Temporary

Permanent

Digital

MOMus abroad

Festival's main exhibition "We, the Monster" Two up-and-coming Greek visual artists, Malvina Panagiotidi and David Sampethai, are approaching with their works the thematic ax that runs through the large-scale tribute of the 65th Thessaloniki International Film Festival: the Monster, an archetypal symbol from the dawn of human existence that served as a source of inspiration for every form of art and culture. The Festival commissioned the two visual artists to create works in constant dialogue with each other, but also with the 22 films screened as part of the "We, the Monster" tribute.  Curated by: Orestis AndreadakisProduction-Coordination: Thanos Stavropoulos, Nikoletta Tsatsou Opening days and hours Duration: 1 – 24 November 2024Opening: Saturday 2 November 2024 / 18:00Opening days and hours: 1 – 10.11.2024: 10:00-22:00Opening days and hours: 12 – 24.11.2024: Tuesday, Wednesday, Friday, Saturday, Sunday: 10:00-18:00 &amp; Thursday: 12:00-20:00 Free admission --------- Visual installation "Interfears" by Jesper Just  As part of the 65th Thessaloniki International Film Festival's tribute to the work of the moving image artist Jesper Just, his most recent work "Interfears" (2023), is presented as an art installation. In this piece, which explores the emotional landscape of an actor's brain, Matt Dillon rehearses a monologue tied in an fMRI scanner while the machine records and maps his brain waves into 2D and 3D representations. Combining the depiction of emotions with fMRI technology, the film examines emotions as cultural goods with a detached look, and assesses emotional representations as artificial – whether they are acted out by an actor or captured by a machine. Opening days and hours 31.10 – 10.11.2024 / 10:00-22:00Free admission

Experimental Center for the Arts

65th Thessaloniki Film Festival at MOMus-Experimental Center for the Arts

16th Photometria International Photography FestivalPhotometria Photography Center (PPC)Ioannina In the series of photographs presented by Martin Parr in the exhibition "Self-portraits", he sees his portrait as a reflection of his individual and social identity, in dialogue with personal and collective memory. At the end of the 20th century and the dawn of the 21st, Martin Parr set out, travelling around the the globe on professional international media assignments, being photographed in studios and photobooths in every corner of the world. His form thus gradually took place, physically or digitally, in diverse settings, designed to validate stereotypes or give birth to new ones. For twenty years (1996-2015) Parr surrendered himself, with unruffled style, to the hands of his fellow artists, being the conscious prey of a mechanism of standardised images. Curated by: Hercules PapaioannouExhibition coproduction: MOMus-Thessaloniki Museum of Photography More information on the Festival, here <a href="https://www.photometria.gr/en/">https://www.photometria.gr/en/</a> . *Caption: © Martin Parr Collection / Magnum Photos

Other venues

Martin Parr. Self-portraits  

EXTENSION: Until January 5, 2025 How many stories can one find in a museum? How many stories create, compose a museum and lead it to a next page? Works of art, large and small collections, large sets of donations or private donations, people of many professions, the institution itself, even the building itself, all the above "speak" and "suggest" their own stories in the case of the new exhibition of the MOMus-Museum of Contemporary Art entitled "From now on. Stories for a next tomorrow" which will be presented at the museum, in Thessaloniki, from 24 May to 17 November, 2024. After all, there are many stories; initially those by the 100 artists participating in the exhibition and eventually even more. After all, stories are told or written in many ways and in many tones, and this particular exhibition is definitely not another linear view of art history, but as a starting point for a dialogue around the social and artistic relationships that the works themselves, their creators and their recipients allow to flourish. The exhibition is comprised by only few artworks derived by the larger collections of the Museum of Contemporary Art, after the merge of the then Macedonian Museum of Contemporary Art and the State Museum of Contemporary Art, back in 2018, when MOMus was founded.  The exhibition reveals a lot: fascinating artist biographies; unique experiences; experiences of astonishment and deep trauma; stories about conditions of oppression and control; stories of sexuality and identity; unknown collaborations and relationships between artists of different genres; unknown stories about the city of Thessaloniki and the Museum’s institutional development; unknown incidents of inspiration; unexpected combinations of historical, mythical and fantastical elements.  The stories arose from the research and other interests of Museum staff, but also from the interests of educational groups, historians, artists, and other prominent intellectual figures.  The exhibition also marks the partial redesign of the visitor's experience within the architectural space: a renewed reception and renewed infrastructure, with the hope of changing the actual feel and movement within the spaces. The collective installation "Sweet Dreams" by Alexandros Kapetanos, Dimitris Kapetanos and Maria Tsemelis is also hosted until July 1 at MOMus-Museum of Contemporary Art, as part of the Europride 2024 in Thessaloniki. Artistic Director/ Curated by: Thouli MisirloglouWith the contribution of: Theodore Markoglou, Yiannis Bolis, Katerina Syroglou, Post-Spectacular Office Patriating Artists: Carla Accardi, Vahram Aghasyan, Alexis Akrithakis, Yuri Albert, Dimitris Alithinos, Stephen Antonakos, Irene Aperghis, Achilleas Aperghis, Arman (Armand Fernandez), Alkistis Athanasiadou, Manolis Baboussis, Babi Badalov, James Balog, Gilbert Bel-Bachir, Filippo Berta, Joseph Beuys, Fani Boudouroglou, Yiannis Bouteas, Reinhard Brandner, Victor Brauner, Camille Bryen, Wolff Buchholz, Vlassis Caniaris, Lizzie Calligas, Thanasis Chondros (1953) – Alexandra Katsiani, John Christoforou, Chryssa (Vardea-Mavromichali), Costas Coulentianos, Roberto Crippa, Lydia Dambassina, Danil (Panagopoulos), DAS (Epaminondas Daskalopoulos, Thomas Diafas, Cleopatra Dinga, Electros (Babis Vekris |), Yevgeniy Fiks, Filolaos (Tloupas), Novello Finotti, Michel François, Yannis Gaitis, Henning von Gierke, Daniel Gounaridis, Davos Hanich, Michael Hasted, Lisa Hoever, Konstantinos Ignatiadis, Ingrid Jörg, Marina Karella, William Klein, Viktor Koen, Panos Kokkinias, Dimosthenis Kokkinidis, Jannis Kounellis, Maria Loizidou, Alexandros Maganiotis, Erwan Mahéo, Teta Makri, Caroline May, Yannis Moralis, Zanele Muholi, Dennis Oppenheim, Leda Papaconstantinou, Natasha Papadopoulou, Pavlos (Dionyssopoulos), A.R. Penck, Dimitris Perdikidis, alexandros m. Pfaff, Joan Rabascall, Jean-Pierre Raynaud, Patrick Raynaud, Martial Raysse, Rembrandt, Chryssa Romanos, Niki de Saint Phalle, Yerassimos Steris, Takis (Panayiotis Vassilakis), Theofilos (Hadjimichail), Theodoros (Papadimitriou), Jean Tinguely, Filippos Tsitsopoulos, Costas Tsoclis, Alexandros Tzannis, Alexandros Valvis, John Vassos, Babis Venetopoulos, Javier Vilato, Jacques Villeglé, Andreas Voussouras, Pericles Vyzantios, Linda Waber, Andy Warhol, Emmett Williams, Gil J. Wolman, Peter Wüthrich, Yang Yongliang, Otto Zitko, Vasilis Zografos, George Zongolopoulos.  Exhibition’s &amp; catalogue’s texts/stories:Lena Athanasopoulou, Visual Artist, Collaborator of the Education Department of MOMus-Museum of Contemporary ArtYannis Bolis, Head of Department of Contemporary Art, MOMus-Museum Alex Mylona Katerina Gagaki and Renia Chatzigeorgiou, Educators (Vassiliadis Schools)Domna Gounari, Curator of MOMus-Experimental Center for the Arts Katerina Kamara, Founding member of the Macedonian Center (and later Museums) of Contemporary Art, Co-owner of the ZITA-MI Gallery Elena Kechagia, Art Historian, Collaborator of MOMus-Museum of Contemporary ArtPanos Kokkinias, Artist Katerina Koskina, Art Historian, Former President of the former State Museum of Contemporary ArtMaro Layia, Founding member of the Macedonian Center (and later Museums) of Contemporary Art, Co-owner of the ZITA-MI Gallery Elena Kechagia, Art Historian, Collaborator of MOMus-Museum of Contemporary ArtAreti Leopoulou, Curator of MOMus-Museum of Contemporary ArtTheodore Markoglou, Curator of MOMus-Museum of Contemporary ArtTeta Makri, ArtistManos Manakas, PsychoanalystChristoforos Marinos, Independent Curator of exhibitions Christina Mavini, Curator of Education of MOMus-Museum of Contemporary Art Thouli Misirloglou, Artistic Director of MOMus-Museum of Contemporary ArtYannis Papadopoulos, a fan of Klein’s workEirini Papakonstantinou, Curator of MOMus-Expereimental Center for the Arts Theodora Poimenidou, English Language Teacher of 8th EPAL Thessaloniki Effie Skylitsi, Art Theorist, Visual Artist, Collaborator of the Education Department of MOMus-Museum of Contemporary ArtKaterina Syroglou, Curator of MOMus-Museum of Contemporary ArtMaria Tsantsanoglou, Artistic Director of MOMus-Museum of Modern Art-Costakis CollectionFilippos Tsitsopoulos, Artist Denys Zacharopoulos, Art Historian, Former Artistic Director of the Macedonian Museum of Contemporary ArtOlga Fota, Registrar &amp; Artworks Conservator of MOMus

