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01
Revolutionary Material Alchemy
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02
Transcending Urbanism
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03
Eco-Centric Aesthetics
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04
AI-Enhanced Creativity
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05
Smart City Visions
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06
Futurist Environmental Paradigms
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WE ARE
OPEN ART LINK
CONNECTING CULTURES THROUGH ART
OpenArtLink is an international art event that transforms the Ioannis Alexiou Mansion in Piraeus into a vibrant hub of creativity. The program features exhibitions, performances, screenings, and talks by more than 250 artists, fostering dialogue and collaboration across disciplines and cultures.
FIRST FLOOR
URBAN CLUSTERS
The city is more than streets, buildings, or maps. It is traces of human presence, whispers of stories, sites of memory, resistance, and desire. Urban Clusters: Wandering Through the Invisible Map of the City opens a polyphonic, multimedia dialogue on how we inhabit, experience, and reimagine urban space.
Through the works of contemporary artists and theoretical reflections (Lefebvre, Foucault, the Situationists, Hall), the exhibition transforms the city into a layered landscape of culture and society. It sheds light on the “invisible” neighborhoods, transitional zones, and marginalized communities—clusters that, while absent from official maps, constitute the heart of urban life.
How do people inhabit the city when it is shaped not by the norms of urban planning, but by necessity, identity, and memory? How does wandering—the city as a lived, subjective experience—become a means of understanding and connecting with space?
The exhibition unfolds along four thematic axes:
Clusters: Social and cultural communities that generate new dynamics within the urban fabric.
Off the Map: Zones of exclusion, refugee settlements, and informal neighborhoods as sites of life and creativity.
Wandering: Experiencing the city through movement, intuition, and perception, beyond the logic of planning.
Place as Construct: The city as collective narrative, a space of resistance, transformation, and shared memory.
This is an exhibition as journey: it invites visitors to move beyond the familiar reading of the urban map, to listen to the city’s “silent” voices, to question boundaries, and to recognize the Other as a participant in our shared everyday.
This exhibition does not simply depict the city—it narrates it. And it rewrites it, together with you.
CURATED BY: Johannis Tsoumas & Antonia Thomopoulou
ARTISTS:
-Roxani Charantoni
-Evagelia Christou
-George Diamantis
-Niki Karamichali
-Nikos Makarounas
-Artemis Potamianou
-Antonia Thomopoulou
-Johannis Tsoumas
CURATED BY: Johannis Tsoumas & Antonia Thomopoulou
ARTISTS:
-Roxani Charantoni
-Evagelia Christou
-George Diamantis
-Niki Karamichali
-Nikos Makarounas
-Artemis Potamianou
-Antonia Thomopoulou
-Johannis Tsoumas
Through the works of contemporary artists and theoretical reflections (Lefebvre, Foucault, the Situationists, Hall), the exhibition transforms the city into a layered landscape of culture and society. It sheds light on the “invisible” neighborhoods, transitional zones, and marginalized communities—clusters that, while absent from official maps, constitute the heart of urban life.
How do people inhabit the city when it is shaped not by the norms of urban planning, but by necessity, identity, and memory? How does wandering—the city as a lived, subjective experience—become a means of understanding and connecting with space?
The exhibition unfolds along four thematic axes:
Clusters: Social and cultural communities that generate new dynamics within the urban fabric.
Off the Map: Zones of exclusion, refugee settlements, and informal neighborhoods as sites of life and creativity.
Wandering: Experiencing the city through movement, intuition, and perception, beyond the logic of planning.
Place as Construct: The city as collective narrative, a space of resistance, transformation, and shared memory.
This is an exhibition as journey: it invites visitors to move beyond the familiar reading of the urban map, to listen to the city’s “silent” voices, to question boundaries, and to recognize the Other as a participant in our shared everyday.
This exhibition does not simply depict the city—it narrates it. And it rewrites it, together with you.
CURATED BY: Johannis Tsoumas & Antonia Thomopoulou
ARTISTS:
-Roxani Charantoni
-Evagelia Christou
-George Diamantis
-Niki Karamichali
-Nikos Makarounas
-Artemis Potamianou
-Antonia Thomopoulou
-Johannis Tsoumas
CURATED BY: Johannis Tsoumas & Antonia Thomopoulou
ARTISTS:
-Roxani Charantoni
-Evagelia Christou
-George Diamantis
-Niki Karamichali
-Nikos Makarounas
-Artemis Potamianou
-Antonia Thomopoulou
-Johannis Tsoumas
ANTIMEMORY
The art in this exhibition does not remember. It does not recall, explain, or preserve. Instead, it disrupts memory, breaks continuity, and stands in opposition to recollection, as if denying its right to make sense of the present.
Antimemory is not forgetting; it is an act of silent resistance against representation. A rupture in history, an in-between space where nothing is certain anymore, and where the gaze does not recognize but gets lost.
In a world obsessed with preservation, the art here chooses to expose absence. To let what was never spoken emerge—without redemption, without narrative.
CURATED BY: Helen Mesadou
ARTIST:
-Marianna Athanasiou
-Nefeli Chyntiraki
-Eugenia Efstathiou
-Theodora Kalogirou
-Dafni Mamouri
-Natasha Pantazopoulou
-Georgia Ponirakou
-Thasos Tanagias
-Athanasia Tsatsou
-Vasileios Vasileiou
Antimemory is not forgetting; it is an act of silent resistance against representation. A rupture in history, an in-between space where nothing is certain anymore, and where the gaze does not recognize but gets lost.
In a world obsessed with preservation, the art here chooses to expose absence. To let what was never spoken emerge—without redemption, without narrative.
CURATED BY: Helen Mesadou
ARTIST:
-Marianna Athanasiou
-Nefeli Chyntiraki
-Eugenia Efstathiou
-Theodora Kalogirou
-Dafni Mamouri
-Natasha Pantazopoulou
-Georgia Ponirakou
-Thasos Tanagias
-Athanasia Tsatsou
-Vasileios Vasileiou
COSMOLOGIES OF BECOMING
Students' and teachers' works of the MA Program in Digital Arts of Athens School of Fine Arts (A.S.F.A)
The exhibition Cosmologies of Becoming brings together works by students and faculty members of the Master’s Program in “Digital Arts” of Athens School of Fine Arts. The works presented explore the fragile boundaries between the organic and the artificial, memory and simulation, the living and the inert. From biological autopoiesis to collective intelligence, from the flow of memory to the inertia of information, the artworks reconsider the relationship between humans, machines, and the world as an open, evolving field.
Imperfect Cosmogony by Jannis Karalis proposes a universe in continuous genesis, where light, sound, and matter merge in perpetual creation, and chaos functions as a generative matrix - a rhythmic cosmology of self-organization. In Migration attempts by Valentina Farantouri, 3D organisms compose ecosystems of autopoietic machines, continuously recomposing themselves while preserving traces of previous mutations. In Mnemonic Nebulae by Vicky Betsou, memory transforms into a luminous nebula — an immaterial archive that pulses between presence and absence, where technology extends cognitive experience. Inert Objects by Dimitris Agathopoulos investigates inertia as both a digital and social phenomenon, reflecting the passivity and stagnation induced by social media overexposure. LEVI by Isidoros Plakotaris links nature and technology, conscious and unconscious realms, exploring form, movement, and communication between different modes of existence whereas Nidus by Eirini Tabasouli presents a hybrid network of life, where bees become living nodes of persistence and resilience within a post-industrial landscape. The exhibition also includes four autonomous sound compositions by students and faculty, further enriching the multisensory field.
Through these diverse manifestations, Cosmologies of Becoming maps existence as a continuous process of recomposition - from biological form to digital trace, from individual memory to collective inertia. The exhibition proposes a unified vision of the contemporary world as an autopoietic ecosystem, where becoming is neither solely biological nor technological, but an ongoing process of relations and transformation.
CURATED BY: Vicky Betsou, Assistant Professor of Video Art at A.S.F.A.
ARTIST:
-Jannis Karalis
-Valentina Farantouri
-Vicky Betsou
-Dimitris Agathopoulos
-Isidoros Plakotaris
-Eirini Tabasouli
The exhibition Cosmologies of Becoming brings together works by students and faculty members of the Master’s Program in “Digital Arts” of Athens School of Fine Arts. The works presented explore the fragile boundaries between the organic and the artificial, memory and simulation, the living and the inert. From biological autopoiesis to collective intelligence, from the flow of memory to the inertia of information, the artworks reconsider the relationship between humans, machines, and the world as an open, evolving field.
Imperfect Cosmogony by Jannis Karalis proposes a universe in continuous genesis, where light, sound, and matter merge in perpetual creation, and chaos functions as a generative matrix - a rhythmic cosmology of self-organization. In Migration attempts by Valentina Farantouri, 3D organisms compose ecosystems of autopoietic machines, continuously recomposing themselves while preserving traces of previous mutations. In Mnemonic Nebulae by Vicky Betsou, memory transforms into a luminous nebula — an immaterial archive that pulses between presence and absence, where technology extends cognitive experience. Inert Objects by Dimitris Agathopoulos investigates inertia as both a digital and social phenomenon, reflecting the passivity and stagnation induced by social media overexposure. LEVI by Isidoros Plakotaris links nature and technology, conscious and unconscious realms, exploring form, movement, and communication between different modes of existence whereas Nidus by Eirini Tabasouli presents a hybrid network of life, where bees become living nodes of persistence and resilience within a post-industrial landscape. The exhibition also includes four autonomous sound compositions by students and faculty, further enriching the multisensory field.
Through these diverse manifestations, Cosmologies of Becoming maps existence as a continuous process of recomposition - from biological form to digital trace, from individual memory to collective inertia. The exhibition proposes a unified vision of the contemporary world as an autopoietic ecosystem, where becoming is neither solely biological nor technological, but an ongoing process of relations and transformation.
CURATED BY: Vicky Betsou, Assistant Professor of Video Art at A.S.F.A.
ARTIST:
-Jannis Karalis
-Valentina Farantouri
-Vicky Betsou
-Dimitris Agathopoulos
-Isidoros Plakotaris
-Eirini Tabasouli
RE-COIL
“Recoil” signifies not only retreat or withdrawal, but also the elastic return that follows. While the word is usually associated with guns and other military equipment, we challenge a different reading: from a feminist perspective, it embodies an ambivalent motion — being pushed back by social power structures while simultaneously transforming that displacement into renewed strength. Here, retreat is not perceived as weakness, but as resilience — a moment of gathering force, building tension, and opening new possibilities.
Read as “re-coil,” the word also evokes the act of coiling again – as a deliberate act of intertwining and redirecting forces. This gesture is not merely mechanical but deeply affective: the slow re- coiling of a string that has loosened is an act of patience and care, of re-evaluation and re- ordering. It sets things in place so that a new beginning can unfold. Re-coiling is not just preparation work but an integral part of any renewal, a quiet insistence that beginnings are always built on the labor of tending and gathering. Picking up threads, loosening knots, and tying new connections creates a feminist space of action in which vulnerability and resistance are inseparably interwoven.
In the port of Piraeus this reading finds a concrete echo: ropes that hold weight snap back when they break; currents pull, boats give way and return. The harbor is a place traditionally associated with male-coded labor and global circulation – and amidst ropes, rust, and concrete walls, “Re-coil” negotiates both patriarchal backlash and resistant rebound: withdrawal becomes counterforce.
Austrian and Greek artists working in painting, textiles, and performance present existing works while also developing a joint installation on site. This installation will be activated through performance, embodying “Recoil” not only as a narrative but as lived practice – a poetics of tension, care, and renewed, self-determined orientation.
CURATED BY: Marlene Heidinger
ARTIST:
-Marilena Georgantzi
-Marlene Heidinger
-Daphnis Monastiriotis
-Eirini Tiniakou
Read as “re-coil,” the word also evokes the act of coiling again – as a deliberate act of intertwining and redirecting forces. This gesture is not merely mechanical but deeply affective: the slow re- coiling of a string that has loosened is an act of patience and care, of re-evaluation and re- ordering. It sets things in place so that a new beginning can unfold. Re-coiling is not just preparation work but an integral part of any renewal, a quiet insistence that beginnings are always built on the labor of tending and gathering. Picking up threads, loosening knots, and tying new connections creates a feminist space of action in which vulnerability and resistance are inseparably interwoven.
In the port of Piraeus this reading finds a concrete echo: ropes that hold weight snap back when they break; currents pull, boats give way and return. The harbor is a place traditionally associated with male-coded labor and global circulation – and amidst ropes, rust, and concrete walls, “Re-coil” negotiates both patriarchal backlash and resistant rebound: withdrawal becomes counterforce.
Austrian and Greek artists working in painting, textiles, and performance present existing works while also developing a joint installation on site. This installation will be activated through performance, embodying “Recoil” not only as a narrative but as lived practice – a poetics of tension, care, and renewed, self-determined orientation.
CURATED BY: Marlene Heidinger
ARTIST:
-Marilena Georgantzi
-Marlene Heidinger
-Daphnis Monastiriotis
-Eirini Tiniakou
BLIND
The project explores the multiple dimensions of blindness—physical, psychological, political, and social—and the restoration of vision as a process of reflection and critical questioning. Blindness is not merely the absence of sight; it is a shift in perception, a limitation or inversion of both visual and mental perspectives.
From Plato’s Allegory of the Cave to Merleau-Ponty’s phenomenology and Aby Warburg’s studies on images and memory, blindness has served as both a symbol of limited knowledge and a tool for critical thought. In contemporary art, from James Turrell to Yves Klein, vision and its absence become fields of aesthetic and psychological exploration, revealing the experiential dimension of perception. As Walter Benjamin observed, social and ideological blindness collectively shape the ways we see and understand the world.
