Keramikos 23 art space

1ST floor    

“Urban Clusters: Wandering Through the Invisible Map of the City”
Group exhibition
Curated by: Johannis Tsoumas / Antonia Thomopoulou
Artists: Roxani Charantoni, Evagelia Christou, George Diamantis, Niki Karamichali, Nikos Makarounas, Artemis Potamianou, Antonia Thomopoulou, Johannis Tsoumas.

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 recognize the Other as a participant in our shared everyday. This exhibition does not simply depict the city - it narrates it and rewrites it, together with you.

“Antimemory”
Group exhibition
Curated by: Helen Mesadou
Artists: Marianna Athanasiou, Nefeli Chyntiraki, Eugenia Efstathiou, Theodora Kalogirou, Dafni Mamouri, Georgia Ponirakou, Thasos Tanagias, Athanasia Tsatsou, Vasileios Vasileiou.

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.

“Cosmologies of Becoming”
Master’s Program in “Digital Arts”, Athens School of Fine Arts
Curator: Vicky Betsou, Assistant Professor of Video Art, ASFA
Participants: Dimitris Agathopoulos, Vicky Betsou, Konstantina Boua, Valentina Farantouri, Jannis Karalis, Anna Pappa, Isidoros Plakotaris, Eirini Tampasouli, Giorgos Tzimas, Dialekti Valsamou.

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.

“RE-COIL”
Group exhibition
Curated by: Marlene Heidinger
Artists: Marilena Georgantzi, Marlene Heidinger, Daphnis Monastiriotis, Eirini Tiniakou.

“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.


“BLIND”
Multimedia project, video installation and performance
Curated by: Filippos Tsitsopoulos
Artists: Kiki Filosoglou, Giannis Mitrou, Filippos Tsitsopoulos.

The presentation explores the multiple dimensions of blindness - physical, psychological, political, and social
- and the restoration of vision as a process of questioning and critical reflection.
Blindness is not simply the absence of sight; it signifies a shift in perception, a restriction or disruption of both visual and cognitive perspectives.
From Plato and the Allegory of the Cave to Merleau-Ponty and Aby Warburg, blindness functions as a symbol of limited knowledge and as a catalyst for critical thought. In contemporary art, from James Turrell to Yves Klein, vision and its absence become a field of aesthetic and psychological inquiry, revealing its experiential dimension.

“Carefree play”, Thanasis Lalas
Installation
Curated by: Giorgos Kartalos

“Get in, we’re not like the others!” Michael René Sell / Dean Maasen Collaborative installation
We march backwards into the future and fall apart if we have too few corners to hide in, only to rediscover ourselves. We turn all seriousness into farce. We are untouchable, ghosts who know that it’s about playing, not winning. We slip through loopholes, carry no weight, and say no just for the thrill. We drink the last drop of clarity and set all will-o’-the-wisps on fire. We get used to feeling nothing and dance pogo with our shadows. We are Jester’s stones. We are utterly ourselves.

“Familiar”, Nafsika Riga, Giorgos Divaris
Installation and Performance:
Nafsika Riga, Giorgos Divaris Performer: Nafsika Riga

Within a familiar environment, the nylon remnants of everyday packaging - humble traces of consumed products - intertwine with the warlike imagery disseminated by mass media and social networks under the supervision of centralized power. Together, they compose a space of suffocating dominance, where orchestrated arrogance and inertia permeate the sphere of individuals and their social relations, transforming the person into a living being - a compliant member of a directed herd.

“Thank You for Your Heroism”
Group exhibition
Curated by: Maria Vozali
Artists: Andreas Lyberatos, Konstantina Emmanouela Angelopoulou, Michael Parlamas, Christos Ponis, Chrisanthos Sotiropoulos, Stamatis Theoharis, Maria Vozali.

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.

“TRANSFORMATIONS”, BRAINSHOT
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?
“Art of Transformation”
A Multidisciplinary Exhibition
Curated by: Elisavet Latsiou, BRAINSHOT
Artists: Dionysia Adamopoulou, Eleftheria Andreopoulou & Konstantinos Apostolou, Eva Dereoglou, Aikaterini Diamanti, Helena Divoli, Elena Galani, Christina Gkiza, Savvina Kitsune, Kolazista, Vicky Konstantinopoulou, Melina Konstantinou, Giorgos Koumbos, Natalia Maragkou, Stavros Paneras, Mariyana Todorova, Thodoris Trampas, Fotis Trasanidis, Mary Vossou, Aglaia Zorba, Cyprus Organization for Education through the Arts & We Are Community (curated by Elia Petridou & Dina Ntzioura).