Museum of Contemporary Art

From now on. Stories for a next tomorrow

Opening: Friday 4 October 2024, 20:00 Children and elegant ladies, men in traditional fustanella attire, and uniformed officers, monuments of the countryside and cities from the mid-19th century, become the new “protagonists” in the exhibition focused on the enchanting history of stereoscopy through time, as a method of capturing and presenting photography. The captivating art-technique is unfolded in the exhibition under the same title, co-organised by the MOMus-Thessaloniki Museum of Photography and the Photography Museum of the Municipality of Kalamaria “Christos Kalemkeris”, from October 4, 2024, to January 12, 2025, at Warehouse A’, Pier A’, Port of Thessaloniki. The stereoscopic method was originated as a new invention in 1841 in England and spread rapidly from 1850 onwards, initially in France and then throughout Europe and America. This new method became a trend with  devoted followers, and up until the early 20th century, stereoscopic photographs provided a pleasant pastime and entertainment for the rising middle class in Western Europe. Their low cost and the ability to produce multiple copies made them one of the first mass media, comparable to postcards that followed later and even  to moving pictures. The themes of stereoscopic photography were mainly drawn from everyday life, but also included scenes depicting the morals of the day, as well as nudes and images intended for a more specific application, such as astrophotography, botanical images and aerial reconnaissance (mainly for military purposes). In Greece, this  particular method also gained significant popularity and recognition, continuing the pictorial tradition of drawings and watercolors from the travel literature of the 18th and 19th centuries, contributing to a more  realistic acquaintance with the land, its people, and their culture.  Curated by: Kalliopi Valtopoulou, Historian-Museologist Coorganisation<img data-entity-uuid="eb9e6c28-8984-4729-95f9-2dcf9e9fd7b5" data-entity-type="file" src="/sites/default/files/inline-images/LogoMOMusPhotographyENG.jpg" width="226" height="911" /><img data-entity-uuid="8794c14c-7e4b-451f-9859-95b69bb4cc1d" data-entity-type="file" src="/sites/default/files/inline-images/FINAL%20OUT_pages-to-jpg-0001%20eng.jpg" width="147" height="294" /><img data-entity-uuid="178375e9-cb51-46a0-9733-87a08a1f6cb6" data-entity-type="file" src="/sites/default/files/inline-images/DHMOS%20kal_LOGO_pages-to-jpg-0001%20%CE%94%CE%9A.jpg" width="138" height="248" />With the financial support <img data-entity-uuid="a3fcffb5-3b74-457b-a18a-5605d05d689e" data-entity-type="file" src="/sites/default/files/inline-images/yppoa_logo%20%28003%29%20eng.jpg" width="191" class="align-left" height="491" />

Thessaloniki Museum of Photography

Stereoscopy. From the photographic collection of the Photography Museum of the Municipality of Kalamaria "Christos Kalemkeris"

Opening: Thursday 14 November 2024, 20:00 Hybrid creatures and femininities that inhabit special worlds and claim freedom of existence, representatives of successive generations that make up the modern world "conquer" MOMus-Museum Alex Mylona, in the exhibition of Rania Emmanouilidou and... are moving "Underneath the radar". Rania Emmanouilidou, as Generation X, watches the cultural reality and social identity as it takes shape every day. The exhibition "Underneath the Radar" highlights a series of themes that have run through the artist's work for more than twenty years: issues of gender and identity, politics and ecology, always centered on the body; the body, historically, socially and culturally signified, as a signed, differentiated, hybrid, transformed and performative body. Drawing material from the internet, pop culture, music, fashion and art history, Rania Emmanouilidou creates in her work images of a personal mythology, with enigmatic figures, where traditional gender roles are deconstructed and the linear view of time is overturned. Emmanouilidou explores the politics of the body, dissects and breaks down the structures of identity and power, while at the same time her hybrid iconography, in which phantasmagoric transformations of the human and the animal alternate, records the present and looks towards the (imaginary) future. Social consciousness, moral and political attitude, artistic imagination and skill coexist in her varied work - mainly sculpture and painting - which is rich in visual and conceptual stimuli. The exhibition is the fourth and last stop in the Museum’s tribute-exhibition series, entitled "Four Artists, Four Attitudes", which features women artists and curators.  Curated by: Thouli Misirloglou, Artistic Director of MOMus-Museum of Contemporary Art Save the Dates Parallel events Collective artworks &amp; exchange auction Thursday 19 December 2024, 20:00Collective artworks by Rania Emmanouilidou, Fani Boudouroglou and Lia Psoma will be under an alternative auction, organised by Eugenia Grammenou and Virginia Mastrogiannaki.  Exhibition’s Finissage Saturday 25 January 2025Information will be announced soon.  Rania Emmanouilidou CVRania Emmanouilidou studied at the Department of Visual and Applied Arts of the School of Fine Arts of the Aristotle University of Thessaloniki, where she works intermittently as a commissioned professor. Her artistic practice includes painting, sculpture, video and installation. Part of her artistic research is the creation of sustainable materials for the production of works of art, as well as the wider dialogue with the public and the activation of small local communities for the co-production of cultural actions, through workshops, lectures and interdisciplinary, educational programmes. Emmanouilidou has presented six solo exhibitions and has participated in group exhibitions and projects in Greece and abroad. With Apostolos Rizos, they are the co-founders of Les Yper Yper, a hybrid platform for research and connecting the dynamics between the arts, visual communication and design. She herself has organised and curated exhibitions, projects and residencies in collaboration with private and public bodies (TISF, ICTVC, Goethe-Institut, Municipality of Torino-Italy, Municipality of Alberta-Canada etc.) and has presented seminars and workshops. In addition, she has dealt with scenography, costumes and the visual environment in theater plays and performances. <img src="/sites/default/files/inline-images/image_60.png" data-entity-uuid="629c7edf-076e-4a3a-94d2-9f620a560221" data-entity-type="file" width="376" class="align-left" height="214" />