The project combines multiple media: a video installation that creates a shifting field of visibility and blindness, paintings by Kiki Filosoglou that act as fixed points of focus and reflection, and performances with Giannis Mitrou, where blindness is explored through the body and interpersonal experience.
The installation constructs a multisensory field where perception is tested, psychology investigated, and social consciousness challenged. Here, blindness is not simply loss but potential—the potential to see beyond the familiar, to rethink our vision, and to open ourselves to new forms of consciousness and aesthetic experience.
CURATED BY: Filippos Tsitsopoulos
ARTIST:
-Kiki Filosoglou
-Giannis Mitrou
-Filippos Tsitsopoulos
From Plato’s Allegory of the Cave to Merleau-Ponty’s phenomenology and Aby Warburg’s studies on images and memory, blindness has served as both a symbol of limited knowledge and a tool for critical thought. In contemporary art, from James Turrell to Yves Klein, vision and its absence become fields of aesthetic and psychological exploration, revealing the experiential dimension of perception. As Walter Benjamin observed, social and ideological blindness collectively shape the ways we see and understand the world.
The project combines multiple media: a video installation that creates a shifting field of visibility and blindness, paintings by Kiki Filosoglou that act as fixed points of focus and reflection, and performances with Giannis Mitrou, where blindness is explored through the body and interpersonal experience.
The installation constructs a multisensory field where perception is tested, psychology investigated, and social consciousness challenged. Here, blindness is not simply loss but potential—the potential to see beyond the familiar, to rethink our vision, and to open ourselves to new forms of consciousness and aesthetic experience.
CURATED BY: Filippos Tsitsopoulos
ARTIST:
-Kiki Filosoglou
-Giannis Mitrou
-Filippos Tsitsopoulos
CAREFREE PLAY
CURATED BY: Giorgos Kartalos
ARTISTS:
-Thanasis Lalas
ARTISTS:
-Thanasis Lalas
GET IN, we’re not like the others
ARTISTS:
-Michael René Sell & Dean Maasen
-Michael René Sell & Dean Maasen
FAMILIAR
In the familiar environment where the nylon material from everyday packaging of humble, consumed products intertwines with the warlike images of the mass media and social networks, overseen by central authority.
They compose a space of suffocating dominance, where guided arrogance and inertia have been inscribed within the realm of individuals and their social relations, transforming the person into a living being — a member of a directed herd.
ARTISTS:
-Nafsika Riga
-Giorgos Divaris
They compose a space of suffocating dominance, where guided arrogance and inertia have been inscribed within the realm of individuals and their social relations, transforming the person into a living being — a member of a directed herd.
ARTISTS:
-Nafsika Riga
-Giorgos Divaris
THANK YOU FOR YOUR HEROISM
Contemporary society often extols "freedom of choice" as the highest value. However, this "freedom" is an illusion. Various mechanisms of power determine what is considered "conceivable" and what remains "inconceivable," establishing stereotypes, discrimination, and both institutional and invisible restrictions. Within this framework, the models that are promoted do not necessarily stand out for their actions of real significance, but rather for their ability to manage their visibility within a spectacle regime.
Within this framework, the exhibition Thank You for Your Heroism aims to redefine the concept of heroism through fluid identities in a constantly changing modern era. Heroism, as presented here, is not superhuman. It is everyday, tired, contradictory. These are "heroes" who do not choose to become symbols, but simply exist out of a need to survive or to challenge the very system that excludes them.
The works presented cover a wide range of artistic media, such as painting, drawing, and sculptural installations. This multilingualism seeks to generate new hybrid expressions that not only speak of trauma, but also highlight the irony, humor, and resilience that emerge from the margins. Because identity is never singular and stable—it is multiple, fluid, constantly changing. And it is precisely this fluidity that paves the way for new narratives.
CURATED BY: Maria Vozali
ARTISTS:
-Andreas Lyberatos
-Konstantina Emmanouela Angelopoulou
-Michael Parlamas
-Christos Ponis
-Chrisanthos Sotiropoulos
-Stamatis Theoharis
-Maria Vozali
Within this framework, the exhibition Thank You for Your Heroism aims to redefine the concept of heroism through fluid identities in a constantly changing modern era. Heroism, as presented here, is not superhuman. It is everyday, tired, contradictory. These are "heroes" who do not choose to become symbols, but simply exist out of a need to survive or to challenge the very system that excludes them.
The works presented cover a wide range of artistic media, such as painting, drawing, and sculptural installations. This multilingualism seeks to generate new hybrid expressions that not only speak of trauma, but also highlight the irony, humor, and resilience that emerge from the margins. Because identity is never singular and stable—it is multiple, fluid, constantly changing. And it is precisely this fluidity that paves the way for new narratives.
CURATED BY: Maria Vozali
ARTISTS:
-Andreas Lyberatos
-Konstantina Emmanouela Angelopoulou
-Michael Parlamas
-Christos Ponis
-Chrisanthos Sotiropoulos
-Stamatis Theoharis
-Maria Vozali
TRANSFORMATIONS
TRANSFORMATIONS debuts at OpenArtLink 2025 | Piraeus Project, uniting artists, communities, and organizations through performances, exhibitions, and personal and participatory works that celebrate creativity as a living force for change. A platform where art, fashion, dance, and community stories converge, BRAINSHOT invites audiences to witness transformation in action—where boundaries dissolve, waste becomes art, and creation becomes a shared act of renewal. The theme of TRANSFORMATIONS, asks a simple yet radical question: What does it mean to transform — a body, a garment, a story, a community?
CURATED BY: Elisavet Latsiou & BRAINSHOT
ARTISTS:
-Aglaia Zorba
Christina Gkiza
-Fotis Trasanidis
-Helena Divoli
-Jakko
-Mariyana Todorova
-Mary Vossou
-Natalia Maragkou
-Elena Galani
-Kolazista
-Melina Konstantinou
-Stavros Paneras
-Savvina Kitsune
-Dionysia Adamopoulou
-Giorgos Koumbos
Thodoris Trampas
-Vicky Konstantinopoulou
-Aikaterini Diamanti
-Eva Dereoglou
-Dimitra Kousteridou
-Konstantinos Bantouvanis
CURATED BY: Elisavet Latsiou & BRAINSHOT
ARTISTS:
-Aglaia Zorba
Christina Gkiza
-Fotis Trasanidis
-Helena Divoli
-Jakko
-Mariyana Todorova
-Mary Vossou
-Natalia Maragkou
-Elena Galani
-Kolazista
-Melina Konstantinou
-Stavros Paneras
-Savvina Kitsune
-Dionysia Adamopoulou
-Giorgos Koumbos
Thodoris Trampas
-Vicky Konstantinopoulou
-Aikaterini Diamanti
-Eva Dereoglou
-Dimitra Kousteridou
-Konstantinos Bantouvanis
FORUM OF INSTALLATION
ARTISTS:
-Babis Karalis
-Sebastian Boulter
-Semina Milarokosta
-Alessandro Vassilas
-Milena Nowak
-Elio Samara
-ilka Leukefeld
-Babis Karalis
-Sebastian Boulter
-Semina Milarokosta
-Alessandro Vassilas
-Milena Nowak
-Elio Samara
-ilka Leukefeld
PASSAGE
TEXT:
The history of Piraeus has been inseparably tied to maritime trade for 2,500 years. The port shapes the city and provides both Athens and the Greek islands with everything necessary for survival.
The free flow of goods is a cornerstone of the European Union, as is the free movement of people. Yet in practice, this freedom is heavily restricted—especially at the Schengen external borders, such as here in Greece—where the correct passport is required and checked every time someone boards or disembarks from an international ship.
These restrictions, however, are not applied equally. Owners of large yachts are often exempt from such controls, enjoying protection within the gated communities of marinas.
Women, lesbians, intersex, non-binary, trans, and agender (FLINTA) people, along with queer individuals, face multiple layers of discrimination. Passports may display the wrong name or gender; those with caregiving responsibilities encounter additional challenges when crossing borders, sometimes “illegally”; and FLINTA people are disproportionately at risk of sexual assault.
In this exhibition, we present six artists from Austria, each offering their own artistic interpretation of this complex and tension-filled landscape.
CURATED BY: Lars* Kollros
ARTISTS:
-Italia Bruno
-Katrin Euller
-Sáro Gottsein
-Arash Lorestani
-Federico Niccolai
-Patrick Topitschnig
-Sascha Alexandra Zaitseva
The history of Piraeus has been inseparably tied to maritime trade for 2,500 years. The port shapes the city and provides both Athens and the Greek islands with everything necessary for survival.
The free flow of goods is a cornerstone of the European Union, as is the free movement of people. Yet in practice, this freedom is heavily restricted—especially at the Schengen external borders, such as here in Greece—where the correct passport is required and checked every time someone boards or disembarks from an international ship.
These restrictions, however, are not applied equally. Owners of large yachts are often exempt from such controls, enjoying protection within the gated communities of marinas.
Women, lesbians, intersex, non-binary, trans, and agender (FLINTA) people, along with queer individuals, face multiple layers of discrimination. Passports may display the wrong name or gender; those with caregiving responsibilities encounter additional challenges when crossing borders, sometimes “illegally”; and FLINTA people are disproportionately at risk of sexual assault.
In this exhibition, we present six artists from Austria, each offering their own artistic interpretation of this complex and tension-filled landscape.
CURATED BY: Lars* Kollros
ARTISTS:
-Italia Bruno
-Katrin Euller
-Sáro Gottsein
-Arash Lorestani
-Federico Niccolai
-Patrick Topitschnig
-Sascha Alexandra Zaitseva
IN TRANSIT
For millennia, Piraeus has stood as a hub of maritime trade. Its port shapes the city and links Athens with the Greek islands, supplying the essentials of daily life.
In theory, the European Union guarantees the free movement of goods and people. In practice, crossing borders is full of obstacles. At Schengen’s external frontiers, such as in Greece, transit is tightly controlled: passports are checked every time someone boards or leaves an international ship.
These rules are far from neutral. Owners of large yachts move almost unhindered, protected by the exclusivity of gated marinas, while others face delays, inspections, and barriers.
Women, lesbians, intersex, non-binary, trans, and agender (FLINTA) people, along with queer individuals, experience these restrictions in intensified ways. Names and genders may be misrecorded on official documents, caregiving responsibilities create extra hurdles, and the threat of harassment or assault is ever-present.
In this festival, six Austrian artists confront these realities, exploring the politics of transit, privilege, and vulnerability. Their works examine the fragile balance between movement and confinement, freedom and control, offering perspectives that resonate far beyond Greece – linking both exhibitions into a broader conversation about borders, mobility, and human rights.
CURATED BY: Lars* Kollros
ARTIST:
-Astrid Didion
-Laura Isselhorst
-Sandra Lazányi
-Flavia Mudesto
-Mehrta Shirzadian
-The Futile Corporation
In theory, the European Union guarantees the free movement of goods and people. In practice, crossing borders is full of obstacles. At Schengen’s external frontiers, such as in Greece, transit is tightly controlled: passports are checked every time someone boards or leaves an international ship.
These rules are far from neutral. Owners of large yachts move almost unhindered, protected by the exclusivity of gated marinas, while others face delays, inspections, and barriers.
Women, lesbians, intersex, non-binary, trans, and agender (FLINTA) people, along with queer individuals, experience these restrictions in intensified ways. Names and genders may be misrecorded on official documents, caregiving responsibilities create extra hurdles, and the threat of harassment or assault is ever-present.
In this festival, six Austrian artists confront these realities, exploring the politics of transit, privilege, and vulnerability. Their works examine the fragile balance between movement and confinement, freedom and control, offering perspectives that resonate far beyond Greece – linking both exhibitions into a broader conversation about borders, mobility, and human rights.
CURATED BY: Lars* Kollros
ARTIST:
-Astrid Didion
-Laura Isselhorst
-Sandra Lazányi
-Flavia Mudesto
-Mehrta Shirzadian
-The Futile Corporation
HIGH HOLIDAYS
High Holidays is a video work created especially for this exhibition, filmed on location in both Hamburg and the Greek island of Hydra. The video brings together two strikingly different yet thematically intertwined events: the G20 riots and protests that shook Hamburg in 2017, and the Orthodox Easter ceremonies that take place annually on Hydra. While one represents political unrest and confrontation, the other reflects religious devotion and tradition. Through careful editing and juxtaposition, the work invites viewers to observe how both events—despite their apparent opposition—are bound by a shared language of ritual, symbolism, and collective behavior. The charged energy of street protests and the solemn choreography of religious rites become visual parallels, raising questions about the deeper structures that govern how communities come together, express belief, and enact meaning.
In exploring these dynamics, High Holidays blurs the lines between the sacred and the political, highlighting how both spheres draw on similar mechanisms to generate identity, belonging, and emotional resonance. The work does not seek to compare or judge these occasions but rather to reflect on the human impulse toward ritualized expression—whether through chants and processions in a liturgical setting or banners and clashes in a political demonstration. By presenting these events side by side, the video offers a contemplative space for examining how repetition, performance, and symbolism function across cultural and ideological divides. In doing so, it challenges viewers to consider the power and pervasiveness of ritual in shaping public life, and the thin veil that often separates reverence from resistance.
