production, and research.
The Palpitating Root is supported by and under the auspices of the Hellenic Ministry of Culture.

The Palpitating Root
Ep. 1: The Last Map
Konstantinos Kotsis / Despina Charitonidi
24.11.25, Florina
Curated by: Christina Petkopoulou

*Κonstantinos Kotsis & Christina Petkopoulou are ARTWORKS Fellows

We say “Oops!” apologetically. We say “Oops!” hypocritically. Surprised, we exclaim “Oops!” for an accident we ourselves caused—for something we supposedly did not expect to happen that way or to have such an outcome. We use “Oops!” for a minor setback, a misfortune, or a mistake. We say “Oops!” and shrug our shoulders indifferently.

We are cartoons in an animated series: we have no feelings, no bodies, no thoughts. We trip each other up, we fight, we laugh mechanically. We kill one another and come back to life, again and again. We are the absurdly violent heroes of the short stories of Russian author Daniil Kharms, who lived through the gloom of the Stalinist 1930s. We are the burlesque clowns of American cinema in the dark years of the Great Depression of the 1930s.

We are creating our own avant-garde cabaret of the interwar period. Our materials are humble, our aesthetic is DIY, and our music is pre-recorded. We stage our own farcical duets—the twin souls of sworn friends who, like Tom and Jerry, chase each other endlessly, or, like Laurel and Hardy, fall, collide, get up, and fall again without mercy.

We are reacting to a world that seems increasingly absurd and grotesque. Wars, rearmament, far-right leaders, militarism, racism, closed borders, fake news, erratic policies, blatant economic bargaining, scandals, manipulated justice, cover-ups, impunity—and the unthinkable: genocide and ethnic cleansing broadcast live from a colonialist, apartheid-style pariah state, supported with money and weapons by the “Holy Alliance” of the willing in the Western world.

Concept & coordination: Vassilis Noulas & Kostas Tzimoulis
Texts: Daniil Kharms
Director and adaptation of Kharm’s texts: Vassilis Noulas
Set design & Costumes: Kostas Tzimoulis
Assistant director: Elisavet Xanthopoulou

Performers: Christina Karagianni, Stavros Karambatsos, Pierre Magendie, Despoina Hatzipavlidou

Μ54
Menandrou 54, Athens 104 31
Première: Friday 21 November 2025
21, 22, 23, 28, 29, 30 Nov. and 5, 6, 7, 12, 13, 14, 19, 20, 21 Dec. 2025
Starting time:  21:00
Duration: 65 minTickets: https://www.ticketservices.gr/event/oops/

Upper Ankyle, the new artist-run space in Athens, presents from November 6, 2025, to January 17, 2026, the group exhibition Land Attunements, featuring works by Vasilis Galanis, Konstantinos Giotis, Tasos Gkaintatzis, Chrysa Gregoriou, Panagiotis Kefalas, Eleni Odysseos, Stephanie Iris Orati, Martha Panagiotopoulou, Despina Sanida-Crezia, Alexandros Tzannis, curated by Ioanna Gerakidi. The exhibition opening will take place on Thursday, November 6, at 8pm.

Through a series of paintings, sculptural, archival and other vernacular gestures that respond to both inhabited and imagined lands, Land Attunements unfolds as a reflection on how we, as human beings, inhabit, rest, transgress, or fight for the spaces around us; not to possess them, but to feel sheltered within them. The exhibition engages with the historical and sociopolitical framework of its location while seeking tools of resistance to the exploitations, appropriations, and seizures of landscapes, resources, and lives—human, non-human, and more-than-human.

By briefly encountering urban legends, oral stories, unstated words and embodied images, yet also documents and archives that have informed their relationships to spatial realms, the participating artists explore multi-sensory rituals, remnants of once-living organisms, keen intuitions and acute memories. Their works open up ways of thinking about public space as a site of inscription, whilst allowing for the unpolished to be looked at as a means for reimagining temporal and spatial relations.

The land, its surfaces, and its subterranean processes are approached not as neutral or static entities but as restless terrains that grow through decay, letting wandering to exist as a right and rest as a form of resistance. Across gestures of gathering, protest, touch, and dance, the exhibition maps an alternative syntax of the real and the speculative, where observation turns into a conversational matter.