Museum Alex Mylona

Rania Emmanouilidou. Underneath the radar

Russian art in the Costakis Collection – MOMus Museum of Modern Art in ThessalonikiColección del Museo Ruso, Μalaga  The exhibition features 450 works from the Costakis Collection, documenting every Russian and Soviet avant-garde movement from its early years to Constructivism and the return to Productive Art. This is MOMus’ Museum of Modern Art major collaboration for 2024, as part of its effort to network with international museums and institutions holding collections of seminal European avant-garde art movements.  This exhibition offers a unique opportunity to delve into the visionary world of the Russian avant-garde. The works on display are more than mere artefacts: they are the embodiment of a radical rethinking of art and its role in society. Artists of the Russian avant-garde were pioneers in exploring the intersection of art with technology and politics, aspiring to create a better and more equitable future. Curated by Maria Tsantsanoglou.  Assistant curator: Angeliki Charistou More information, here: https://www.coleccionmuseoruso.es/exposicion/utopia-y-vanguardia/

Utopia and Avant-Guard

The Network of Contemporary Culture Museums of the Hellenic Ministry of Culture and Sports introduces itself with its first official project, the digital exhibition under the title "Visualizing humanity", which is now available on the platform <a href="https://res.momus.gr/en/network-of-contemporary-culture-museums">res.momus.gr</a> (CLICK <a href="https://res.momus.gr/en/network-of-contemporary-culture-museums" target="_blank">HERE</a>). The exhibition hosts over 100 works of art by 62 artists from the permanent collections of the organizations participating in the Network -the National Gallery-Alexandros Soutsos Museum (EPMAS), the National Museum of Contemporary Art Athens (EMST) and the Metropolitan Organisation of Museums of Visual Arts of Thessaloniki (MOMus)- and is co-organized and curated by the art historians of all three collaborating institutions.This project attempts to capture not only the global humanitarian and financial crisis that humanity has to face in the Covid-19 era, but also further unprecedented challenges related to growing economic inequalities, uncontrollable culture of fear, arbitrary restrictions on individual human freedoms and job insecurity. These challenges highlight the human rights’ debate as more relevant than ever, 70 years after the signing of the European Declaration of Human Rights.The exhibition "Visualizing humanity" is focusing on the healing power of art that can overcome barriers such as language, culture and politics. Structured in three chapters, each of which includes works by all three participating organizations of the Network, this exhibition attempts to present directly or refer to images of courage and injustice, hope and despair, small or big successes and failures of humans to protect humans.The chapter entitled “Animus Immortalis Est” raises the critical issue of human life’s value and dignity at a time when fundamentalism, fascism, religious extremism and terrorism threaten the humanitarian values ​​on which post-World War II Europe was built.The second chapter, entitled “Feels Like Home”, deals with the concept of “home” both literally and figuratively: globalization has turned millions of people from citizens to immigrants; the right to housing, social security and self-determination is more urgent than ever. What does "home" mean to each of us?Finally, the chapter entitled “Climate Crisis” presents artworks that aim to demonstrate the major issue of climate change and its fatal, irreversible environmental, social and economic effects, already felt worldwide, questioning whether humanity intends and is able to correct its environmental mistakes.ArtistsAlexis Akrithakis, Dimitris Alithinos, Ziant Andar, Dimitris Antonitsis, Thanassis Apartis, Achilleas Apergis, Manolis Baboussis, Chronis Botsoglou, Andrea Bowers, Christina Calbari,  Vlassis Caniaris, Tassos Christakis, Dionysis Christofilogiannis, Daniel (Panagopoulos), Michel François, Alexandros Georgiou, Apostolos Georgiou, Giorgos Gerontidis, Giorgos Gyparakis, Nikolaos Gyzis, Francisco Goya y Lucientes, Georgios Iakovidis, Orestis Kanellis, Vassos Kapandais, Vasso Katraki, Deborah Kelly &amp; Tina Fiveash, Dimosthenis Kokkinidis, Lazaros Lameras, George Lappas, Andreas Lolis, Nikephoros Lytras, René Magritte, Memos (Agamemnon) Makris, Andrea Mantegna, Katerina Marouda, Carlos Motta, Lia Nalbantidou, Freya Najade, Solomon Nikritin, Chryssa Nikoleri, George Osodi, Yiannis Pantelidis, Thodoris Papadakis, Ilias Papailiakis, Leda Papaconstantinou, Rena Papaspyrou, Konstantinos Parthenis, Giannis Parmakelis, Liubov Popova, Jannis Psychopedis, Alexandros Psychoulis, Rembrandt Harmensz van Rijn, Omed Salehi, Santiago Sierra, Artemis Skeva, Sotiris Sorongas, Athena Tacha, Tassos (Anastasios Alevizos),Nikos Tranos, Costas Tsoklis, Georgios Vakirtzis, Giorgos Zongolopoulos Network of Contemporary Culture MuseumsThe Network of Contemporary Culture Museums was established on the initiative of the Hellenic Ministry of Culture’s Directorate of Visual Arts, Architecture, Photography and Contemporary Culture Museums; it operates in the form of a collaborative platform with the participation of the supervised (by the Ministry) museum organizations of contemporary culture.The idea was born due to the urgent need of our times -as well as the international museum practice of creating networks of synergies and collaborations- to save resources, find collaborative methods and tools, exchange know-hows and jointly promote the artworks that belong to the public collections of the state.The digital exhibition "Visualizing humanity" is the first official project of the Network for which the National Gallery - Museum of Alexandros Soutsos, the National Museum of Contemporary Art and the Metropolitan Organization of Museums of Fine Arts of Thessaloniki altogether. It is a collective digital exhibition in which the largest museums of modern and contemporary art in Greece collaborated, in order to create a digital exhibition of an international character that functions as a major presentation of their permanent collections.