ARTIST:
-Lars* Kollros
In exploring these dynamics, High Holidays blurs the lines between the sacred and the political, highlighting how both spheres draw on similar mechanisms to generate identity, belonging, and emotional resonance. The work does not seek to compare or judge these occasions but rather to reflect on the human impulse toward ritualized expression—whether through chants and processions in a liturgical setting or banners and clashes in a political demonstration. By presenting these events side by side, the video offers a contemplative space for examining how repetition, performance, and symbolism function across cultural and ideological divides. In doing so, it challenges viewers to consider the power and pervasiveness of ritual in shaping public life, and the thin veil that often separates reverence from resistance.
ARTIST:
-Lars* Kollros
MIXER
A fusion of talents, a showcase of pure inspiration.
Four artists, four journeys, one shared creative stage.
Mixer is more than an exhibition — it is a meeting of minds, a space where differences become dialogue and individuality weaves into a collective story. It is a sensory voyage, where colors, shapes, sounds, and narratives blend into a singular voice.
Each work, each gesture, each detail invites you to see the world anew.
Mixer is a celebration of creativity — a journey of discovery, a crossing of perspectives, and an invitation to explore art without boundaries.
CURATED BY: Keramikos23_artspace
ARTISTS:
-Georg Georgakopoulos
-Paolo Incarnato
-Fotini Kapiris
-Thalia Kerouli
Four artists, four journeys, one shared creative stage.
Mixer is more than an exhibition — it is a meeting of minds, a space where differences become dialogue and individuality weaves into a collective story. It is a sensory voyage, where colors, shapes, sounds, and narratives blend into a singular voice.
Each work, each gesture, each detail invites you to see the world anew.
Mixer is a celebration of creativity — a journey of discovery, a crossing of perspectives, and an invitation to explore art without boundaries.
CURATED BY: Keramikos23_artspace
ARTISTS:
-Georg Georgakopoulos
-Paolo Incarnato
-Fotini Kapiris
-Thalia Kerouli
CHILDHOODFREE
A series of sixteen drawings, is presented with reference to immateriality. The title "Childhoodfree" indicates timelessness and periodlessness and this the absence of episodic development. The sculptural structures of the "non-present" are depicted in the continuity of a linear line. The installation represents, so to speak, the upper city of the intelligible.
BUY NOW! the shopping conspiracy
What if everything you thought you knew about shopping was a lie?
Buy Now! pulls back the curtain on the consumer machine, as former insiders from the world’s most powerful brands reveal the hidden psychological tricks used to drive endless consumption. From fast fashion to tech addiction, the film uncovers the shocking consequences these strategies have on our wallets, our wellbeing, and the planet.
This eye-opening documentary is a wake-up call for anyone who's ever stood in line for the latest drop, clicked “add to cart,” or wondered why enough is never enough.
DIRECTOR:
Nic Stacey
Buy Now! pulls back the curtain on the consumer machine, as former insiders from the world’s most powerful brands reveal the hidden psychological tricks used to drive endless consumption. From fast fashion to tech addiction, the film uncovers the shocking consequences these strategies have on our wallets, our wellbeing, and the planet.
This eye-opening documentary is a wake-up call for anyone who's ever stood in line for the latest drop, clicked “add to cart,” or wondered why enough is never enough.
DIRECTOR:
Nic Stacey
SECOND FLOOR
PATTERNS
Patterns are regularities of structure, shape and form of plants and animals.
They are also genetically determined patterns that humans and intelligent organisms follow to make the appropriate decisions to survive in their environment.
Artificial intelligence technology uses categorized patterns to produce new realities.
The life of people after the Agricultural Revolution is defined by unchanging regularities and enters into strictly conservative social frameworks.
“The formalist, Geometrically Decorative style, with the Neolithic era, enters
a long period of unquestionable dominance, such as has never been achieved again
in historical times by any tendency of the same formalism. This style dominates throughout the Bronze and Iron Ages and the ancient Near East and ancient Greece. That is, in a period of history that extends from 5000 to 500 BC. In comparison with this period of time, all subsequent styles seem short-lived. Even the traditional art of the modern era presents some features that are still related to the primitive geometric style.” Arnold Hauser Geometric repetitive patterns were for thousands of years a craft practice in the production of fabrics for domestic use and clothing.
They were inspired mainly by structures of nature such as spirals, meanders, waves, foams, by reflection symmetries, abstract symbolism and tessellations. The process, a predominantly female responsibility, was forced for some and expiatory for others. The thread for some women was the means to escape the labyrinth of dark thoughts resulting from self-sacrifice and limitation as a kind of Zen ritual. For other women, this repetitive, strict and conservative craft practice is a psychological compulsion. It was not until the twentieth century that the use of materials was redefined not only for the construction of crafts but also as a free creative artistic expression. Lenore Tawney, a Bauhaus graduate, was, in fact, the first to create three-dimensional works with threads that entered the arena of sculpture and installation. Her 1961 exhibition at the Staten Island Museum is considered to be the event that launched “Fiber Art” in the United States and helped this form of creativity move away from the idea of being a simple craft. Louise Bourgeois used her youthful clothes to avoid being sacrificed to the moth, as she put it, which were modified and transformed into completely new forms. Redefining the use of materials, contemporary artists have incorporated artisanal materials and traditional techniques into their creative process, sometimes deconstructing patterns and sometimes constructing new compositions, exploring the meanings of this universal geometry.
SUPPORTED BY: UFOFABRIK
CURATED BY:
Ioanna Kazaki
ARTISTS:
-Anna Chatziaggelou
-Fotini Chatzimixail
-Ioanna Kazaki
-Kassiopi Manousopoulou
-Ioanna Sionti
-Vasiliki Vasileiou
-Myrto Vounatsou
They are also genetically determined patterns that humans and intelligent organisms follow to make the appropriate decisions to survive in their environment.
Artificial intelligence technology uses categorized patterns to produce new realities.
The life of people after the Agricultural Revolution is defined by unchanging regularities and enters into strictly conservative social frameworks.
“The formalist, Geometrically Decorative style, with the Neolithic era, enters
a long period of unquestionable dominance, such as has never been achieved again
in historical times by any tendency of the same formalism. This style dominates throughout the Bronze and Iron Ages and the ancient Near East and ancient Greece. That is, in a period of history that extends from 5000 to 500 BC. In comparison with this period of time, all subsequent styles seem short-lived. Even the traditional art of the modern era presents some features that are still related to the primitive geometric style.” Arnold Hauser Geometric repetitive patterns were for thousands of years a craft practice in the production of fabrics for domestic use and clothing.
They were inspired mainly by structures of nature such as spirals, meanders, waves, foams, by reflection symmetries, abstract symbolism and tessellations. The process, a predominantly female responsibility, was forced for some and expiatory for others. The thread for some women was the means to escape the labyrinth of dark thoughts resulting from self-sacrifice and limitation as a kind of Zen ritual. For other women, this repetitive, strict and conservative craft practice is a psychological compulsion. It was not until the twentieth century that the use of materials was redefined not only for the construction of crafts but also as a free creative artistic expression. Lenore Tawney, a Bauhaus graduate, was, in fact, the first to create three-dimensional works with threads that entered the arena of sculpture and installation. Her 1961 exhibition at the Staten Island Museum is considered to be the event that launched “Fiber Art” in the United States and helped this form of creativity move away from the idea of being a simple craft. Louise Bourgeois used her youthful clothes to avoid being sacrificed to the moth, as she put it, which were modified and transformed into completely new forms. Redefining the use of materials, contemporary artists have incorporated artisanal materials and traditional techniques into their creative process, sometimes deconstructing patterns and sometimes constructing new compositions, exploring the meanings of this universal geometry.
SUPPORTED BY: UFOFABRIK
CURATED BY:
Ioanna Kazaki
ARTISTS:
-Anna Chatziaggelou
-Fotini Chatzimixail
-Ioanna Kazaki
-Kassiopi Manousopoulou
-Ioanna Sionti
-Vasiliki Vasileiou
-Myrto Vounatsou
TRAVEL ROOTS
What worlds are within reach? Not least in the promise of freedom offered by petro-modernism and in the current practice of accessing the world with a swipe, distant views have become inscribed in the Western visual and linguistic framework. Through which boxes do we view the world?
The exhibition Travel Roots is dedicated to travel as a figure of thought. The participating artists gather perspectives along and beyond political borders, speaking of the conditions of mobility – who travels and who flees – but also of the spaces of imagination and utopias that travel continues to represent.
Based on his drawings, Olaf Osten creates expansive vistas, insights, and views of worlds. The scenes depicted on freely hanging curtain fabrics are both interior and exterior spaces, offering retreat on the one hand and windows to the distance on the other.
Pablo Chiereghin probes the magical surfaces of everyday capitalist worlds in search of alternative routes and places of longing. Drawing on his own involvement in the script, the artist employs performative interventions and linguistic images to point to transgressions that are always close at hand.
Starting from his painting practice, Alberto Storari works on and with the language of travel and the history of its media. By removing and superimposing layers, the artist maps the world with the world, developing an associative “new territory” from postcard motifs, landscape images, and satellite photographs.
Charlotte Aurich’s work deals with distant views in everyday life. Using montages of personal photographic material, she playfully stages the apparent uneventfulness of everyday journeys, glances, and observations.
Peter Kraus explores the aesthetics of abandoned places. His photographic works depict quiet, deserted spaces as dystopian landscapes detached from time and history. The formal reduction creates a contemplative atmosphere that invites reflection on transience, memory, and the future.
Miriam Laussegger traces the journey of a wire spool: found at a flea market in Athens, the spools initially served as templates for screen printing. The artist later developed them into independent sculptural objects, remaining faithful to the industrial form and aesthetic language of the material.
CURATED BY: Charlotte Aurich & Pablo Chieregin
ARTISTS:
-Charlotte Aurich
-Pablo Chiereghin
-Peter Kraus
-Miriam Laussegger
-Olaf Osten
-Alberto Storari
The exhibition Travel Roots is dedicated to travel as a figure of thought. The participating artists gather perspectives along and beyond political borders, speaking of the conditions of mobility – who travels and who flees – but also of the spaces of imagination and utopias that travel continues to represent.
Based on his drawings, Olaf Osten creates expansive vistas, insights, and views of worlds. The scenes depicted on freely hanging curtain fabrics are both interior and exterior spaces, offering retreat on the one hand and windows to the distance on the other.
Pablo Chiereghin probes the magical surfaces of everyday capitalist worlds in search of alternative routes and places of longing. Drawing on his own involvement in the script, the artist employs performative interventions and linguistic images to point to transgressions that are always close at hand.
Starting from his painting practice, Alberto Storari works on and with the language of travel and the history of its media. By removing and superimposing layers, the artist maps the world with the world, developing an associative “new territory” from postcard motifs, landscape images, and satellite photographs.
Charlotte Aurich’s work deals with distant views in everyday life. Using montages of personal photographic material, she playfully stages the apparent uneventfulness of everyday journeys, glances, and observations.
Peter Kraus explores the aesthetics of abandoned places. His photographic works depict quiet, deserted spaces as dystopian landscapes detached from time and history. The formal reduction creates a contemplative atmosphere that invites reflection on transience, memory, and the future.
Miriam Laussegger traces the journey of a wire spool: found at a flea market in Athens, the spools initially served as templates for screen printing. The artist later developed them into independent sculptural objects, remaining faithful to the industrial form and aesthetic language of the material.
CURATED BY: Charlotte Aurich & Pablo Chieregin
ARTISTS:
-Charlotte Aurich
-Pablo Chiereghin
-Peter Kraus
-Miriam Laussegger
-Olaf Osten
-Alberto Storari
EUROPE - an identity in question
TEXT:
Europe is a continent with a long history and a multifaceted identity. Its roots lie in ancient Greece, where philosophy, democracy, and the arts were born. Later, the campaigns of Alexander the Great brought it into contact with the East, while Rome, with its law, architecture, and road network, laid new foundations for European identity.
With the fall of the Roman Empire, the Middle Ages were marked by feudalism and Christianity. The Renaissance turned its gaze back to antiquity, bringing a flourishing of the arts. The great technological discoveries of the era opened the way to other continents, bringing wealth but also competition.
In modern times, the Reformation, the Enlightenment, and the French Revolution radically transformed politics and society. The Industrial Revolution and the artistic movements of the 19th and 20th centuries would change not only the face of Europe but of the entire world.
Today, the European Union attempts to unite the pieces of this mosaic, striving for peace, cooperation, and prosperity in a world that is constantly changing.
According to this brief historical overview of Europe, artists are invited to present works that highlight a dialogue with European culture. The exhibits are creations inspired by the continent’s rich artistic heritage, with strong references to earlier artistic movements. The aim of the exhibition is to showcase the continuity and evolution of art, from antiquity to the present day, through the perspective of contemporary creators.
CURATED BY: Nikos Giavropoulos
ARTISTS:
-Robert Barcia
-Dimitris Douramakos
-Nikos Giavropoulos
-Eliana Kanaveli
-Yorgos Lintzeris
-Alexandros Maganiotis
-Maria Maragkoudaki
-Kyriaki Mavrogeorgi
-Ioanna Ralli
-Margarita Stavraki
-Stavros Tsiakalos
-Maria Tsimbourla
Europe is a continent with a long history and a multifaceted identity. Its roots lie in ancient Greece, where philosophy, democracy, and the arts were born. Later, the campaigns of Alexander the Great brought it into contact with the East, while Rome, with its law, architecture, and road network, laid new foundations for European identity.
With the fall of the Roman Empire, the Middle Ages were marked by feudalism and Christianity. The Renaissance turned its gaze back to antiquity, bringing a flourishing of the arts. The great technological discoveries of the era opened the way to other continents, bringing wealth but also competition.