Land Attunements invites viewers to attune. It’s a show made with the nonlinear yet unlimited possibilities of listening to the spaces that surround and sustain us, proposing a paradigm in which care, attention, and embodied presence circulate and multiply across lands, times, and beings.

Ioanna Gerakidi is a writer, curator, and educator based in Athens. Her research interests think through the subjects of language and disorder, drawing on feminist, educational, and psychoanalytical studies. Poetry and other diaristic and archival schemes are often embedded in her practice. She is the founder of CHEAT CODE, a platform dedicated to alternative knowledge production and artistic development.

Upper Ankyle is an artist-led initiative founded by Vangelis Tzolakis and Tania Kapoglou, initially active through exhibitions and events in a temporary space in London. Now based in Kolonaki, Athens, it operates as a hybrid model between a gallery and a project space, encouraging active community engagement. Focusing on what often goes unnoticed—underground flows, hidden stories, and forgotten narratives—Upper Ankyle explores the memory of places and their psychosocial transformations, drawing its name from the ancient Athenian deme Ankyle Kathyperthen, which once extended across the area of Kolonaki and beyond.

INFO

Land Attunements
Group Exhibition at Upper Ankyle

6.11.2025 –17.01.2026
Opening: Thursday, November 6, 2025, 8-11pm

Curated by: Ioanna Gerakidi
Participating artists: Vasilis Galanis, Konstantinos Giotis, Tasos Gkaintatzis, Chrysa Gregoriou, Panagiotis Kefalas, Eleni Odysseos, Stephanie Iris Orati, Martha Panagiotopoulou, Despina Sanida-Crezia, Alexandros Tzannis

Visual identity: Alex Brouhard

Website: upperankyle.com | Instagram: @upper_ankyle

*Ioanna Gerakidi, Vasilis Galananis, Konstantinos Giotis and Alexandros Tzannis are ARTWORKS Fellows.

Within a circle of ten meters in diameter, three artists move continuously along repetitive paths, in sync with the rhythm of an electronic metronome that is amplified throughout the space. By pressing four buttons, each viewer can alter the tempo or stop it entirely, forcing the bodies to move more slowly, much faster, or to freeze completely until the next intervention.

To what extremes can these choices lead? And what are the criteria that define them?

An experiment in balance, control, and disruption that explores the embodied tension of managing a situation of collective responsibility.

The three artists first met through their collaboration with the Marina Abramović Institute and the organization NEON, in the group exhibition (long duration) performance AS ONE (Benaki Museum, Athens) in 2016. Since then, they have been exploring long-duration performance and collaborating with one another.

TEMPO
Aristotelous Square (Leof. Nikis), Thessaloniki
8 & 9 November 2025
17:30 – 21:30

Conceived and performed by:
Virginia Mastrogiannaki (Athens)
Alexandros Michael (Thessaloniki)
Yannis Pappas (Berlin)

Concept & Performance:
Virginia Mastrogiannaki, Alexandros Michael, Yannis Pappas

Sound installation design: Theodoros Kleissiaris (Kleissonic)
Communications: Lia Kesopoulou
Visual communication design: Eva Temponera
Documentation: Christos Kyriazidis
Production: vatiras

With the financial support of the Hellenic Ministry of Culture

Supported by the Department of Visual and Applied Arts, School of Fine Arts, Aristotle University of Thessaloniki, and To Pikap.

*Virginia Mastrogiannaki is a visual arts ARTWORKS Fellow

The exhibition of Andreas Ragnar Kassapis consists of paintings and textual elements that reference urban landscapes, interior spaces, and objects.

Through painting and poetry, the artist explores the distance between the city and its representation, between natural landscape and artificial image, between cultural and psychic geography. This exploration does not aim to establish oppositions; rather, it approaches these conditions as inseparable and symbiotic.