MOMus

Visualizing humanity: the first project by the Network of Contemporary Culture Museums of the Hellenic Ministry of Culture and Sports

Exhibition: “Divided Memories: 1940-1950. Between History and Experience”<a href="http://www.dividedmemories.de/">www.dividedmemories.de</a> “Divided Memories: 1940-1950. Between History and Experience”, the exhibition that had deeply moved audiences during its original run (December 2016-April 2017) in Thessaloniki at the Macedonian Museum of Contemporary Art, is now digital. The exhibition sheds light on the 1940s through records documenting the personal experiences of artists and intellectuals. Artworks, narratives and testimonies, documents, literary works, poetry, and historical texts dating to that momentous decade transform the pain, despair and hardships, and evoke creative and existential impasses, contradictions and hopes, reshaping official History.It also examines the presence of the Jewish community of Thessaloniki since the 1930s, presents new evidence recording developments in the city during the German occupation and chronicling the deportation of the city’s Jews to Nazi extermination camps, as well as photographs of survivors and interviews with Thessaloniki Jews born after 1941.The new, digital form of the exhibition was organized by the Goethe Institut Thessaloniki, the MOMus-Museum of Contemporary Art, the Jewish Museum of Thessaloniki and the NS-Dokumentationszentrum Köln (Documentation Center for National Socialism, City of Cologne). Although consisting of fewer (now digitized) exhibits, artworks and documents compared to the physical exhibition that had taken place in Thessaloniki in 2016, it remains a dense and historically important Greek presentation at the initiative of Thessaloniki and its institutions, presented this time on German soil.The artistic part of the exhibition is organized into two sections: the first section starts with the Greek Epic of 1940 and presents life and death in the time of the German Occupation, with references, among others, to hunger and the black market, to the Resistance in Thessaloniki and across Greece –exemplified by the compulsory art exhibition of 1942 and the funeral of poet Kostis Palamas–, the mass executions and the criminal German retaliations.The exhibits that comprise the second section relate to the transition to national liberation, the participation of artists in the Mountain Government of 1944, the Liberation of Athens and Greece, before moving on to the Dekemvriana (“December Events”) of 1944, the voyage of the “Mataroa” and the honorary donation by French artists and intellectuals to the Greek people as a “tribute” to the Greek Resistance. Finally, they relate to the Civil War, the rejection of national division by artists, and the exiles, imprisonments, torture, and executions. The exhibition concludes with a list of Greeks bestowed with the honorific “Righteous Among the Nations”, and with the post-war proposal to recognize the Greek Resistance as the foundation of Europe and civilization.The part dedicated to the Jewish community is also divided into two sections. The first one focuses on the social and political problems faced by this community, while the second one presents the process by which the occupying forces came to control, expropriate and ultimately displace the Jewish population to Auschwitz.This is a reflective curatorial effort that revisits the issues of the war’s declaration, the Battle of Pindus, the German invasion and occupation, the Resistance in Greek cities and mountains, the massacres of civilians, the Holocaust, National Liberation, and the political crisis that would lead to the Greek Civil War (1946-1949). This is done from the perspective of the artists' experiences, their dilemmas and attitudes as intellectuals facing in solidarity with the rest of the population a major political, social and, ultimately, humanitarian crisis.The exhibition is implemented with the financial support of the ‘Hellenic-German Fund for the Future’ of the Ministry of Foreign Affairs of the Federal Republic of Germany.Τhe accompanying bilingual (Greek-German) catalogue reflects the exhibition that was organized and presented in 2016-2017. [Starting point of the exhibition]The first version of the exhibition, when the original works and documents were presented in Thessaloniki in 2016, had been an initiative of the Goethe-Institut Thessaloniki and was co-organized with the Jewish Museum of Thessaloniki, the Macedonian Museum of Contemporary Art of Thessaloniki and Berlin’s Deutsches Historisches Museum.It was guided by the various manifestations of cultural and artistic reality in the time of the German Occupation, the Greek Resistance, the 1944 Liberation and the Greek Civil War (1946-1949). That exhibition had juxtaposed the narratives discovered in the works of intellectuals and artists with the dominant ideological representations, while also highlighting issues of historical importance that remain largely unsettled, such as the transformation of Greek society which entailed the fate of Thessaloniki’s Jewish Community.The contribution of the Macedonian Museum of Contemporary Art in the exhibits covered a wide range of works (paintings, sketches, photographs, sculptures, posters, political cartoons, videos, films, albums), documents (private and public archival material, publications, objects, letters, film documentaries) and forms of expression (e.g. literary texts), both as testimonies and forms of direct participation and as narratives that had changed across time. In doing so, the exhibition had attempted to shed some light on the issue of memory, also in relation to European reality. By focusing on the complexity of history and the differentiation of experiences, the exhibition confronted both the emotional dimension of human experiences and the cold typology of ideologies. The exhibition aspired to communicate emotions and experiences that transform the understandings of that specific period and specific society of audience members who might be unfamiliar with the era and its history.The exhibits from the 1940s were a deeply personal human scream, as a reaction not only to the horrors of war and civil strife, but also to the miracles of nature and life. The stance taken by artists and intellectuals, without sparing the conqueror, the torturer and usurper, and without ever succumbing to the vulgarity that was omnipresent throughout that decade, kept open a window of light amidst the darkness, remaining generously accessible to every discourse, in an effort to purge the prevailing hatred, intolerance and death.The Exiles, the imprisonments and executions, the Resistance, did not prevent them from rejecting war and violence or from maintaining open channels of communication despite their many differences. In the period’s periodicals and publications, in its theatre and intellectual gatherings, one sees the boldest, most humane, and most inventive forms of resistance – not only as political action, but mostly as a life stance and as a primary condition of doing art.Part of the research was focused on Thessaloniki, the city’s unique geopolitical position and the cosmopolitanism of its pre-war society, economy and history that was tragically transformed by the Holocaust of its Jewish community.The contribution of the Jewish Museum included unpublished historical records (documents, photographs, testimonies) dating as early as the 1930s. The records related to the demographical and geographical changes that influenced Thessaloniki’s Jewish population; local antisemitism; the electoral and political behaviour of the Jewish population; and to Jewish business and construction activity. New records were also presented that regarded developments in Thessaloniki at the time of the German occupation. They demonstrated the higher mortality rate among Jews at the time of the famine, the control of the Jewish Community by German authorities, local collaborationism, the destruction of the Jewish cemetery, the forced labour imposed on Jews and the ransom paid to buy it off. Other records presented a timeline of the displacement of Thessaloniki’s Jews to Nazi extermination camps, the demarcation of ghettos, the Baron Hirsch transit camp, the looting of Jewish properties, as well as the “erasing” of Jews from local records. They also included photographs of survivors and interviews with Thessaloniki Jews born after 1941. [Exhibition] Exhibition InitiativeGoethe-Institut Thessaloniki CoorganisersMOMus-Museum für Zeitgenössische Kunst, Jüdisches Museum Thessaloniki, NS-Dokumentationszentrum der Stadt Köln Goethe-Institut ThessalonikiProject managersPeter Panes, Beate Köhler CoordinationAris Kalogiros TranslationsRenate Lenger-SidiropoulouDoris WilleGeorgios KefalidisKaiti Stefanaki German texts editing Doris Wille MOMus-Museum of Contemporary ArtCuratorsDenys Zacharopoulos, Thouli Misirloglou Research assistants Eleni BasdekiMiguel Fernández Belmonte Scientific Consultant Loukianos Chasiotis, Assistant Professor Modern &amp; Contemporary History, AUTh Works’ use permits | Contacts Katerina Syroglou Accountants’Dora KaipiAreti KaravassiliMari PournouHaris Theodoridis Creative Direction | Digital exhibition design | Digital material MALVI Exhibition graphic design MALVIPanagiotis MetallinosPantelis Toutounopoulos Jewish Museum of Thessaloniki CuratorsEvangelos Chekimoglou, Lucy Nachmia Assistant curatorsPauline SchwankeIliana ErreraMyriam Sedikario Scientific consultants Anastasia ValavanidouZanet BattinouErika Perahia Artistic curatorshipHyBrazil NS-Dokumentationszentrum of the City of Cologne CoordinationRobert Muschalla Programming and Interface-Design | Databank and Editorial StaffChristine Bolz, Redaktionsbüro Dank <a href="http://www.dividedmemories.de/">www.dividedmemories.de</a> Additional information can be found here:<a href="http://www.goethe.de/thessaloniki">www.goethe.de/thessaloniki</a><a href="http://www.momus.gr/">www.momus.gr</a><cite><a href="http://www.jmth.gr%0D/">www.jmth.gr</a></cite><a href="http://www.nsdok.de/">www.nsdok.de</a>