In modern times, the Reformation, the Enlightenment, and the French Revolution radically transformed politics and society. The Industrial Revolution and the artistic movements of the 19th and 20th centuries would change not only the face of Europe but of the entire world.
Today, the European Union attempts to unite the pieces of this mosaic, striving for peace, cooperation, and prosperity in a world that is constantly changing.
According to this brief historical overview of Europe, artists are invited to present works that highlight a dialogue with European culture. The exhibits are creations inspired by the continent’s rich artistic heritage, with strong references to earlier artistic movements. The aim of the exhibition is to showcase the continuity and evolution of art, from antiquity to the present day, through the perspective of contemporary creators.
CURATED BY: Nikos Giavropoulos
ARTISTS:
-Robert Barcia
-Dimitris Douramakos
-Nikos Giavropoulos
-Eliana Kanaveli
-Yorgos Lintzeris
-Alexandros Maganiotis
-Maria Maragkoudaki
-Kyriaki Mavrogeorgi
-Ioanna Ralli
-Margarita Stavraki
-Stavros Tsiakalos
-Maria Tsimbourla
THE EYES OF OTHERS OUR PRISONS, THEIR THOUGHTS OUR CAGES
This installation reflects on perception and the fragile construction of self within the gaze of others. Inspired by Virginia Woolf's phrase, it explores how visibility both affirms and confines being. Within the gaze, identity becomes a shifting architecture-formed through reflection, yet limited by interpretation. The work's layered and translucent meanings evoke the tension between exposure and concealment, memory and presence. Here, perception becomes structure and thought becomes a form of enclosure. The installation invites the viewer to question whether consciousness can exist beyond observation and whether freedom can emerge from within the very frameworks that define and contain it.
ARTIST:
Olga Economou Constantinides
ARTIST:
Olga Economou Constantinides
SALTY METAL
CLOUDS: LOOK AT THAT. CLOUDS: THAT ONE?
C: EXACTLY. GO TO THE SIDE. C: YOU DO.
IT EMERGES. FLAUNTS ITSELF. GLEAMS. LOOKS UP.
C: IS IT LOOKING AT US?
IT STARES. STARES PAST INTO THE LIGHT. IT HAD BEEN WAITING, AND NOW SHE WAS HERE. BUT SO WAS SHE.
C: I’M FLYING BACK OVER AGAIN. C: ALRIGHT.
IT GAZES HELPLESSLY AS THE CLOUDS DRIFT BY, COVERING.
C: WE ARE VAST.
C: MH, THAT’S TRUE.
IT STAYS DARK FOR A LONG TIME, BUT NOT FOREVER.
YOU CANNOT WALK BETWEEN THE SHADOWS OF THE CLOUDS. THEY HAVE TO PASS BY.
CUATED BY: Lola Pfeifer & Lukas Soldo
ARTISTS:
-Lola Pfeifer
-Alisa Omelianceva
-Lukas Soldo
-Janine Weger
C: EXACTLY. GO TO THE SIDE. C: YOU DO.
IT EMERGES. FLAUNTS ITSELF. GLEAMS. LOOKS UP.
C: IS IT LOOKING AT US?
IT STARES. STARES PAST INTO THE LIGHT. IT HAD BEEN WAITING, AND NOW SHE WAS HERE. BUT SO WAS SHE.
C: I’M FLYING BACK OVER AGAIN. C: ALRIGHT.
IT GAZES HELPLESSLY AS THE CLOUDS DRIFT BY, COVERING.
C: WE ARE VAST.
C: MH, THAT’S TRUE.
IT STAYS DARK FOR A LONG TIME, BUT NOT FOREVER.
YOU CANNOT WALK BETWEEN THE SHADOWS OF THE CLOUDS. THEY HAVE TO PASS BY.
CUATED BY: Lola Pfeifer & Lukas Soldo
ARTISTS:
-Lola Pfeifer
-Alisa Omelianceva
-Lukas Soldo
-Janine Weger
A QUESTION OF ‘BECOMING’
The exhibition “A Question of “Becoming” is the group exhibition of 6 artists, invited to trace not only human creativity but also nature itself.
It is the coexistence of artists with a nexus of transmutation, today's man and his relationship with the body, desire, his present - and how adapted he is to the “game” of acceleration and his future “wants”. However, the desire to enjoy the benefits of technology and acceleration does not succeed without the sacrifice of experienced time, in the present.
The exhibition borrows its subtitle from Heraclitus' phrase, “ἐδιζησάμην ἐμεωυτόν”, and translates as: “I searched for myself”. It is a statement of a turn towards the exploration of the self. This proposal of the constantly dynamic “becoming” - to which later thinkers return - in contrast to a static “being”, is what remains in a post-modern society, where we are urged as the only option to accelerate.
What place does the body, desire, decay, uncertainty, trauma, memory, asymmetry, deceleration, death - have in such a condition, where everything that makes us human is removed, in the name of a constant readiness? Our body, our mind learns in new paths, but there is no need to repeat them unchanged.
The participating artists are concerned: “What do we offer to our time if not the body of our lived experience?” This elusive, beyond the visible, as the attempt - and the result together - of the body to heal the wounds of the post-modern world. The relationship of the artworks to reality is intentionally partial. Art is behind what is seen. The works are bound up in a common axis of historicity, and governed by the paths of human experience and aestheticism.
CURATED BY: Anna Alexia Papadopoulou
ARTISTS:
-Claudio Coltorti
-Angeliki Koutsodimitropoulou
-Anna Alexia Papadopoulou
-Johnna Sachpazis
-Filippos Tatakis
-Dimitris Theocharis
It is the coexistence of artists with a nexus of transmutation, today's man and his relationship with the body, desire, his present - and how adapted he is to the “game” of acceleration and his future “wants”. However, the desire to enjoy the benefits of technology and acceleration does not succeed without the sacrifice of experienced time, in the present.
The exhibition borrows its subtitle from Heraclitus' phrase, “ἐδιζησάμην ἐμεωυτόν”, and translates as: “I searched for myself”. It is a statement of a turn towards the exploration of the self. This proposal of the constantly dynamic “becoming” - to which later thinkers return - in contrast to a static “being”, is what remains in a post-modern society, where we are urged as the only option to accelerate.
What place does the body, desire, decay, uncertainty, trauma, memory, asymmetry, deceleration, death - have in such a condition, where everything that makes us human is removed, in the name of a constant readiness? Our body, our mind learns in new paths, but there is no need to repeat them unchanged.
The participating artists are concerned: “What do we offer to our time if not the body of our lived experience?” This elusive, beyond the visible, as the attempt - and the result together - of the body to heal the wounds of the post-modern world. The relationship of the artworks to reality is intentionally partial. Art is behind what is seen. The works are bound up in a common axis of historicity, and governed by the paths of human experience and aestheticism.
CURATED BY: Anna Alexia Papadopoulou
ARTISTS:
-Claudio Coltorti
-Angeliki Koutsodimitropoulou
-Anna Alexia Papadopoulou
-Johnna Sachpazis
-Filippos Tatakis
-Dimitris Theocharis
FROM PORT TO PORT
The port, beyond serving as a safe haven for ships and a hub for the transport of goods, is also a crossroads of people, cultures, languages, and ideas arriving from unexpected places - a postmodern Tower of Babel in today’s world.
The encounters between individuals and their thoughts, often compressed into the brief span of time it takes to unload cargo, give communication at the port a unique character. It happens instantly, without elaborate procedures, at a rapid pace. Indeed, civilization itself has long been anchored to ports, shaped by their complex and ever-changing human geography.
Metaphorically, too, the port embodies safety, warmth, and protection, becoming not only a physical location but also a symbol of refuge.
Eight artists now depart - not only in the literal sense of transport—from the ports of Hamburg, Berlin, Vienna, and Paris, to dock at the port of Piraeus.
CURATED BY: Georg Georgakopoulos
ARTISTS:
-Almuth Baumfalk
-Petra Forman
-Alina Grabovsky
-Clara Magnier
-Niklas Niklas
-Timo Pfeiffer
-Ragna Jürgensen
-Lap Yip
The encounters between individuals and their thoughts, often compressed into the brief span of time it takes to unload cargo, give communication at the port a unique character. It happens instantly, without elaborate procedures, at a rapid pace. Indeed, civilization itself has long been anchored to ports, shaped by their complex and ever-changing human geography.
Metaphorically, too, the port embodies safety, warmth, and protection, becoming not only a physical location but also a symbol of refuge.
Eight artists now depart - not only in the literal sense of transport—from the ports of Hamburg, Berlin, Vienna, and Paris, to dock at the port of Piraeus.
CURATED BY: Georg Georgakopoulos
ARTISTS:
-Almuth Baumfalk
-Petra Forman
-Alina Grabovsky
-Clara Magnier
-Niklas Niklas
-Timo Pfeiffer
-Ragna Jürgensen
-Lap Yip
TENTACULAR WAYS
ART STRATEGIES, ECOSYSTEMS AND PLANETARY TRANSFORMATION
Akademie der bildenden Künste Wien and Athens School of Fine Arts, ASFA
Academic supervision: Studio Art and Image / Drawing of the Akademie der bildenden Künste Wien, Veronika Dirnhofer / Steffi Alte, Studio 11 of Painting and Expanded Media of the Athens School of Fine Arts, A.S.F.A., Studio11asfa.
ARTISTS:
-Matei Alexandrescu
-Helle Paraskevi Papageorgiou Alexiou
-Eleftheria Amolochiti
-Alexandra Apsokardou
-Aza Aufgeweckt
-Evi Barbounaki
-Arileia Buseu
-Tatiana Choremi
-Sophia Davislim
-Christos Filippakis
-Konstantinos Filippoglou
-Anastasia Georgakopoulou
-Julian Griss
-Yiannis Kaleridis
-Markos Kampourakis
-Christoph Karrer
-Katerina Korre
-Mariella Lehner
-Danae Lountzi
-Lisa Lupsina
-Antzie Malliara
-Νikos Manolis,
-Anna Manoussaki
-Jannis Neumann
-Kweku Okokroko
-Max Oswald
-Helle Paraskevi
-Franziska Prohaska
-Maria Pylypenko & Rafael Hofmann
-Christian Reinecke & Leonard Senholdt
-Nico Schleicher & Jonathan Gamperl
-Gianna Semmelhaak
-Paria Shahrestani
-Rafiqul Shuvo
-Katerina Skordou
-Myrto Skoutela,
-Thalia Stouraiti
-Leda Thanassa,
-Kieren Tockner
-Phaidon Venetis
-Foteis Xenoktistaki
-Hao Yang
Akademie der bildenden Künste Wien and Athens School of Fine Arts, ASFA
Academic supervision: Studio Art and Image / Drawing of the Akademie der bildenden Künste Wien, Veronika Dirnhofer / Steffi Alte, Studio 11 of Painting and Expanded Media of the Athens School of Fine Arts, A.S.F.A., Studio11asfa.
ARTISTS:
-Matei Alexandrescu
-Helle Paraskevi Papageorgiou Alexiou
-Eleftheria Amolochiti
-Alexandra Apsokardou
-Aza Aufgeweckt
-Evi Barbounaki
-Arileia Buseu
-Tatiana Choremi
-Sophia Davislim
-Christos Filippakis
-Konstantinos Filippoglou
-Anastasia Georgakopoulou
-Julian Griss
-Yiannis Kaleridis
-Markos Kampourakis
-Christoph Karrer
-Katerina Korre
-Mariella Lehner
-Danae Lountzi
-Lisa Lupsina
-Antzie Malliara
-Νikos Manolis,
-Anna Manoussaki
-Jannis Neumann
-Kweku Okokroko
-Max Oswald
-Helle Paraskevi
-Franziska Prohaska
-Maria Pylypenko & Rafael Hofmann
-Christian Reinecke & Leonard Senholdt
-Nico Schleicher & Jonathan Gamperl
-Gianna Semmelhaak
-Paria Shahrestani
-Rafiqul Shuvo
-Katerina Skordou
-Myrto Skoutela,
-Thalia Stouraiti
-Leda Thanassa,
-Kieren Tockner
-Phaidon Venetis
-Foteis Xenoktistaki
-Hao Yang
SKIN AND BONES
Throughout history, the body has been one of the most central and enduring subjects of representation across all forms of the visual arts, from antiquity to contemporary practice. The exhibition Skin and Bones focuses on two fundamental materials of the body, skin and bones, exploring both their biological constitution and their symbolic and cultural extensions.
Skin, as the external boundary of the body, carries a double function: on the one hand, it is the primary site where time and trauma are inscribed; on the other, it operates as a mechanism of distinction and identity. In psychoanalytic theory, Didier Anzieu introduces the notion of the “skin ego” (Moi-peau), emphasizing how the body’s surface constitutes a primordial organ for the formation of the self, a filter between the inside and the outside. A visible map of scars, stretch marks, and traces, the skin demonstrates how time and psychosomatic trauma are rendered into tangible inscriptions, while at the same time it acts as a mask or shield against the world, as a site of social negotiation of identity (Butler).
Bones, by contrast, as the internal and invisible substratum, constitute the structural foundation of the body. The phrase “you know it in your bones” confirms their function as a locus of existential certainty that precedes language and touches the prelinguistic. Skeletal architecture, resistant to the decay of flesh, survives even after death, forming an axis of memory and ritual. In anthropology, bones are linked to the sacred and to ancestral continuity, operating as a monumental materiality that connects past and present (Hertz, Douglas). As such, they act as conduits between the materiality of the body and the realm of the spiritual. Within the context of contemporary art, the focus on skin and bones is not only about the representation of materiality, but also about revealing the body as a site of memory, trauma, and spiritual interconnection.