Using form, colour, line, tone, perspective, and written word as his vehicles, Andreas Ragnar Kassapis investigates the relationship between landscape and object in the post-internet age, and the changes this relationship brings to our perception and to the mechanisms of memory.

annex M: Andreas Ragnar Kassapis – Shame is an object in space
Curated by Danai Giannoglou
Exhibition duration: November 5, 2025 – January 11, 2026

Opening hours:
Tuesday, Wednesday, Friday, Saturday, Sunday: 12:00 – 20:00
Thursday: 13:00 – 21:00 (free admission)
Monday: closed

The exhibition will be closed on December 24, 25, 26 & 31 and January 1, 2 & 6.

* Andreas Ragnar Kassapis & Danai Giannoglou are ARTWORKS Fellows

Performance artist and academic Dr. Despina Zacharopoulou (Royal College of Art, London), will be giving a 3-hour master class focused on potential ways that one might start rethinking what is at stake in contemporary performance art, and how one might use performance-led methodologies for their own artistic practice.

The master class will include a lecture, a practical workshop and a Q&A session.

Learn more 

Register

*Despina Zacharopoulou is a visual arts ARTWORKS Fellow (2021)

remnants of ongoing activity unfolds as a collective, evolving space – something between a studio and an office – an alternative kind of workspace, where the precarious and often invisible conditions of artistic production are revealed through ongoing activity and availability.

Focusing on the traces of process, it foregrounds personal objects embedded in the daily routines of professionals of the dance field across diverse practices, positions, and perspectives. These objects function as carriers of memory – remnants of habit and material presence – elements that co-shape the landscape of creative labor, as articulated through brief written narratives and situated experiences.

remnants of ongoing activity is part of a series of curatorial gestures by undercurrent, revolving around the notion of labour. It coexists with the presentation of the publication working (in) statements, opening up a shared space for questions and dialogue.

curated by: undercurrent

together with: AMR, Angeliki Margeti, Angeliki Stellatou, Angelos Papadopoulos, Agni Papadeli Rossetou, Anastasio Koukoutas, Androniki Marathaki, Anna Pangalou, Αspasia-Maria Alexiou, Vassia Zorbali, Vitoria Kotsalou, Yiannis Tsigkris, Despina Sanida Crezia, Eleftheria Arapoglou, Eliza Alexandropoulou, Ellada Damianou, Elpida Orfanidou, Elton Petri, Ioanna Angelopoulou, Ioanna Karategou, Ioanna Paraskevopoulou, Joanna Toumpakari, Katerina Gevetzi, Katerina Delakoura, Kostas Tsioukas, Lia Chamilothori, Maria Koliopoulou, Maria Papadopoulou, Marianna Panourgia, Μarina Tsapekou, Betina Panagiotara, Nadi Gogoulou, Nefeli Gioti, Pagona Boulmpasakou, Pierre Magendie, Polena Petersen, Polina Kremasta, Rallou Karella, Rodia Vomvolou, Sofia Pouchtou, Sofia Danae Vorvila, Steriani Tsintziloni, Thenia Antoniadou, fart, Fotini Stamatelopoulou, Chara Kotsali, Christina Reinhardt, Christina Skoutela, Chryssa Georgiou, Xenia Koghilaki

Dates: 1/11 & 2/11
Time: 18:30-22:30
Space: EIGHT / ΤΟ ΟΧΤΩ, critical institute for arts and politics
Address: Polytechniou 8, Athens, 104 33
map: https://maps.app.goo.gl/6C8c1xXTfyx8QaGv6

 * Saturday 1/11: 19.00-20.00

Public launch of the publication working (in) statements by undercurrent – working (in) statements was initiated as a research project by undercurrent on the notion of work/labour in the field of dance, from/within the Greek context. The publication juxtaposes part of the collected documentation from the participatory encounters, while capturing personal traces through disparate, subjective, and fragmentary reflections and positions. Τhe edition was visually designed by Kostis Sotiriou. (working (in) statements was made possible by the financial support of the Ministry of Culture and with the support by the J.F. Costopoulos Foundation )

****** remnants of ongoing activity is made possible through the friendly contributions of all participants, as the project has not received any financial support.

bio undercurrent

undercurrent is an independent curatorial platform for discursive, performative, and educational practices in and beyond the field of dance, choreography, and performance. It develops and implements diverse cultural projects through unruly modes, divergent formats and mediums. It envisions to expand the critical discourse within the local context of what is performing arts today, as well as to reinforce various plexes of collaboration and communication with the international context. undercurrent was initiated in Athens (GR) in 2022 by Christina Karagianni, Elena Novakovits and Nassia Fourtouni.