Divided Memories 1940-1950. Between History and Experience

The permanent exhibition of the works of the Iola donation is presented on three levels in the wing completed in 1997 as part of the program of the European Capital of Culture Organization "Thessaloniki '97". 47 emblematic works by Greek and international artists are included in the donation and are the personal choices of the benefactor-donor Alexandros Iolas (1908-1987), with the aim of contributing to the establishment of a Contemporary Art Center. The collector and patron of contemporary art was active in the art world in the 1950s-1980s internationally. His collection included numerous works of art, both ancient and modern.With a constant love for the work of art as an object, Iolas maintained his undiminished interest in the artistic endeavors after the war, when the overall goal was to create a new visual and cultural reality. He helped promote artists around the world and was instrumental in establishing the surrealists in America. His exhibition activity peaked in the 1960s and 1970s in art galleries and institutions in the artistic metropolises.On each level of the exhibition space, a different narrative unit develops that highlights the donor's relationship with famous artists, from Victor Brauner to Kostas Tsoklis, from Alexis Akrithakis to Giorgos Lazogas and Pavlos, from Niki de Phalle to Jean Tinguely, from from Dennis Oppenheim to Andy Warhol, from Elisseo Mattiaci to Pino Pascali, from Novello Finotti to Herbert List and Takis, the path that Iolas traveled in the artistic space, not only reflects subjective preferences, but also a sharp gaze, constantly open to artistic expression.The architectural plans of the three-story building unit are a donation of Xanthi Scarpia-Heupel of the office "Jonos, Heupel, Heupel". During construction, archaeological findings were uncovered and part of a road has been saved and preserved at ground level. Alexandros Xydis (1917-2004) is an important figure of the Greek post-war cultural reality: diplomat, critic and art historian, he was widely active in the artistic field both with his systematic art criticism, his presence in the society of Greek Art Critics and the international Association of Art Critics, as well as with the organization of exhibitions, as a member of the committee of Greek Art exhibitions abroad at the Ministry of Education initially(1963-1966) and later of the Ministry of Culture (1981-1982).His collection, formed around 60 years, is, among other things, the result of the spiritual ties he developed with artists, as well as the collaboration of his wife, Dorothea Xydis.The donation of 210 works from the collection of Alexandros and Dorothea Xydis to the Macedonian Museum of Contemporary Art (MMCT) in 1999 was the result of a long-term relationship with the institution since its early years. These works today are part of the concession that the MMCT advanced to, the Metropolitan Organization of Visual Arts Museums of Thessaloniki (MOMus). Achilleas Aperghis (1909-1986) was one of the most important artists in the history of Greek sculpture, who pioneered and contributed substantially to the foundation of abstraction. From the late 1950s he presented his work in group and solo exhibitions in Europe, representing Greece at international exhibitions and attracting public interest and criticism. His particular contribution to abstraction is recognized in the peculiarity of his plastic language, which is achieved after a long and painful experimentation with the materials. The titles he gave o his works, such as Birds, Revival, Flight, etc., refer to nature and natural phenomena, suggesting his interest in the plastic performance of movement and change. The donation of Aperghis’ work at the Macedonian Museum of Contemporary Art in 2002 by his son, Yorgos Aperghis, enriched the Museum’s collections and gave an extensive picture of the work of this important artist. These works, as well as the rest of the MMCA collection, after the merger of the foundation with the State Museum of Contemporary Art in November 2018, are currently managed by the Metropolitan Organization of Fine Arts Museums of Thessaloniki (MOMus).

Donation of Iolas, Xydis and Aperghis

The truth, the power, the sensitivity and the poetics of Alex Mylonas' art are some of the elements highlighted in the permanent exhibition at MOMus-Museum Alex Mylona in Athens. The sculptures, watercolors and drawings of Alex Mylona reflect a common thread which runs through the entire work of Alex Mylona: from the anthropocentric compositions she created in the 1950s, to the formality, austere stillness, coarseness and sharp ends, the game of lines, empty forms and vertical surfaces characterising her abstract wrought iron sculptures presented at the 1960 Venice Biennale; and from the twists and turns, the curves, the movements and tensions of the malleable sheet metal in Architectural Propositions (1976), to the exceptionally simplicity of sculptural form and the purity of geometrical marble surfaces with the joining of circles and semicircles, squares or rectangles. Two emblematic works in marble from 1998, Kouros and Kore, appear to "close the circle" (her words), summarising her varied and multidimensional life both as a person and as an artist. The art of Alex Mylona succeeds in transmuting emotion and moulding its vital relationship with the world; in touching the secret of existence, birth and death, motherhood and love; in combining the myths of the ancient Greek world - the birth of Aphrodite, the Minotaur and Medea - with the spirituality of Byzantium, to seek out the balances, to reflect on the nature and potential of plastic art, to suggest a new arrangement of space and surface, of rhythm and volumes, of positivity and negativity, of emptiness and wholeness, of materiality and form. Alex Mylona was born in Athens in 1920. Her parents recognised her artistic talent early, offering her the opportunity of taking painting lessons at the age of eight. In 1940 she married politician Georgios Mylonas. In 1943 their first daughter, Maria, was born, followed in 1944 by their second daughter, Eleni. In 1945 she was admitted to the Athens School of Fine Arts, studying under sculptor Michael Tombros. In 1949 she gave birth to her third child, Alexandros. After finishing her studies, Alex Mylona devoted herself wholeheartedly to art, participating in several group exhibitions. In 1960 she represented Greece at the Venice Biennale, her sculptures drawing the enthusiastic support of art critic Herbert Read. In the 1960s she took part in several important Biennales and other international exhibitions in Alexandria, Paris, Montreal, Brussels, Buenos Aires and Budapest. During that period she also kept a workshop in Paris, located near Montparnasse. In 1980 she moved her workshop to the district of Le Marais. Living in the French capital she had the chance of meeting important sculptors, such as H. Arp, A. Giacometti and O. Zadkine, and painters like J. Atlan. Her solo exhibitions denote and reflect the different stages of her artistic and personal development. The 1961 "Parnassus" exhibition was a retrospective dominated by compositions originally exhibited in Venice. In 1976, at the "Polyplano" art gallery, she presented her projects on volume and void, while in 1984, at the Athens Art Gallery (and later, in 1988, at the Parisian gallery "Denise René"), she presented her investigations on the archetypal forms of the circle and the square expressed on marble. In 1986, the National Gallery - Alexandros Soutsos Museum in Athens hosted a large retrospective of her work. In addition to sculpture, Alex Mylona created several works on paper, was involved in painting and designed sets and costumes for performances by Rallou Manou's Hellenic Horeodrama group. Mylona's creative work was in step with contemporaneous modern and progressive art movements, while also highlighting her Greek descent and the international dimension of her compositions. In her later years, she founded the Alex Mylona Museum, looking for a permanent, public home for her works and for a place that would always welcome the works of young aspiring artists. Credits © Eleni Mylonas 1976 All rights reserved