Skin and bones thus become conceptual tools for reading the present, bearers of a time that does not fade and of an identity that remains in constant negotiation.
BIBLIOGRAPHY:
-Anzieu, Didier. The Skin-Ego. Translated by Naomi Segal, Yale University Press, 1989.
-Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex”. Routledge, 1993.
-Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. Routledge, 1966.
-Hertz, Robert. Death and the Right Hand. Translated by Rodney and Claudia Needham, Free Press, 1960.
CURATED BY: Antigoni Kapsali
ARTISTS:
-Vasilis Angelopoulos
-Artemis Alcalay
-Penny Gkeka
-Zoi Zipela
-Antigoni Kapsali
-Sophia Kyriakou
-Vaia Pilafa
-Myrto Sakka
Skin, as the external boundary of the body, carries a double function: on the one hand, it is the primary site where time and trauma are inscribed; on the other, it operates as a mechanism of distinction and identity. In psychoanalytic theory, Didier Anzieu introduces the notion of the “skin ego” (Moi-peau), emphasizing how the body’s surface constitutes a primordial organ for the formation of the self, a filter between the inside and the outside. A visible map of scars, stretch marks, and traces, the skin demonstrates how time and psychosomatic trauma are rendered into tangible inscriptions, while at the same time it acts as a mask or shield against the world, as a site of social negotiation of identity (Butler).
Bones, by contrast, as the internal and invisible substratum, constitute the structural foundation of the body. The phrase “you know it in your bones” confirms their function as a locus of existential certainty that precedes language and touches the prelinguistic. Skeletal architecture, resistant to the decay of flesh, survives even after death, forming an axis of memory and ritual. In anthropology, bones are linked to the sacred and to ancestral continuity, operating as a monumental materiality that connects past and present (Hertz, Douglas). As such, they act as conduits between the materiality of the body and the realm of the spiritual. Within the context of contemporary art, the focus on skin and bones is not only about the representation of materiality, but also about revealing the body as a site of memory, trauma, and spiritual interconnection.
Skin and bones thus become conceptual tools for reading the present, bearers of a time that does not fade and of an identity that remains in constant negotiation.
BIBLIOGRAPHY:
-Anzieu, Didier. The Skin-Ego. Translated by Naomi Segal, Yale University Press, 1989.
-Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex”. Routledge, 1993.
-Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. Routledge, 1966.
-Hertz, Robert. Death and the Right Hand. Translated by Rodney and Claudia Needham, Free Press, 1960.
CURATED BY: Antigoni Kapsali
ARTISTS:
-Vasilis Angelopoulos
-Artemis Alcalay
-Penny Gkeka
-Zoi Zipela
-Antigoni Kapsali
-Sophia Kyriakou
-Vaia Pilafa
-Myrto Sakka
AWAY GAME
The “Gemeinschaft Lübecker Künstlerinnen und Künstler) Art collective, in cooperation with the artgallery „ArtLer“, presents ten artists with ten different positions of contemporary art, ten different perspectives, ten different techniques, compiled from the two curators, Stephan Schlippe and Jens Lange. This art exhibition contains a view into the art landscape of Northern Germany.
CURATED BY: Jens Lange & Stephan Schlippe in collaboration with Gemeinschaft Lübecker Künstlerinnen und Künstler) Art collective, art gallery "ArtLer“
ARTISTS:
-Angela Siegmund
-Franke Bordiers
-Heinke Both
-Georg Brandt
-Matthias Eichel
-Anja Caroline Franksen
-Maria Gust
-Miriam Lange
-Zeus Lange
-Stephan Schlippe
CURATED BY: Jens Lange & Stephan Schlippe in collaboration with Gemeinschaft Lübecker Künstlerinnen und Künstler) Art collective, art gallery "ArtLer“
ARTISTS:
-Angela Siegmund
-Franke Bordiers
-Heinke Both
-Georg Brandt
-Matthias Eichel
-Anja Caroline Franksen
-Maria Gust
-Miriam Lange
-Zeus Lange
-Stephan Schlippe
SPITBALL IDEAS
CURATED BY: Flat1
ARTISTS:
-Ewa Kaja
-Karin Maria Pfeifer @karinmariapfeifer
-Fabian Seiz
-Christiane Spatt
-Sanna Sønstebø
-Sula Zimmerberger
ARTISTS:
-Ewa Kaja
-Karin Maria Pfeifer @karinmariapfeifer
-Fabian Seiz
-Christiane Spatt
-Sanna Sønstebø
-Sula Zimmerberger
DOMESTICATING SAVAGES
The art project “Domesticating Savages” is a living refuge of experiences, an inner powder keg where the ongoing battle between two opposing forces within the same person is inscribed. It is a journey that began ten years ago as an indistinct search and continues to this day, with a signifi-cant intensification in the past two years, when the idea started to take form through social experiments, lived ex-periences, and systematic documentation.
This process proved decisive, as the subject was confront-ed with the irrevocable necessity of choice: to turn inward, to allow time to mature the conflicts, and to reveal the need for balance. At its core lies the confrontation be-tween darkness and light—between the untamed, wild as-pects of existence and the human need for taming, integra-tion, and reconciliation.
This reconciliation does not signify the denial of one side in favor of the other, but rather a creative coexistence, where light draws strength from darkness and darkness ac-quires meaning through light. Thus, the work is grounded in the present as an open inquiry into the human condition: how one manages to live with contradictions, to transform chaos into creation, and to turn an inner battle into a bridge toward self-knowledge.
CURATED BY: Pavlina Bechrakis
ARTIST:
-Spyridwn
This process proved decisive, as the subject was confront-ed with the irrevocable necessity of choice: to turn inward, to allow time to mature the conflicts, and to reveal the need for balance. At its core lies the confrontation be-tween darkness and light—between the untamed, wild as-pects of existence and the human need for taming, integra-tion, and reconciliation.
This reconciliation does not signify the denial of one side in favor of the other, but rather a creative coexistence, where light draws strength from darkness and darkness ac-quires meaning through light. Thus, the work is grounded in the present as an open inquiry into the human condition: how one manages to live with contradictions, to transform chaos into creation, and to turn an inner battle into a bridge toward self-knowledge.
CURATED BY: Pavlina Bechrakis
ARTIST:
-Spyridwn
ASPRA MARMARA
In this work from 2019, I was mainly interested in the limits of visual perception, as well as questions of authenticity and
cultural heritage. long static shots investigate the ancient marble quarries located on the south slope of mount pentelikon.
recent scientific studies show that the source material of the Parthenon sculptures was most likely quarried from an area
called "aspra marmara". scientists compared isotopic signatures from numerous quarries with the material of the
sculptures. by using historical maps, I was able to locate the ancient mining areas. nowadays the extraordinary marble is
exclusively used for restoration purposes. the video installation consists of 3 parts. A wall-filling 4k video projection
showing various ancient stone quarries and two vertical video screens juxtaposing details of the elgin marbles in london
and the plaster casts that are still on display in the acropolis museum today. to this day, it is not entirely clear when or if
the historical artefacts will find their way back to greece. For this reason, I find it all the more urgent to show the video
installation near the port of Piraeus, from where the artefacts were taken out of the country over 200 years ago.
ARTIST:
Frank Holbein
cultural heritage. long static shots investigate the ancient marble quarries located on the south slope of mount pentelikon.
recent scientific studies show that the source material of the Parthenon sculptures was most likely quarried from an area
called "aspra marmara". scientists compared isotopic signatures from numerous quarries with the material of the
sculptures. by using historical maps, I was able to locate the ancient mining areas. nowadays the extraordinary marble is
exclusively used for restoration purposes. the video installation consists of 3 parts. A wall-filling 4k video projection
showing various ancient stone quarries and two vertical video screens juxtaposing details of the elgin marbles in london
and the plaster casts that are still on display in the acropolis museum today. to this day, it is not entirely clear when or if
the historical artefacts will find their way back to greece. For this reason, I find it all the more urgent to show the video
installation near the port of Piraeus, from where the artefacts were taken out of the country over 200 years ago.
ARTIST:
Frank Holbein
THIRD FLOOR
TRUE THERMAL FREEDOM
A multimedia performance work that deals with the cultural and ecological dimensions of temperature, drawing on the example of Athens. In four humorous video sequences, the interactions between heat politics, neoclassical ideology and the Western illusionary perspective on Greece are thematised. Meltable casts made of ice and fat are staged at selected locations as artefacts or body extensions.
ARTISTS:
-Stella Myraf
-Leah Dorner
ARTISTS:
-Stella Myraf
-Leah Dorner
CAN YOU BE JUST ANOTHER CAN
On a moving construction in the form of a railway, the artists created works inspired by the can. As a mass-produced object, it carries the symbolism of uniformity, consumption, and disposability: we use it, we empty it, we throw it away.
The can and its symbolism have preoccupied many artists in the past. From Duchamp’s ready-mades that opened the way for the transformation of the everyday into art, to Piero Manzoni’s daring gesture in Merda d’artista, Andy Warhol’s iconic Campbell’s, Claes Oldenburg’s object-sculptures, and the lithographs of Gaitis, the humble container emerges as a mirror of society: a symbol of commodification, overconsumption, and standardization.
The artists of the exhibition “Can you be just another can” re-define its symbolism, shedding light on the issues of their own contemporary reality.
Can you be just another can?
In English, the phrase becomes a wordplay that lends a tragicomic undertone. Do we wish to be just another can on the production line of a system that leaves no room for personal expression or individuality? The very notion of self is crushed, as uniformity is demanded in every aspect of life. The path is predetermined, the boundaries fixed, the norms strictly imposed.
The can-works, placed on miniature railway tracks, allude both to the Tempi tragedy and to the assembly line, exposing the treatment of human beings as mere numbers—whether as victims of war, of natural disasters, or as casualties of systemic errors and malfunctions. Yet the system continues its unceasing course, carrying us all along its rails; and if something goes wrong, if it derails, others will take our place in the endless procession of the “human can.”
These works comment on our era, at times caustically, at times poetically, with complete freedom in the choice of form, concept, and material.
Imaginative and inventive, they answer: No, I cannot be just another can.
CURATED BY: Ismini Bonatsou & Lambrini Boviatsou
ARTISTS:
-Ismini Bonatsou
-Lamprini Boviatsou
-Stella Drygiannaki
-Elli Griva
-Sophia Kyriakou
-Evdokia Kyrkou
-Kosmas Lilikakis
-Yiorgos Lintzeris
-Alexandros Nikolaou
-Pantelis Pantelopoulos
-Elena Papadimitriou
-Apostolis Philippou
-Vivi Perysinaki
-Chrysa Skordaki
-Angelos Skourtis
-Nikos Stathopoulos
-Aris Stoidis
-Martha Tsiara
-Margarita Vasilakou
-Sofia Vlazaki
-Nikos Vozaitis
The can and its symbolism have preoccupied many artists in the past. From Duchamp’s ready-mades that opened the way for the transformation of the everyday into art, to Piero Manzoni’s daring gesture in Merda d’artista, Andy Warhol’s iconic Campbell’s, Claes Oldenburg’s object-sculptures, and the lithographs of Gaitis, the humble container emerges as a mirror of society: a symbol of commodification, overconsumption, and standardization.
The artists of the exhibition “Can you be just another can” re-define its symbolism, shedding light on the issues of their own contemporary reality.
Can you be just another can?
In English, the phrase becomes a wordplay that lends a tragicomic undertone. Do we wish to be just another can on the production line of a system that leaves no room for personal expression or individuality? The very notion of self is crushed, as uniformity is demanded in every aspect of life. The path is predetermined, the boundaries fixed, the norms strictly imposed.
The can-works, placed on miniature railway tracks, allude both to the Tempi tragedy and to the assembly line, exposing the treatment of human beings as mere numbers—whether as victims of war, of natural disasters, or as casualties of systemic errors and malfunctions. Yet the system continues its unceasing course, carrying us all along its rails; and if something goes wrong, if it derails, others will take our place in the endless procession of the “human can.”
These works comment on our era, at times caustically, at times poetically, with complete freedom in the choice of form, concept, and material.
Imaginative and inventive, they answer: No, I cannot be just another can.
CURATED BY: Ismini Bonatsou & Lambrini Boviatsou
ARTISTS:
-Ismini Bonatsou
-Lamprini Boviatsou
-Stella Drygiannaki
-Elli Griva
-Sophia Kyriakou
-Evdokia Kyrkou
-Kosmas Lilikakis
-Yiorgos Lintzeris
-Alexandros Nikolaou
-Pantelis Pantelopoulos
-Elena Papadimitriou
-Apostolis Philippou
-Vivi Perysinaki
-Chrysa Skordaki
-Angelos Skourtis
-Nikos Stathopoulos
-Aris Stoidis
-Martha Tsiara
-Margarita Vasilakou
-Sofia Vlazaki
-Nikos Vozaitis
HIDDEN CURRICULUM
There is always something left unacknowledged. At school, beyond the official curriculum there exists an unwritten code. It consists of the informal, often unconscious, learning experiences that students undergo outside the formal syllabus. Messages that are never explicitly stated, values that are implied, behaviors transmitted through school culture, rules, and everyday interactions. The exhibition borrows this pedagogical term - a concept that is far from neutral. The hidden curriculum shapes values, beliefs, hierarchies and social expectations in ways that influence our perception of the world. At the same time, however, it can function as a site of resistance, a space of questioning and re-signification. The exhibition seeks to initiate a dialogue on how knowledge is structured, what ‘lessons’ we absorb unconsciously, and how these are inscribed in our relationships and daily life. Ultimately, it asks how we might reconsider the invisible curriculum that continues to educate us.