*Christina Karagianni & Nassia Fourtouni are SNF ARTWORKS Dance Fellows

Moulting: the biological process where an animal sheds an outer covering, such as feathers, fur, skin, or an exoskeleton, to make way for new growth.

Crux Galerie is pleased to announce Maria Louizou’s solo exhibition titled Moulting Season. The exhibition presents a series of new sculptures that explore the theme of dwelling, from skin to home, as a means of protection, as well as temporary places of release and regeneration. Included in the exhibition are the wax sculptures Dwellings, which were commissioned for the exhibition “In a Bright Green Field” of the DESTE Foundation and the New Museum in partnership with the Benaki Museum, curated by Gary Carrion-Murayari.

Sculptures made of wax, clay, steel, and plaster temporarily welcome bodies, highlighting the space left behind when their period of transformation is complete. The exhibition Moulting Season visualises precisely this process of transformation and its relic. At the same time, the ceramic works formed based on the human scale, are activated through the human presence and voices, being utilised as musical instruments. The program of live activations around and within the works performed by the artist will be announced shortly.

Portrait by Alex Kat

Maria Louizou holds a Bachelor’s and Master’s degree in sculpture from the Athens School of Fine Arts and in the National School of Decorative Arts (ENSAD) in Paris. She studied theory of music (classical and electronic) in the Athens Conservatoire. In 2020 she was awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (2020). Her research The Body in Contemporary Sculpture, Greek Tradition, and Polyphonic Composition won a grant by the Greek Ministry of Culture in 2020.

*Maria Louizou is a visual arts SNF ARTWORKS Fellow (2020)

The exhibition Disappearing act / second life brings together practices that experiment with the materiality of the analog image, still or moving, and with the processes that it is intertwined. By testing the limits of their medium, the participating artists investigate process and performativity as essential components of their production. Whether the material is found or documented by the artists themselves, the exhibition balances between the gradual appearance and disappearance of the image, focusing on the “second life” it acquires as a material entity penetrating our digital era.

At the center of the exhibition lies a fragile looping system for super8 film, which stands as a promise of continuity while depending on a delicate balance, turning the system itself into an exhibit. Its content presents us with a montage of super8 film fragments shot over the last two decades by Constantinos Hadzinikolaou that have been previously “rejected” by the artist or served as tests before the official shooting: fragments that found no place in his work either because they did not integrate into the whole or were not considered technically sufficient. The work Here’s a scene (2025), emerging from the random arrangement of this repressed diary-like material, becomes formalized through each repetition, while at the same time it’s being pushed toward deterioration through its continuous use.

On the opposite wall, Isabelle Ha Eav Ruiz’s Looking for the spirit of the river (2025) stages the emergence of a hidden urban river through a 19th-century printing technique that uses a natural material—the arabic gum (gum bichromate printing). By reviving this forgotten method used in Pictorialism, part of which unfolds in water, the artist captures her imaginary vision of the Ilissos river, searching for its traces in watery areas around the city of Athens. The enlarged negatives she uses for this process become artworks themselves, as in the one presented in the show (found in the Greek Literary and Historical Archive, Courtesy of Melas Family Archive, Photographic Archive ELIA/MIET) depicting two figures believed to be by the Ilissos river. Both works stand as a symbolic ritual for the gradual reappearance and fading out of a vanished place.

In Stavros Kassis’s work, found photography functions not only as an image but also as archive, gesture and intervention. For his piece Turista Desaparecido (2024), the artist uses found photographs taken during a trip where we follow the protagonist around different streets and monuments of a city. The figure was carefully erased, in a way that removes the personal features of the depicted individual, though accentuating its presence within the image. Revisiting memories and shifting parts of it is also what the artist practices through his research and collage process, as a way to examine the distortions applied in urban and historical space through the touristic gaze. This research extends into three dimensions, with works that incorporate materials from public space, such as fragments of furniture, construction materials etc. – granting them a second chance—like the photographs—to coexist through new relationships and dynamics.