Permanent Exhibition Museum Alx Mylona

WORLD’S FIRST RETROSPECTIVE EXHIBITION A fully detailed and documented retrospective-exhibition on the work and life of Anna Andreeva (1917-2008), the Soviet textile designer who worked in the design collective at the Red Rose Silk Factory in Moscow from the 1940s to the 1980s, will be the core narration line of the upcoming exhibition under the title “Collective Threads: Anna Andreeva at the Red Rose Silk Factory”, at the MOMus-Museum of Modern Art-Costakis Collection in Thessaloniki, Greece, from 7 December 2024 until 27 April 2025, curated by Christina Kiaer. Named after the German revolutionary Rosa Luxemburg, the Red Rose Silk Factory was a site of collective female design labor that shaped the fashion and material culture of late Socialism. The exhibition showcases the abstract, geometric, cosmic, space-age, and cybernetic patterns of Andreeva, highlighting her as an individual talent whose inventiveness often soared above the work of her comrades, and who sometimes had to find ways to elude the censoring glare of Party authorities. The exhibition includes Andreeva’s drawings, sketches, and historic fabric samples, as well as photographs, film clips and other documentary materials from the Red Rose Factory collective, Soviet fashion magazines and exhibitions. It is complemented by large-scale contemporary reproductions of Andreeva’s textiles that viewers are invited to touch. The exhibition presents Andreeva's work in dialogue with the Russian avant-garde from the Costakis collection of MOMus-Museum of Modern Art. It includes a number of textile designs from the 1920s, as well as works of art that inspired industrial design in the early Soviet years, which were preserved thanks to the tireless efforts of collector George Costakis. An accompanying catalogue with historical and theoretical essays by scholars, curators and critics. Curated by: Christina Kiaer, expert in Soviet art history, Professor of Art History, Northwestern University, USAAssistant Curator: Angeliki Charistou, Art historian, MOMus-Museum of Modern Art-Costakis Collection  In collaboration with: Anna Andreeva Estate (Basel), Layr Gallery (Vienna)Exhibition Support: Kristina KrasnyanskayaCatalogue Support: Konstantin &amp; Victoria Yanakov  SAVE THE DATES Friday 6 December 2024 11:00-12:30 Press conference for the journalists / tour in the exhibition. Saturday 7 December 202412:00-14:00 Conference and presentation of the catalogue. Visit to the exhibition.Speakers:Christina Kiaer – Professor of Art History, Northwestern University, USA, Curator of the exhibitionAnna Dumont – Postdoctoral Fellow at the Max Planck Institute for Art History, Rome Evangelos Kotsioris – Assistant Curator, Department of Architecture and Design, MoMA, New York Julia Tulovsky – Curator at the Zimmerli Museum, Rutgers University, USAXenia Vytuleva-Herz – Anna Andreeva Estate (Basel)Moderator: Maria Tsantsanoglou – Artistic Director of MOMus-Museum of Modern Art-Costakis Collection. More information to be announced soon.  Accommodation Supporter MOMus<img src="/sites/default/files/inline-images/01_Lazart%20Hotel%20Trademark%20Collection%20By%20Wyndham_LOGO.png" data-entity-uuid="07d098e4-dc79-4bba-a8b9-4b778e7bab53" data-entity-type="file" width="217" class="align-left" height="370" />

Museum of Modern Art

Collective Threads: Anna Andreeva at the Red Rose Silk Factory

The retrospective exhibition "Come Together" presents artworks by men and women, created in the context of art therapy programmes at the Special Centre for Prevention and Treatment of Memory Disorders of the Psychiatric Hospital of Thessaloniki and at MOMus-Museum of Modern Art-Costakis Collection, in the ground floor galleries of the venue, from 12 May until 08 September 2024, in Moni Lazariston, Thessaloniki.  The aim of the exhibition is to demonstrate through the 96 artworks made by people during the 22 years of operation of the Special Centre for Prevention and Treatment of Memory Disorders, plus while participating in the museum programme "A Walk Together" which has been systematically carried out for the last two years, the dynamic relationship between Art and the therapy through it, which opens a path of expression and communication for all people, whatever period of their lives. Art Therapy is based on the power of visual expression and the acknowledgement the most fundamental thoughts and feelings of human beings are in the unconscious, while finding their expression primarily in images and then perhaps in words. In the museum programme "A Walk Together" the images were artworks from the Costakis collection at MOMus-Museum of Modern Art: Liubov Popova, Elena Guro, Kazimir Malevich, Ivan Kliun, Pavel Filonov, Vsevolod Sulimo-Samuillo, Solomon Nikritin, etc. The artworks of the collection were the fermenting ground for a new group, with this exhibition sealing the collaboration between the two institutions. Collaboration: Psychiatric Hospital of Thessaloniki, MOMus-Museum of Modern Art-Costakis Collection Curation/design:Evi Papavergou, MOMus Educational ProgrammesKaterina Paraskeva, MOMus Educational ProgrammesChristina Papaioakeim, MOMus Educational ProgrammesIoanna Vogiatzi, Art Therapist, PHT Special Centre for Prevention and Treatment of Memory Disorders

Come Together

The value of drawings as artistic process, as a preparation for new sculptures, a new everyday life, a new city and ultimately the Future itself “comes” to the fore in the new exhibition by MOMus-Museum of Modern Art-Costakis Collection under the title “Drawing the Future. Drawings on art, architecture and design in the period of the Russian and Soviet avant-garde”, from 30 May to 10 November 2024. The exhibition hosts projects-designs related to the preparation of architectural constructions and installations, with utopian projects that were never realized and presented to the public for the first time, with the design of textiles, clothes, utensils, furniture and even books in the context of illustration.  The liberation of form and the synthesis of the arts as well as the collaboration with the sciences constituted the beginning of an evolutionary artistic process that defines the aesthetic phenomenon of the Russian avant-garde. Art opens the way to change, the world is getting transformed. Sketches and experimentation on paper become more important than a complete painting as they, through their research objectives, acquire the qualities of theoretical and philosophical contemplation of the ongoing utopia.  The process of completing a painting or a construction often gave its preliminary studies the character of autonomous works of art. This is, in some way, a conceptual approach to the artwork, characterized by exhausting the subject through drawings that form thematic cycles. Thus, the work of art is formed in the mind of the viewer and for this reason more emphasis is placed on the process of both production and reception than on the final result.  Curated by: Maria Tsantsanoglou, Angeliki Charistou In collaboration with: Liubov Pchelkina

Drawing the Future. Drawings on art, architecture and design in the period of the Russian and Soviet avant-garde