CURATED BY: Despoina Vaxevanidi & Alexandra-Maria Paroni
ARTISTS:
-Alexander Kapetanou
-Dimitris Kapetanou
-Sofia Kyriakidou
-Andriana Panagiotaki
-Dimitris Rafael Simadis
-Olga Souvermezoglou
-Maria Tsesmeli
-Despoina Vaxevanidi
CURATED BY: Despoina Vaxevanidi & Alexandra-Maria Paroni
ARTISTS:
-Alexander Kapetanou
-Dimitris Kapetanou
-Sofia Kyriakidou
-Andriana Panagiotaki
-Dimitris Rafael Simadis
-Olga Souvermezoglou
-Maria Tsesmeli
-Despoina Vaxevanidi
A RECORD LABEL SHOWCASE
The exhibition will present the award-winning covers of the releases of the Modular Expansion record label as well as visual event posters with a 27-year presence on the global stage.
CURATED BY: MODULAR EXPANSION
CURATED BY: MODULAR EXPANSION
ECHOES OF ORDER
In Echoes of Order, Aklima Iqbal continues to explore the fragile dialogue between structure and spontaneity, between the desire for control and the inevitability of change. This body of work follows her previous exhibition Fragments of Order in Chaos, tracing how form, rhythm, and memory persist even within moments of dissolution.
Through abstract paintings and paper collages, Iqbal seeks a language that is both constructed and intuitive. Layers of pigment, gesture, and torn material build up and break apart, revealing traces of earlier decisions—marks that remain like quiet echoes within each surface. These residues of process become a kind of visual archaeology, suggesting that order is not a fixed state but a shifting resonance that reappears in new forms.
The paper collages extend this exploration into the tactile. By shaping paper through cutting and layering, reassembled into new structures, Iqbal evokes the act of remembering—an attempt to piece together what has been altered or lost. In this process, fragility becomes a form of strength, and imperfection a measure of time.
Presented within OpenArtLink 2025 — Piraeus Project, the works respond to the surrounding environment of movement, architecture, and history. Piraeus, a place where layers of human and material traces accumulate, reflects the same cyclical rhythm found in Iqbal’s paintings and collages. Echoes of Order is ultimately an invitation to pause within that rhythm—to listen to what remains after the gesture fades, and to find harmony within the act of becoming.
CURATED BY:Georg Georgakopoulos
ARTIST:
-Aklima Iqbal
Through abstract paintings and paper collages, Iqbal seeks a language that is both constructed and intuitive. Layers of pigment, gesture, and torn material build up and break apart, revealing traces of earlier decisions—marks that remain like quiet echoes within each surface. These residues of process become a kind of visual archaeology, suggesting that order is not a fixed state but a shifting resonance that reappears in new forms.
The paper collages extend this exploration into the tactile. By shaping paper through cutting and layering, reassembled into new structures, Iqbal evokes the act of remembering—an attempt to piece together what has been altered or lost. In this process, fragility becomes a form of strength, and imperfection a measure of time.
Presented within OpenArtLink 2025 — Piraeus Project, the works respond to the surrounding environment of movement, architecture, and history. Piraeus, a place where layers of human and material traces accumulate, reflects the same cyclical rhythm found in Iqbal’s paintings and collages. Echoes of Order is ultimately an invitation to pause within that rhythm—to listen to what remains after the gesture fades, and to find harmony within the act of becoming.
CURATED BY:Georg Georgakopoulos
ARTIST:
-Aklima Iqbal
AROUND ABOUT
CURATED BY: Julia Harrauer
ARTISTS:
-Dominykas Cinauskas
-Ilias Koen
-Nikola Milojčević
-Lidia Russkova-Hasaya
-Katerina Papazissi
-Saulė Šmidtaitė
ARTISTS:
-Dominykas Cinauskas
-Ilias Koen
-Nikola Milojčević
-Lidia Russkova-Hasaya
-Katerina Papazissi
-Saulė Šmidtaitė
ALTERNATIVE FIRING TECHNIQUES
The exhibition Alternative Firing Techniques presents works by students of the University of Applied Arts Vienna, created within the framework of a course held in the university’s ceramics studio. The aim of this course is to introduce students to traditional firing methods and to contribute to the preservation of this tacit knowledge.
As the ceramics studio is open to students from all disciplines, the works display a broad spectrum of approaches. While students from the design classes pursued a distinctly formal and design-oriented perspective, students from the fine arts emphasized different aspects and developed their own artistic focus.
The exhibition offers a selection of these varied results, complemented by a few works of the studio’s teaching staff. Among the firing techniques explored are salt firing, pit firing, and raku firing – including the specific method of naked raku.
CURATED BY: Sascha Alexandra Zaitseva
ARTISTS:
-Alexander Allroggen
-Rosa Domes
-Anais Eriksson
-Julia Geissler
-Gaia Gentilotti
-Laura Isselhorst
-Julian Kadrnoschka
-Nelia Mayer-Rolshoven
Joannis Murboeck
-Gerald Pfaffl
-Anna Carina Roth
-Flora Sommer
-Roman Spieß
-Anna-Lena Stocker
-Frances Stusche
-Emil Wetter
-Sascha Alexandra Zaitseva
As the ceramics studio is open to students from all disciplines, the works display a broad spectrum of approaches. While students from the design classes pursued a distinctly formal and design-oriented perspective, students from the fine arts emphasized different aspects and developed their own artistic focus.
The exhibition offers a selection of these varied results, complemented by a few works of the studio’s teaching staff. Among the firing techniques explored are salt firing, pit firing, and raku firing – including the specific method of naked raku.
CURATED BY: Sascha Alexandra Zaitseva
ARTISTS:
-Alexander Allroggen
-Rosa Domes
-Anais Eriksson
-Julia Geissler
-Gaia Gentilotti
-Laura Isselhorst
-Julian Kadrnoschka
-Nelia Mayer-Rolshoven
Joannis Murboeck
-Gerald Pfaffl
-Anna Carina Roth
-Flora Sommer
-Roman Spieß
-Anna-Lena Stocker
-Frances Stusche
-Emil Wetter
-Sascha Alexandra Zaitseva
EGO-EXISTENCE
Humans are inherently connected to the Earth — both temporally and materially. However, this coexistence can often become intrusive, even exploitative — a trait found in no other living creature on the planet. It is true that humanity has had to intervene in the natural world in order to survive, yet these interventions are often destructive, as we frequently observe.
As an organism, the human being is compelled to constantly evolve — a drive that frequently fuels delusions of grandeur, the consequences of which we see all around us. This mindset often disregards nature’s intrinsic balance.
Through art — and specifically through our own work — we make a social observation, offering a visual interpretation of the complex, multifaceted relationship between nature and humanity.
The urban landscape blurs with the natural and the organic. Inspiration stems from personal experiences, delving into themes that touch each person individually. Every piece focuses on different aspects of this subject. At times, interventions in nature and the environment arise from a need for creation and expression. These forms of intervention are not necessarily negative or harmful to the natural world.
Put differently, each artwork contains reflections based on everyday observations. Fluid motions, harmonious color transitions, and material transformations serve symbolically to foster better communication with nature.
Nevertheless, we cannot deny that human — and by extension, artistic — action is influenced and shaped by each individual’s “ego,” for better or for worse.
So, we’ve gathered our “egos” to present aspects of our own egoistic — yet visual — engagement with nature. The environment shapes us, just as we shape it.
CURATED BY: Irene Vlachianou
ARTISTS:
-Eftychia Gkatzelia
-Vasileia Katsouli
-Elisabeth Zarri
-Kirki Tsakania
As an organism, the human being is compelled to constantly evolve — a drive that frequently fuels delusions of grandeur, the consequences of which we see all around us. This mindset often disregards nature’s intrinsic balance.
Through art — and specifically through our own work — we make a social observation, offering a visual interpretation of the complex, multifaceted relationship between nature and humanity.
The urban landscape blurs with the natural and the organic. Inspiration stems from personal experiences, delving into themes that touch each person individually. Every piece focuses on different aspects of this subject. At times, interventions in nature and the environment arise from a need for creation and expression. These forms of intervention are not necessarily negative or harmful to the natural world.
Put differently, each artwork contains reflections based on everyday observations. Fluid motions, harmonious color transitions, and material transformations serve symbolically to foster better communication with nature.
Nevertheless, we cannot deny that human — and by extension, artistic — action is influenced and shaped by each individual’s “ego,” for better or for worse.
So, we’ve gathered our “egos” to present aspects of our own egoistic — yet visual — engagement with nature. The environment shapes us, just as we shape it.
CURATED BY: Irene Vlachianou
ARTISTS:
-Eftychia Gkatzelia
-Vasileia Katsouli
-Elisabeth Zarri
-Kirki Tsakania
LAST TREAT
In a state suspended between life and “death,” at the threshold of the subconscious, dreams are born. It is an experience we all share, humans and animals alike, every living being. Dreams are an inseparable part of our existence, yet they remain distant from the harshness of everyday reality.
In dreams, the subconscious takes control and defies the rules of society; there is no conscious guidance. It is our parallel life, and often, these very dreams shape our waking days when we recall them.
Dreams are small, timeless tales that overturn all scientific logic. Within them reigns a peculiar realism that doesn’t surprise us, because it comes from within. They are directly linked to age, to experience, to memory.
What is real and what is not coexist. The figures, the protagonists, resemble the real, without truly being so. It is a dreamlike illusion, an image not seen with the eyes, but with the mind.
The body participates, though it remains still in the real world, with all senses fully active. Sometimes, these sensations linger even after the dream has ended, which itself may be ominous, even macabre.
The choice to set the work in a bathroom symbolizes purification. The element of water is mutable, just like dreams themselves. It is an act of spiritual cleansing, a ritual of purification accompanied by a “dessert”: the final sweetness before the foreboding end.
CURATED BY / ARTISTS:
-Alexandros Ntovaris Kolovos
-Chrisita Dimakopoulou
-Foivi Flamboura
In dreams, the subconscious takes control and defies the rules of society; there is no conscious guidance. It is our parallel life, and often, these very dreams shape our waking days when we recall them.
Dreams are small, timeless tales that overturn all scientific logic. Within them reigns a peculiar realism that doesn’t surprise us, because it comes from within. They are directly linked to age, to experience, to memory.
What is real and what is not coexist. The figures, the protagonists, resemble the real, without truly being so. It is a dreamlike illusion, an image not seen with the eyes, but with the mind.
The body participates, though it remains still in the real world, with all senses fully active. Sometimes, these sensations linger even after the dream has ended, which itself may be ominous, even macabre.
The choice to set the work in a bathroom symbolizes purification. The element of water is mutable, just like dreams themselves. It is an act of spiritual cleansing, a ritual of purification accompanied by a “dessert”: the final sweetness before the foreboding end.
CURATED BY / ARTISTS:
-Alexandros Ntovaris Kolovos
-Chrisita Dimakopoulou
-Foivi Flamboura
THE SUBTLE EAST
Over two thousand years ago, Alexander the Great marched eastward from the European continent, advancing as far as Afghanistan, but the Himalayas blocked the Greek army’s path, and Alexander never reached China. Since then, China has remained, in the eyes of Europeans, a mysterious and entirely distinct land… indeed, it is so!
“The Subtle East” exhibition invites you to step into the world of Chinese art. From the flowing lines of Chinese calligraphy and the carefully considered blank spaces in traditional painting, to the subtle interplay of ink and rice paper, every element conveys the rich history and culture of China… The exhibition radiates a gentle, restrained, elegant, and refined energy unique to the Chinese aesthetic.
CURATED BY:
Jing Ling
ARTISTS:
-Li Jing
-Song Wei
-Cheng Fang
-Wen Jing
-Cheng Tianyou
-Wang Ya
“The Subtle East” exhibition invites you to step into the world of Chinese art. From the flowing lines of Chinese calligraphy and the carefully considered blank spaces in traditional painting, to the subtle interplay of ink and rice paper, every element conveys the rich history and culture of China… The exhibition radiates a gentle, restrained, elegant, and refined energy unique to the Chinese aesthetic.
CURATED BY:
Jing Ling
ARTISTS:
-Li Jing
-Song Wei
-Cheng Fang
-Wen Jing
-Cheng Tianyou
-Wang Ya
PERSON: ˈpɜːsn
person : ˈpɜːsn is a light-sound installation that questions the concept of self and its linguistic dimension.
As the visitor enters the exhibition space, their silhouette is dynamically cast onto different locations on the white wall, shifting in color. An ambient soundscape fills the room, while a synonym of the word ‘person’ is both projected and heard in the space. The rhythm of the shadow casting varies and is accompanied by a frenetic sequence of click-based sounds, synchronized with the lights.
ARTISTS:
-Alexandros Kontogeorgakopoulos & Odysseas Klissouras (oneContinuousLab)
As the visitor enters the exhibition space, their silhouette is dynamically cast onto different locations on the white wall, shifting in color. An ambient soundscape fills the room, while a synonym of the word ‘person’ is both projected and heard in the space. The rhythm of the shadow casting varies and is accompanied by a frenetic sequence of click-based sounds, synchronized with the lights.