Finally, in both exhibition halls and in a way that they face each other, are placed the works of Philip Fleischman, titled One Meter of White (2025), two “self-referential” photograms made from 16mm film. In Fleischman’s practice, the processing of film as a medium overcomes the information it carries, often leading him toward minimalist results. By removing the film’s perforation, he deprives it of its ability to function as a means of image reproduction. Placing the film directly onto the photosensitive surface in different ways, he treats it as a material freed from its identity as a source of stable and repeatable information. This performative approach connects to the reclaiming of the material for a fluid identity that offers it more possibilities for existing in space than its original use allowed.

With works by Philipp Fleischmann, Isabelle Ha Eav Ruiz, Constantinos Hadzinikolaou and Stavros Kassis; curated by Eva Vaslamatzi

02 October – 15 November 2025

*Eva Vaslamatzi is a curatorial SNF ARTWORKS Fellow (2019)

HAUS N PRESENTS FIRE SPIRITS

11.09.2025 – 18.10.2025

Fire Spirits unfolds like a held breath. Between Athens’ underground presence and its secrets, this exhibition sits in the debris of a future that never arrived, and a past that refuses to settle.

Scattered throughout the exhibition are fragments of a world suspended: debris on the floor, floating fabrics, piled chairs, an acid green painting, and scattered canvases. Metal hands jut out from the wall like claws, tearing at space-time, their etched messages surfacing from a suspended elsewhere.

These elements resist narrative closure, composing a kind of material séance where the sensorial and the spectral converge; staging a haunting feeling, holding the air like breath, a piano echoing, like waiting, like memory that insists on returning not as image but as a ghost.

The works do not merely represent the past or anticipate the future, but inhabit the unfinished, and we linger with what remains unresolved and unrested.

Works by: Konstantinos Giotis, Sem Lala, Nancy Lupo, Vera Lutz, Christodoulos Panayiotou, Eva Papamargariti, Jeff Wall Production, Georgia Sagri, Iris Touliatou, Theodoros Tzannetakis, Amalia Vekri

Kairi 6, Athina 105 51

Sunday Closed
Monday Closed
Tuesday Closed
Wednesday 5–8 PM
Thursday 5–8 PM
Friday 5–8 PM
Saturday Closed

* Konstantinos Giotis, Eva Papamargariti, Iris Touliatou and Amalia Vekri are SNF ARTWORKS Fellows

The fiction film “Arcadia” by director Yorgos Zois (ARTWORKS Fellow 2019 & ARTWORKS Grantee 2025) has been selected as Greece’s official submission to compete for Best International Feature Film at the 98th Academy Awards.

Yorgos Zois is a filmmaker. His work has been recognized at some of the world’s foremost film festivals — including Cannes, Venice, Berlin, Rotterdam, Telluride, and Clermont-Ferrand — and has earned numerous international awards and distinctions. In Greece, he received the Hellenic Film Academy Award for Best Short Film for Casus Belli, as well as seven awards at the Drama International Short Film Festival, including Best Film, Best Director, and Best Screenplay. His debut feature, Interruption, premiered at the Venice Film Festival in 2015 and earned him the Hellenic Film Academy Award for Best New Director. His short film Out of Frame won the European Film Academy Award at the Venice Film Festival in 2012, while he has also served on the official “Lion of the Future” jury at the 74th Venice International Film Festival. His films have been broadcast by major television networks such as CANAL+ and ARTE, and have been selected by the renowned Criterion platform. His second feature, Arcadia, premiered in the official Encounters competition of the 2024 Berlin Film Festival and went on to win the Best Director Award at the Sarajevo Film Festival, among many other international honors. In Greece, Arcadia received the Iris Awards for Best Film, Best Director, and Best Screenplay from the Hellenic Film Academy, and was the only Greek film nominated by the European Film Academy.

In 2019, Yorgos Zois received the Stavros Niarchos Foundation (SNF) Artist Fellowship awarded by ARTWORKS, while in 2025 his latest film in development “Phrychtoria” was selected for the 2025 ARTWORKS Grants program.