Small drawings of bulls, bullfighters, picadors or other scenes of the arena, the love for the Mediterranean, the love and the nostalgia for the homeland, the solidarity for the fellow fighter and (co)exiled compatriot, important political interventions and artistic gestures of great spontaneity, all seen through the long-time correspondence of two very good friends, Pablo Picasso and Eugenio Arias, are the main axes of the new, international exhibition of the MOMus-Museum of Modern Art-Costakis Collection entitled "Pablo Picasso: Exile and Nostalgia". The exhibition, coproduced by the Museo Casa Natal Picasso in Málaga, will be presented from 12 July to 10 November 2024 at the MOMus-Museum of Modern Art, in the Moni Lazariston in Thessaloniki, and focuses on Pablo Picasso's long-standing and multi-dimensional friendship with the barber and friend of Eugenio Arias, exiled resistance fighter. Through the correspondence of the two men, the turbulent period of the civil war in Spain and the period after that (1936-1952), such as the ties with the French Resistance and the illegal Communist Party of Spain, is illuminated in an extremely special way. The exhibition “Pablo Picasso: Exile and Nostalgia” features drawings, prints and ceramics from the collections of the Museo Casa Natal de Picasso in Malaga, many of which are being exhibited for the first time outside of Spain. The specific works are in dialogue with works from the Costakis collection and archive from the period of the Russian Avant-Garde that are parallelly presented in parallel at the MOMus-Museum of Modern Art, thus broadening the perspective on modernism, bringing together the European historical avant-garde art movements. Curated by: Carlos Ferrer Barrera Coordination: Maria Tsantsanoglou  The exhibition is part of the international collaboration that stands between MOMus and the Agencia Pública Para la Gestión de la Casa Natal de Pablo R. Picasso y Otros Equipamientos Museísticos y Culturales Ayuntamiento de Málaga. In this frame, more than 450 artworks are shown in Malaga, in the exhibition under the title «Utopía y Vanguardia. Arte ruso en la Colección Costakis – MOMus Museo de Arte Moderno de Salónica” (4.07.2024-31.03.2025, Colección del Museo Ruso). This is MOMus-Museum of Modern Art major collaboration for 2024, as part of its effort to network with international museums and institutions holding collections of seminal European avant-garde art movements.   The story of a friendship – A museum’s collection. Pablo Picasso met Eugenio Arias in Vallauris, Southern France where Arias had fled as a left-wing political exile from Franco's regime and was working as a barber. Shortly after Eugenio Arias died, his family found a bundle of pages from the Spanish right-winged and monarchic ABC newspaper where Picasso left signs on the fringes of bullfighting chronicles together with drawings alluding to the toros and with the surname "Arias" handwritten, a call to the recipient of such a particular correspondence. It is a group of more than 60 pages of a friendly correspondence between two aficionados, made between 1962 and 1968.  This collection was kept in the family home of the barber's heirs until, in 2016, Madeleine and Pauline Arias visited the Documentation Centre of the Picasso’s Birthplace Museum (Museo Casa Natal Picasso) in Malaga and, the following year, they decided to deposit an important collection of drawings, engravings, illustrated books and other materials. This collection was kept in the family home of the barber's heirs until, in 2016, Madeleine and Pauline Arias visited the Documentation Centre of the Museo Casa Natal Picasso in Malaga and, the following year, they decided to deposit an important collection of drawings, engravings, illustrated books and other materials. The collection was accompanied by a copy of the book Dibujos y escritos, written by Picasso and published in 1961 by Camilo José Cela, a Spanish writer awarded in 1989 with the Nobel Prize of Literature. This copy was personalized by the painter in 1966 as a birthday gift for his friend Eugenio. Among its pages there are two inscriptions and 35 pages enhanced with drawings, arabesques and decorative strokes with felt-tip pen. Featuring the impressive Bearded man, a classic-looking male face painted by the the artist with circular coloured strokes as if they were beard hairs. A very suitable gift for the barber friend. These drawings are presented for the first time outside of Spain. In the set there are also important illustrated books like Sueño y mentira de Franco (1937), that is complemented in this exhibition with other publications that reflect the artist's involvement and solidarity with the Spanish people, as he used his poems and illustrations to fight against Spanish dictator Francisco Franco. With his resistance literature and his illustrations he helped well known resistants and antinazi poets and writers, like Paul Eluard or Robert Desnos to spread the cause. For the first time, two surrealistic poems by Picasso are published in Greek, translated by Androula Michael. The collection is completed with photographs, engravings and lithographs from the Museo Casa Natal Picasso collection, that contextualise and give an image of the artist's love for bulls and the Mediterranean world, a paradise that he was able to recover in Vallauris, on the Côte d'Azur, after the end of the Second World War. Exile and Νostalgia is an excellent opportunity to see, for the first time outside of Spain, these intimate works of the painter who broke down the borders of art and expanded its limits at the beginning of the 20th century.  <img data-entity-uuid="614abf55-8167-4427-83d8-86cde0ffde21" data-entity-type="file" src="/sites/default/files/inline-images/logos_picasso_eng_0.jpg" alt="" width="709" class="align-left" height="373" />