ARTISTS:
-Alexandros Kontogeorgakopoulos & Odysseas Klissouras (oneContinuousLab)
FREE WILL
I was scrolling on my phone when I saw on a recent page that Robert Sapolsky proved there is no Free Will. He spent years by studying humans and he said we have no Free Will at all! When I was hallucinating thought my life is directed, that’s why I put an ancient theater on the painting. In a dream I saw two alien bio robots. Although they could live forever, they decided to commit suicide. Maybe was a Free Will!
ARTIST:
Vasilis Zarifopoulos
ARTIST:
Vasilis Zarifopoulos
IN THE SPACES
WALLS ON FIRE
Taxis, Monos Sotos, Ruin, Simek, Kez, Exit, Greg Papagrigoriou, seven present day muralists from a generation that has shaped the visual identity of contemporary Greece—and which continues to ignite vital questions about this medium’s role in public art, and as a cultural asset.
Artists who transformed over these past 20 years Athens’ walls into sites of urgent resistance, dialogue and imagination.
At first, painting in abandoned lots and city squares, these artists amplified the voices of a society in crisis.
Today, their works resonate as powerful testaments to continuity, transformation and the importance of content.
They remind us that art is not only an act of self expression, but also a record of a lived experience.
The title “Walls on Fire “ refers to the potency of the genre: at once strident, defiant and rooted in the streets, these murals continue to carry the charge of social and political urgency, while asserting new formal and conceptual ambitions.
No longer bound by the ephemerality of public walls or the reductive labels of “street art” and “graffitti”, these works speak to a new layer of complexity: Explorations of myth, history, politics and collective memory.
This exhibit is intentionally specific to its location: an empty industrial building, its raw expanses serving both as a reminder of the settings in which these artists first worked, and as a stage for their evolution into the field of modern art.
Within this space, Athens muralisme is recontextualized as a deeply contemporary mode of inquiry in which form, content & environment converge.
Created to be viewed in passing, often monumental in scale yet impermanent by nature, the work is seen by few and owned by none.
They are images created not for collectors or markets but for citizens, communities and the collective memory. Their power lies not in ownership but in presence - in the experience of being before them.
CURATED BY:
Natalia Hatgis
Artists:
-Ruin
-Taxis(Dimitris Trimintzios)
-Ex!t
-Greg Papagrigoriou
-Μonos Sotos
-Kez
-Simek (Christos Tzaferos)
Artists who transformed over these past 20 years Athens’ walls into sites of urgent resistance, dialogue and imagination.
At first, painting in abandoned lots and city squares, these artists amplified the voices of a society in crisis.
Today, their works resonate as powerful testaments to continuity, transformation and the importance of content.
They remind us that art is not only an act of self expression, but also a record of a lived experience.
The title “Walls on Fire “ refers to the potency of the genre: at once strident, defiant and rooted in the streets, these murals continue to carry the charge of social and political urgency, while asserting new formal and conceptual ambitions.
No longer bound by the ephemerality of public walls or the reductive labels of “street art” and “graffitti”, these works speak to a new layer of complexity: Explorations of myth, history, politics and collective memory.
This exhibit is intentionally specific to its location: an empty industrial building, its raw expanses serving both as a reminder of the settings in which these artists first worked, and as a stage for their evolution into the field of modern art.
Within this space, Athens muralisme is recontextualized as a deeply contemporary mode of inquiry in which form, content & environment converge.
Created to be viewed in passing, often monumental in scale yet impermanent by nature, the work is seen by few and owned by none.
They are images created not for collectors or markets but for citizens, communities and the collective memory. Their power lies not in ownership but in presence - in the experience of being before them.
CURATED BY:
Natalia Hatgis
Artists:
-Ruin
-Taxis(Dimitris Trimintzios)
-Ex!t
-Greg Papagrigoriou
-Μonos Sotos
-Kez
-Simek (Christos Tzaferos)
BEYOND MARINE PLASTIC WASTE
BlueCycle combines design with positive environmental impact. Focusing on the recycling and upcycling of marine plastic waste generated by fishing and shipping activities, through a holistic and circular approach, BlueCycle proposes a sustainable solution using high-end technology, research, and creativity.
Through a rigorous and innovative program, BlueCycle deals with all stages of production, from material sourcing and processing to the design and distribution of final products.
Every creation carries its own history. Inspired by the marine environment, BlueCycle redesigns the life cycle of plastic litter, creating unique 100% recyclable and traceable products, using robotic large-scale 3D printing and zero-waste techniques.
CURATED BY:
BlueCycle Team
ARTIST:
BlueCycle
Through a rigorous and innovative program, BlueCycle deals with all stages of production, from material sourcing and processing to the design and distribution of final products.
Every creation carries its own history. Inspired by the marine environment, BlueCycle redesigns the life cycle of plastic litter, creating unique 100% recyclable and traceable products, using robotic large-scale 3D printing and zero-waste techniques.
CURATED BY:
BlueCycle Team
ARTIST:
BlueCycle
UNTITELD
“Untitled (Videotext)” is a series of video sequences designed for public media space, the Internet, and for exhibition contexts. They are simple text animations made without the use of a camera. White typography on a black background demands different actions from the viewer, reflects their present situation, or sharpens the viewers’ awareness for significant details in the surroundings in which they are presented. “Please notice that this video is exactly one minute long”, states one of the works, “Thank you for watching this video. Without you it would not be here”, says another. All videos are based on the idea of creating communication between the audience, the work, and the space.
ARTIST: unknown.artists.collective
ARTIST: unknown.artists.collective
ATHENS COCKTAILS
From October 22 to 26, the foyer of Open Art Link will host Athens Cocktails, which throughout the event will offer a selection of signature cocktails inspired by creativity and the spirit of contemporary art.
A meeting place where taste, aesthetics, and social interaction come together, offering visitors a multisensory experience that complements and enriches the exhibition journey.
CURATED BY: Athens Cocktails
A meeting place where taste, aesthetics, and social interaction come together, offering visitors a multisensory experience that complements and enriches the exhibition journey.
CURATED BY: Athens Cocktails
PERFORMANCES
MODULAR EXPANSION LABEL SHOWCASE
Modular Expansion is an artistic organization that includes event organization and record label which was founded by George Apergis and has run successfully since 1998. The name “Modular Expansion” is inspired from the first analog modular synthesizers of which different parts were connected between each-other, forming an expansion. Modular Expansion is a cultural body of the Hellenic Ministry of Culture and has to its credit actions with the auspices and financial support of the Ministry of Culture, Greek National Opera, Archaeological Service and the Municipality of Athens. Actions such as vinyl releases, art videos and publishing events. He is also a European Design Award holder, Silver Award in 2016 in the category Music & Films Covers. Modular Expansion have events in a lot of European cities and famous places like Berghain, Tresor, Suicide, Sisyphos, Renate in Berlin, also in cities like London, Rome, Barcelona, Sofia, Warsaw, Moscow, Tel Aviv and at the most prestigious places in Athens.
CURATED BY: MODULAR EXPANSION
ARTISTS:
-Acid Vatican
-EMEX (George Apergis)
-NUEΛ
-HUDD (Steve Sai)
-Talantösis
CURATED BY: MODULAR EXPANSION
ARTISTS:
-Acid Vatican
-EMEX (George Apergis)
-NUEΛ
-HUDD (Steve Sai)
-Talantösis
TEA TIME
Chinese tea ceremony with music and Chinese calligraphy
CURATED BY: Jing Ling
CURATED BY: Jing Ling
TRANSFORMATION
Transformation is a performance using light, sound and video.
Transformation is a site specific performance in Piraeus that sees "Transformation" from multiple perspectives. Transformation is an individual and permanently ongoing process of everyday life, but Transformation can also be an externally forced or externally prohibited process. Transformation can be an spatial process, as Athens and Piraeus are currently in an extreme transformation of gentrification. Transformation can be a physical process that brings objects from one shape to another.
Transformation is a performance that aims to start a process of transformation in the audiences’ mind.
ARTIST:
-Lars* Kollros
Transformation is a site specific performance in Piraeus that sees "Transformation" from multiple perspectives. Transformation is an individual and permanently ongoing process of everyday life, but Transformation can also be an externally forced or externally prohibited process. Transformation can be an spatial process, as Athens and Piraeus are currently in an extreme transformation of gentrification. Transformation can be a physical process that brings objects from one shape to another.
Transformation is a performance that aims to start a process of transformation in the audiences’ mind.
ARTIST:
-Lars* Kollros
MILENA NOWAK
ARTIST:
-Milena Nowak
-Milena Nowak
PONTI WENT BLIND
CURATED BY: Filippos Tsitsopoulos
ARTIST:
-Giannis Mitrou
ARTIST:
-Giannis Mitrou
VAGINAL CYCLE (UN)WRITTEN
Vaginal Cycle (Un)written is a 15-minute lecture performance that brings the invisible
dynamics of the vaginal microbiome into public attention. Based on daily sampling of
my own body, the work transforms microbial fluctuations across the menstrual cycle into
an experimental computer simulation. Each presentation unfolds as an evolving visual
canvas accompanied by sound design that grows increasingly distorted, mirroring the
systemic neglect and silencing of women’s health in medical research. The performance
intertwines scientific explanation, personal narrative, and embodied presence, addressing
how women’s health has been historically ignored, underfunded, and misrepresented. It
creates a space where intimate biological knowledge resists erasure and where the microbiome
itself becomes collaborator in rethinking cycles of visibility and care.
CURATED BY: Lars* Kollros
ARTIST:
-Mehrta Shirzadian
dynamics of the vaginal microbiome into public attention. Based on daily sampling of
my own body, the work transforms microbial fluctuations across the menstrual cycle into
an experimental computer simulation. Each presentation unfolds as an evolving visual
canvas accompanied by sound design that grows increasingly distorted, mirroring the
systemic neglect and silencing of women’s health in medical research. The performance
intertwines scientific explanation, personal narrative, and embodied presence, addressing
how women’s health has been historically ignored, underfunded, and misrepresented. It
creates a space where intimate biological knowledge resists erasure and where the microbiome
itself becomes collaborator in rethinking cycles of visibility and care.
CURATED BY: Lars* Kollros
ARTIST:
-Mehrta Shirzadian
SHUT DOWN
Peter Kraus develops an atmosphere of the uncanny by filming abandoned spaces in in obsolete architecture.
the perspective of his camerawork places the viewer in the perceptual position of the protagonist, who explores hidden terrain and inadvertently witnesses illegal encroachment into private property. his subversive approach also corresponds to the need to be able to react to local dangers in a timely and tactical manner, while focusing on the traces of the absent in order to cinematically concretize aspects of a systemic decline in these remote ruins of contemporary functional architecture.
the soundtrack for the installation was recorded by kraus using an electric bass connected to an effects unit and is layered over the original sounds in video performance, creating an interweaving of sounds that also expands the spatial experience into an acoustic dimension.
ARTISTS:
-Peter Kraus
-Pablo Chiereghin
the perspective of his camerawork places the viewer in the perceptual position of the protagonist, who explores hidden terrain and inadvertently witnesses illegal encroachment into private property. his subversive approach also corresponds to the need to be able to react to local dangers in a timely and tactical manner, while focusing on the traces of the absent in order to cinematically concretize aspects of a systemic decline in these remote ruins of contemporary functional architecture.
the soundtrack for the installation was recorded by kraus using an electric bass connected to an effects unit and is layered over the original sounds in video performance, creating an interweaving of sounds that also expands the spatial experience into an acoustic dimension.
ARTISTS:
-Peter Kraus
-Pablo Chiereghin
CARROUSEL
ARTIST:
-Sebastian Boulter
-Sebastian Boulter
MEENA ALEXANDER BETWEEN EXILE AND DISLOCATION
As part of this project, Sophie d’Aubreby intends to focus on Meena Alexander’s works, and more specifically on the notions of spectrum, illness, and exile. She has been tracing Alexander’s life and writings for several years, having crossed paths with her indirectly through friends, places, shared interests, and experiences of sickness.
Meena Alexander, among other things, followed the blurred path of ghosts, and Sophie is now seeking traces of her presence through the correspondence she initiated in her final collection of poems with the seventeenth-century poet Sara Copia Sullam. The project aims to pursue and extend this dialogue through both fiction and research.
Sophie d’Aubreby plans to work in India from January 2026, with the goal of beginning the research, translation, and writing phases in preparation for that period.
CURATED BY: keramikos23_artspace
ARTIST:
Sophie d’Aubreby
Meena Alexander, among other things, followed the blurred path of ghosts, and Sophie is now seeking traces of her presence through the correspondence she initiated in her final collection of poems with the seventeenth-century poet Sara Copia Sullam. The project aims to pursue and extend this dialogue through both fiction and research.
Sophie d’Aubreby plans to work in India from January 2026, with the goal of beginning the research, translation, and writing phases in preparation for that period.
CURATED BY: keramikos23_artspace
ARTIST:
Sophie d’Aubreby
UNHEARD FROM WITHIN
Unheard From Within is a 10-minute performance about the overlooked and often dismissed
forms of embodied knowledge tied to so-called “female” bodies, even when it
concerns their own health. Through subtle gestures, fragmented voice, and the body as
site of inquiry, the work questions how certain knowledges are silenced while others are
amplified. What is lost when lived experience collides with systems that refuse to listen?
CURATED BY: Lars* Kollros
ARTIST:
-Mehrta Shirzadian
forms of embodied knowledge tied to so-called “female” bodies, even when it
concerns their own health. Through subtle gestures, fragmented voice, and the body as
site of inquiry, the work questions how certain knowledges are silenced while others are
amplified. What is lost when lived experience collides with systems that refuse to listen?