Pablo Picasso: Exile and Nostalgia

In the frame of the Art Athina Young Artist Award 2023 Opening: Thursday 12 September 2024, 20:00 A primary, cosmogenic, overwhelming tide of materials, meanings, signs and experiences is about to happen on the occasion of Stefania Strouza's new exhibition entitled "Primary Tide" at MOMus-Museum Alex Mylona (Agioi Asomaton Square 5, Thissio) in Athens, from 12 September to 3 November 3, 2024.  The exhibition takes place within the frame of the programmatic collaboration of MOMus-Museum of Contemporary Art with the Panhellenic Association of Art Galleries and Art Athina fair for the Young Artist Award, seeking to support and promote the work of young contemporary artists. In the "Primary Tide" exhibition, which could be described as a retrospective of Strouza’s work over the last 10 years, the starting points of her inspiration and her working framework are captured. Consistent in her work, she herself combines and captures elements of geography, culture, art, history, mythology, science and philosophy, with her sculptural compositions, her in situ installations, the mix of natural and synthetic materials in the production process of her works. Nature and man's altered relationship with it now runs through the broad and interdisciplinary and theoretical background of Strouza’s work, in an attempt to indicate the depth of the inconsistency and the need to restore this destructive disorder.The exhibition is accompanied by a bilingual catalogue, supported by Art Athina. The exhibition is also part of the Museum’s tribute exhibition series, entitled “Four Women Artists-Four Attitudes” series, which features women artists and curators. Exhibition curator: Domna Gounari, MOMus Curator The Young Artist Award Art Athina 2023 Stefania Strouza who is represented by the a.antonopoulou.art gallery is the holder of the Art Athina Young Artist Award 2023. The Award, established by the fair in 2022, aims to strengthen artistic creation; artists up to 45 years of age, who live and work in Greece and are recommended by the gallery that represents them, where they have made at least one individual exhibition, can be nominated for the award. After evaluating the 18 nominated works submitted by the artists and the galleries representing them, the jury unanimously decided to award the prize to Stefania Strouza. The jury recognized the consistency, coherence, research depth, and diversity of the artistic pursuits in Stefania Strouza’s work, which spans a wide range of media. The jury also took note of the multidimensional nature of her work and career so far, as well as the relevance and importance of the themes she addresses and the theoretical-research framework underpinning her artistic approach.  The Young Artist Award Art Athina 2024 will be announced on Friday 20 September 2024 at 18:00, during a special event, at Zappeion Megaron, in Athens. Parallel eventsPublic talk «Primary Tide: Stefania Strouza’s dynamic practice in the frame of the Art Athina Talks Friday 20 September 2024, 17:30-18:00Zappeion Megaron, Athens  Speakers: Domna Gounari, MOMus Curator / Christian Oxenius, Independent Curator and Head of Research for the International Biennial Association / Stefania Strouza, Visual Artist / Yorgos Tzirtzilakis, Professor, Department of Architecture, University of ThessalyEntrance with the Art Athina ticket. Please find all Information, here <a href="https://art-athina.gr/en/">https://art-athina.gr/en/</a>  Stefania Strouza CV Stefania Strouza is a visual artist currently living and working in Athens. Her practice explores how cultural narratives of diverse epochs connect to produce new identity projects. It examines the exchange of forms and symbols across large distances and the cross-cultural syncretisms that emerge from it. The artist materialises these ideas through sculptural works and installations that draw associations between the symbolic world of objects and notions of temporality, corporeality, and geography.  Her work has been featured nationally and internationally in solo and group exhibitions. Solo exhibitions (selection): Water abandons itself. Gold takes life over., a.antonopoulou.art, 2024· I my Sea Journey, I my Land Claim, Old Oil Mill Factory, Eleusis Cultural Capital of Europe, Elefsina, 2023· 212 Medea (Recited from an Empty Middle), AnnexM, Megaron-The Athens Concert Hall, Athens, 2021· Currents and Currencies, a.antonopoulou.art, Athens, 2017· Shore, Wiener Art Foundation, Wien, 2016· To a certain degree sacredness is in the eye of the beholder / Act V, Neue Galerie Innsbruck, Innsbruck, 2015· To a certain degree sacredness is in the eye of the beholder / Act III, Athens &amp; Epidaurus Festival, 2014. Group exhibitions (selection): Plasmata II: Ioannina, organized by the Onassis Stegi, Ioannina, 2023· The Mediterranean: A Round Sea, ARCO Madrid, with a.antonopoulou.art, Madrid, 2023· Mr. Robinson Crusoe Stayed Home: Adventures of Design in Times of Crisis, Benaki Museum, Athens, 2021· Ride into the Sun, 3rd Industrial Art Biennial, Istria, 2020· The Palace at 4 a.m. –collaboration of NEON with the Whitechapel Gallery–, Archaeological. Museum of Mykonos, 2019· Ad Astra, Pinta Miami, Miami, 2018· Imagined Homes, 6th Thessaloniki Biennale of Contemporary Art, State Museum of Contemporary Art, 2017· Desk in Exile, Bauhaus Dessau Foundation, Dessau, 2016· No Country for Young Men: Contemporary Greek Art in Times of Crisis, BOZAR, Brussels, 2014· Afresh: A New Generation of Greek Artists, National Museum of Contemporary Art-EMST, Athens, 2013. Strouza has received numerous accolades such as the Art Athina Award 2023, the Inspire Prize of MOMus- Museum of Contemporary Art (2021), the ARTWORKS Award (Stavros Niarchos Foundation Artist Fellowship Program) (2018), the Emerging Artists Award of the National Bank of Greece (2017), and the DiplomaAward of the Academy of Fine Arts Vienna (2015). She has been an artist-inresidence at the Seeger Center for Hellenic Studies in Princeton University, US (2016), the Bauhaus Dessau Foundation, DE (2016), at Studio Residency in Mexico City, MX (2018) with the support of the Austrian Federal Chancellery, at MANAContemporary New Jersey, US (2019), at CCA Andratx in Mallorca, ES (2020), and at ISCP, US (2021). With prior graduate studies at the School of Architecture of the National Technical University of Athens (2007), Strouza also holds an MFA in Environmental Art from the Edinburgh College of Art (2010) along with a Magister in Fine Arts from the Academy of Fine Arts Vienna (2015). She is currently a PhD candidate at the Architecture Department of the University of Thessaly.<a href="http://www.stefaniastrouza.com">www.stefaniastrouza.com</a>

Primary Tide

Sound is the protagonist for another year in the 2nd Electroacoustic Music and Audiovisual Arts Festival under the general title “Stereoma” which will take place at MOMus-Experimental Center for the Arts (Warehouse B1, Thessaloniki port), from 20 September until 27 October 2024.  The Festival is focusing on sound expression and its timeless and immersive nature and impact. Through an exhibition (20.09-27.10), live concerts (4-5-6.10) and a dance performance (19.10), the Festival highlights sound as a pivotal element of sensory experience, inviting the audience to explore the ephemeral, fluid, and transformative qualities of sound and the acoustic process. Sound has the power to reshape our perception, revealing profound and often unexplored connections between art and life. The Festival aims to explore these connections, underscoring the central role of sound within a diverse cultural and intellectual landscape that mirrors the complexity and diversity of our era. The exhibition of the Festival brings together artists from diverse disciplines who explore the relationships between audio and visual. Their works both challenge and redefine our approaches to this relationship, fostering a stronger connection between inner experience and external space. Furthermore, drawing inspiration from Mark Fisher's Ghosts of My Life, the exhibition delves into themes of dislocated time, rickety memory, and the gradual cancellation of the future. In a world where it is becoming a given that the linearity and coherence of time and memory are fractured, and where the future seems increasingly disintegrated due to a permanent state of crisis and uncertainty, the exhibited works underline the necessity of reimagining the unfulfilled promise of a radically different future, serving as a medium of both protest and resistance.  The live part of the Festival, featuring a three day series of concerts and a dance performance, also showcases the indeterminate and ever-changing nature of sound. The performers push the boundaries of auditory experience, venturing into new directions in the fields of music and acoustic art. Through the multilayered use of materials—including live electronics, field recordings, radio broadcasts, electronic tones from oscillators, vocal experimentations, improvisations and noises produced by analog devices—the compositions presented demonstrate a profound understanding of the structure of sound and its dynamic potential for modification.  Curated by Eirini Papakonstantinou, Art Historian, Curator MOMus-Experimental Center for the Arts Coordination: Dominik MάlekProgramme 2nd Electroacoustic Music and Audiovisual Arts Festival “Stereoma” MOMus-Experimental Center for the Arts Warehouse Β1, Pier Α’, Thessaloniki Port   Exhibtion* │ 20 September – 27 October 2024Artists: Voltnoi Brege, Yiorgos Drosos, MAENADS (Eleni Ikoniadou, Aliki Leftherioti), Ilektra Maipa, Pedro Oliveira, Maria Paschalidou, Anna Raimondo, Andrey Smirnov, Bill Psarras, Raed Yassin, The Institute of Audiovisual Arts (Athanasios Lazaris, Despina Tamvaki, Kleanthis Kommatas, Lambros Tsiambasas, Nasia Karatsiraki, Adamantia Lea Kavvadia, Elisavet Zari, Theodoti Aggelaki, Maria Adamou, Mira Maria Maroniti) IAA curated by Angeliki Avgitidou, Maria Varela, Sophia Papadopoulou Concerts** │ 4-5-6 October 2024Friday 4 October @21.00emdy (Anastasios Kokkinidis)Pedro OliveiraSaturday 5 October @21:00Leo OkagawaJasmine Guffond Sunday 6 October @21:00Spyros Emmanouilidis MAENADS (Eleni Ikoniadou, Aliki Leftherioti, Maria Sideri)  Dance-Performance Saturday 19 October @21:00Eleonora Siarava, Sofia Pouhtou, Yiannis Tsirikoglou  *General Admission: 4€. Reduced prices are also applied.**Concerts’ Daily Pass: 6€ | 3-Days Concerts’ Pass: 15€. The tickets are issued on line by ComeTogether (<a href="https://cometogether.live/event/1314">https://cometogether.live/event/1314</a>) or at the venue’s Reception, half an hour in advance of the event, upon availability. <img src="/sites/default/files/inline-images/Media%20Sponsors_0.png" data-entity-uuid="b2d11264-ad2f-43a9-b4e9-5234b6af60b9" data-entity-type="file" width="366" class="align-left" height="756" />

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