CURATED BY: Lars* Kollros
ARTIST:
-Mehrta Shirzadian
FAMILIAR
FAMILIAR
In the familiar environment where the nylon material from everyday packaging of humble, consumed products intertwines with the warlike images of the mass media and social networks, overseen by central authority.
They compose a space of suffocating dominance, where guided arrogance and inertia have been inscribed within the realm of individuals and their social relations, transforming the person into a living being — a member of a directed herd.
ARTISTS:
-Nafsika Riga
In the familiar environment where the nylon material from everyday packaging of humble, consumed products intertwines with the warlike images of the mass media and social networks, overseen by central authority.
They compose a space of suffocating dominance, where guided arrogance and inertia have been inscribed within the realm of individuals and their social relations, transforming the person into a living being — a member of a directed herd.
ARTISTS:
-Nafsika Riga
THE LAST “OPEN-AIR”
The last “open-air” is not about nostalgia — it’s a statement.
An evening that gives space to the voices that are rising, to stories that push boundaries and open horizons.
In the heart of autumn, the seventh art meets the city and its audience in real time.
Total screening time: 100’
CURATED BY:
Because Group
An evening that gives space to the voices that are rising, to stories that push boundaries and open horizons.
In the heart of autumn, the seventh art meets the city and its audience in real time.
Total screening time: 100’
CURATED BY:
Because Group
STRATOS
ARTIST:
-Stratos Sterianos
-Stratos Sterianos
22 STOPS
22 Stops is a site-specific, walking Butoh performance that explores the interaction between the body and the landscape, seeking to create a physical and poetic mapping of space. Through the principles of Butoh — slowness, condensation, active pause, micro-movements, sculptural forms, and poetic imagery — the body responds to the textures, architecture, and memories of the urban environment, forming 22 spontaneous Butoh compositions in 22 different locations.
The performance began in 2016 near 22 Athens metro stations, as part of the In Progress Feedback Festival (organized by Kinitiras), where it was also awarded. Since then, it has been presented at festivals and in cities across Greece and Europe, each time reconfiguring the dialogue between body and place. In October 2025, 22 Stops will be presented at the Larnaca Biennale and subsequently at OpenArtLink 2025 in Piraeus — a city with a long history of mobility and transition. There, 22 Stops will engage with the memory of the port, the routes of migration, the flows of bodies and goods, and the pulse of perpetual motion. The route will begin and end at the Ioannou Alexiou Mansion, forming a circle that encompasses the memories, flows, and intersections of Piraeus.
Each stop is marked by a number drawn in chalk on the ground — a trace of presence and absence that composes an invisible poetic topography. The audience is invited to follow the route as a “fellow traveler,” to pause, listen, and feel — to enter a state of slowness, embodied awareness, and presence. 22 Stops does not impose interpretations but rather creates a space for reflection — an invitation to re-approach the familiar.
Through the fluidity of boundaries and the tension between the ephemeral and the eternal, presence and absence, the work proposes a new form of corporeal mapping: an invitation to see anew, to reimagine, and to reconnect with place, the world, and oneself.
ARTIST:
-Katerina Drakopoulou
The performance began in 2016 near 22 Athens metro stations, as part of the In Progress Feedback Festival (organized by Kinitiras), where it was also awarded. Since then, it has been presented at festivals and in cities across Greece and Europe, each time reconfiguring the dialogue between body and place. In October 2025, 22 Stops will be presented at the Larnaca Biennale and subsequently at OpenArtLink 2025 in Piraeus — a city with a long history of mobility and transition. There, 22 Stops will engage with the memory of the port, the routes of migration, the flows of bodies and goods, and the pulse of perpetual motion. The route will begin and end at the Ioannou Alexiou Mansion, forming a circle that encompasses the memories, flows, and intersections of Piraeus.
Each stop is marked by a number drawn in chalk on the ground — a trace of presence and absence that composes an invisible poetic topography. The audience is invited to follow the route as a “fellow traveler,” to pause, listen, and feel — to enter a state of slowness, embodied awareness, and presence. 22 Stops does not impose interpretations but rather creates a space for reflection — an invitation to re-approach the familiar.
Through the fluidity of boundaries and the tension between the ephemeral and the eternal, presence and absence, the work proposes a new form of corporeal mapping: an invitation to see anew, to reimagine, and to reconnect with place, the world, and oneself.
ARTIST:
-Katerina Drakopoulou
[IN BETWEEN]
ARTIST:
-Maria Xanthopoulou
-Maria Xanthopoulou
CLOTHING MOUNTAIN
A large-scale collective performance that transforms painting, sound, fabric, and clothing waste into a living act of creation.
A mountain of discarded clothes rises in the space — a monument to fashion’s overproduction and excess.
Throughout the performance, artists and participants dive into this living landscape of fabric: cutting, sewing, painting, embroidering. Each gesture transforms what was once waste into a unique piece of art.
The “clothing mountain” is not only dismantled but reborn.
Old garments become canvases, sculptures, wearable objects, and installations. What begins as a pile of forgotten fabric turns into a collective artwork unfolding in real time.
The process is raw, inclusive, and participatory: the audience is invited to join the act of transformation, leaving their own trace on a piece of fabric, a stitch, a brushstroke.
Every sound — the hum of a sewing machine, the snap of scissors, the drag of cloth across the floor — feeds into a live soundscape, turning craft into music and labour into ritual.
The performance begins with a theatrical action: performers mimic the act of shopping for clothes — trying them on hastily, discarding them without thought, and piling them up. This symbolic action reflects our everyday habits of impulsive consumption, showing how garments often end up unused and wasted. These discarded clothes form a mountain of textiles, a striking visual metaphor for the fast fashion industry — the second largest polluting industry in the world.
From there, the transformation begins. Participants and artists use colors made from natural, ecological materials — turmeric, cabbage, charcoal, and other elements found in nature — to dye pieces of fabric and garments from the pile. They paint collectively on large textiles with brushes, sponges, and alternative tools, while contact microphones capture every sound (brushstroke, rubbing, dripping water, movement) and turn them into a live musical composition.
As the process evolves, dyed fabrics and clothes are sewn together in real time, by hand and with sewing machines, forming new creations: garments, artworks, and collective fabric sculptures. A video installation with material from the earlier phase (color-making) creates a backdrop that bridges memory and live action.
Final Outcome
The completed collective artwork — fabrics reborn from discarded clothes — will remain on display throughout OpenArtLink as a permanent installation. It stands as a testimony to the power of community, creativity, and sustainability: showing that what is wasted can be given a second life, transforming pollution into awareness, and fast fashion into an inclusive artistic statement.
A multisensory, interactive workshop that merges the art of sound, image, and movement, transforming collective creation into a unique artistic experience.
CURATED BY: Εlisavet Latsiou
IN COLLABORATION WITH: Nikos Benetos & Chryssanthe
ARTISTS:
-Dimitra Kousteridou
-Eva Manaridou
-Others
A mountain of discarded clothes rises in the space — a monument to fashion’s overproduction and excess.
Throughout the performance, artists and participants dive into this living landscape of fabric: cutting, sewing, painting, embroidering. Each gesture transforms what was once waste into a unique piece of art.
The “clothing mountain” is not only dismantled but reborn.
Old garments become canvases, sculptures, wearable objects, and installations. What begins as a pile of forgotten fabric turns into a collective artwork unfolding in real time.
The process is raw, inclusive, and participatory: the audience is invited to join the act of transformation, leaving their own trace on a piece of fabric, a stitch, a brushstroke.
Every sound — the hum of a sewing machine, the snap of scissors, the drag of cloth across the floor — feeds into a live soundscape, turning craft into music and labour into ritual.
The performance begins with a theatrical action: performers mimic the act of shopping for clothes — trying them on hastily, discarding them without thought, and piling them up. This symbolic action reflects our everyday habits of impulsive consumption, showing how garments often end up unused and wasted. These discarded clothes form a mountain of textiles, a striking visual metaphor for the fast fashion industry — the second largest polluting industry in the world.
From there, the transformation begins. Participants and artists use colors made from natural, ecological materials — turmeric, cabbage, charcoal, and other elements found in nature — to dye pieces of fabric and garments from the pile. They paint collectively on large textiles with brushes, sponges, and alternative tools, while contact microphones capture every sound (brushstroke, rubbing, dripping water, movement) and turn them into a live musical composition.
As the process evolves, dyed fabrics and clothes are sewn together in real time, by hand and with sewing machines, forming new creations: garments, artworks, and collective fabric sculptures. A video installation with material from the earlier phase (color-making) creates a backdrop that bridges memory and live action.
Final Outcome
The completed collective artwork — fabrics reborn from discarded clothes — will remain on display throughout OpenArtLink as a permanent installation. It stands as a testimony to the power of community, creativity, and sustainability: showing that what is wasted can be given a second life, transforming pollution into awareness, and fast fashion into an inclusive artistic statement.
A multisensory, interactive workshop that merges the art of sound, image, and movement, transforming collective creation into a unique artistic experience.
CURATED BY: Εlisavet Latsiou
IN COLLABORATION WITH: Nikos Benetos & Chryssanthe
ARTISTS:
-Dimitra Kousteridou
-Eva Manaridou
-Others
CURATING FRAGILITY
How exposed and vulnerable is the notion of privacy today? And what are the contemporary mechanisms of self-protection against the threats that endanger it?
The project Curing Fragility seeks to explore these questions by introducing us to an interior, fragile world, drawing inspiration from the atmosphere of Tennessee Williams’ The Glass Menagerie, yet re-situated within the context of contemporary times and technological mediation.
The private space — the bedroom as a symbolic locus of introspection and protection — is transformed into a public and, at the same time, uncanny field, composed entirely of transparent materials. Through this spatial and material transparency, Athina Kanela constructs an allegorical environment that appears to function as a protective shell, while in essence revealing its own exposure and fragility.
The use of bubble wrap as the main material reinforces this duality: a substance typically associated with protection becomes a means of exposure due to its inherent transparency. Through this visual and conceptual inversion, the work raises questions about the performativity of privacy, the notion of testimony, and the management of visibility within the framework of contemporary technological conditions, proposing metaphorical responses through the performative action itself.
ARTIST:
-Athina Kanela
The project Curing Fragility seeks to explore these questions by introducing us to an interior, fragile world, drawing inspiration from the atmosphere of Tennessee Williams’ The Glass Menagerie, yet re-situated within the context of contemporary times and technological mediation.
The private space — the bedroom as a symbolic locus of introspection and protection — is transformed into a public and, at the same time, uncanny field, composed entirely of transparent materials. Through this spatial and material transparency, Athina Kanela constructs an allegorical environment that appears to function as a protective shell, while in essence revealing its own exposure and fragility.
The use of bubble wrap as the main material reinforces this duality: a substance typically associated with protection becomes a means of exposure due to its inherent transparency. Through this visual and conceptual inversion, the work raises questions about the performativity of privacy, the notion of testimony, and the management of visibility within the framework of contemporary technological conditions, proposing metaphorical responses through the performative action itself.
ARTIST:
-Athina Kanela
LIQUID MEMORY
A sound and visual composition inspired by the element of water and its relationship with memory and the body.
Sounds of water, flows, vapors, and vibrations combine with light and movement, forming a field of continuous transformation.
Smell functions as a bridge between the present and the past, as the scent of water and the sea evokes memories and sensations.
The body follows, moving between matter and diffusion — with water acting as a carrier of memory, breath, and reconnection.
Composition / electric bass, electronics: Nefeli Stamatogiannopoulou
Violin, fx: Angelos Mastrantonis
Sounds of water, flows, vapors, and vibrations combine with light and movement, forming a field of continuous transformation.
Smell functions as a bridge between the present and the past, as the scent of water and the sea evokes memories and sensations.
The body follows, moving between matter and diffusion — with water acting as a carrier of memory, breath, and reconnection.
Composition / electric bass, electronics: Nefeli Stamatogiannopoulou
Violin, fx: Angelos Mastrantonis
ATOPON
Sound performance / experimental Dj Set)
ARTISTS:
-Alexandros Kontogeorgakopoulos
-Dimitris Charitos
ARTISTS:
-Alexandros Kontogeorgakopoulos
-Dimitris Charitos
TRUE THERMAL FREEDOM
A multimedia performance work that deals with the cultural and ecological dimensions of temperature, drawing on the example of Athens. In four humorous video sequences, the interactions between heat politics, neoclassical ideology and the Western illusionary perspective on Greece are thematised. Meltable casts made of ice and fat are staged at selected locations as artefacts or body extensions.
ARTISTS:
-Stella Myraf
-Leah Dorner
ARTISTS:
-Stella Myraf
-Leah Dorner
ECLYPSIS
Eclypsis is a by Christos Tzovaras and Maria Kasidokosta, emerging choreographers based in Athens. Recently developed and premiered with the support of Flux Laboratory Athens through the Flux Now: Stage One platform (April 2025), the work explores physical contact as a transformative, living material existing between two bodies. Inspired by the Japanese philosophy of Kintsugi, Eclypsis delves into fragility, interdependence, and the subtle transitions that shape human connection, highlighting transformation as an embodied and relational experience.
ARTISTS:
-Christos Tzovaras
-Maria Kasidokosta
ARTISTS:
-Christos Tzovaras
-Maria Kasidokosta
SKIN1811
ARTIST:
-Maia Zourou
-Maia Zourou
CHOREOGRAPHY OF BODIES
ARTIST:
-Marilli Topouzoglou
-Marilli Topouzoglou
THRESHOULD STUDIES
ARTIST:
-Karl Heinz Jeron
-Karl Heinz Jeron
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