Performances & Installations:
Karl Heinz Jeron, Marily Topouzoglou / Dimitra Kousteridou, Nikos Benetos, Elisavet Latsiou / Maria Xanthopoulou, Christos Tzovaras, Maria Kasidokosta.

“Forum of installations”
Installations by individual artists

“Fondle me, my little poor nigger”, Babis Karalis
I wish my dear Karl could devote some of his time to acquiring capital, in addition to writing.
Jenny Marx
wife of Karl Marx (1814-1881)
“Forget-Me-Not”, Sebastian Boulter
The official name of the flower is Myosotis Sylvatica. The petals of this tiny flower are approximately 5mm long. In many languages the flower is called Forget-Me-Not. In 2015 “Forget-Me- Not” -symbol was elaborated in the series of events dedicated to Centennial of the Armenian Genocide*. In a poetic and at the same time in wordless way, this flower carries the whole weight of the memory of the genocide. The ballast came close to

Armenians again after the fraternity of Turks, the Azerbaijanis, who on the 19th of September 2023 conquered Armenian populated Nagorno-Karabakh. Since January the 1st 2024 the Republic of Nagorno-Karabakh (in Armenian, Republic of Artsakh) has ceased to exist.
*The Turkish government acknowledged the genocide in 1919, and the perpetrators were sentenced to death. However, Turkey's first president Kemal Atatürk and his followers have denied that the genocide ever happened. Turkey has also forbidden, under threat of punishment, to mention the "incident" of 1914–1918 in school education.

“The power within”, Semina Milarokosta Figures move across different places and times; their hands become witnesses of a quest.
The real and the unreal intertwine; weaving a world where matter and vision can no longer be separated.
These personas, hybrids of human and machine, carry a subtle spark of hope.
Within the ambiguous, within the in-between, emerges the possibility of another world.
“IL MECCANISMO”, Alessandro Vassilas Milena Nowak
Installation and performance
“Heterotopia”, Elio Samara
Sculptural installation
"MAGNITUDE", ilka Leukefeld

“Passage”
Group exhibition
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.


“In Transit”
Group exhibition
Curated by: Lars* Kollros
Artists: Astrid Didion, Laura Isselhorst, Sandra Lazányi, Flavia Mudesto, Mehrta Shirzadian, the Futile Corporation.
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.

“Hohe Feiertage” (“High Holidays”), Lars* Kollros
Video intervention
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. HD-Video, 14:45 min, 2025 | https://misconception.de/hohe-feiertage-preview/

“Mixer”
Group exhibition
Curated by: keramikos_23
Artists: Georg Georgakopoulos, Paolo Incarnato, Fotini Kapiri, Thalia Kerouli
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.

“Childhoodfree”, Anna Egarmina
Art installation

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”
Documentary, 2024 Director: Nic Stacey By Grain Media Netflix
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.
Watch on NETFLIX: https://www.netflix.com/watch/81554996

   2nd floor    

“Patterns”
Group exhibition
Ufofabrik Contemporary Art Gallery Curator: Ioanna Kazaki
Artists: Anna Chatziaggelou, Fotini Chatzimixail, Ioanna Kazaki, Kassiopi Manousopoulou, Ioanna Sionti, Vasiliki Vasileiou, Myrto Vounatsou.

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.

“TRAVEL ROOTS”
Group exhibition
Curator: Charlotte Aurich, Pablo Chieregin
Artists: Charlotte Aurich, Pablo Chiereghin, Peter Kraus, Miriam Laussegger, Olaf Osten, Alberto Storari.

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.


“Europe - an identity in question”
Group exhibition
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.

“The eyes of others our prisons”, Olga Economou Constantinides
Mixed-media installation
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.

“SALTY METAL”
Group exhibition
Curated by: Lola Pfeifer / Lukas Soldo
Artists: Lola Pfeifer, Alisa Omelianceva, Lukas Soldo, Janine Weger.
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.


“A Question of Becoming"
Group exhibition
Curated by: Anna Alexia Papadopoulou
Artists: Claudio Coltorti, Angeliki Koutsodimitropoulou, Anna Alexia Papadopoulou, Johnna Sachpazis, Filippos Tatakis, Dimitris Theocharis.
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.

“From Port to Port”
Group exhibition
Curated by: Georg Georgakopoulos
Artists: Almuth Baumfalk, Petra Forman, Alina Grabovsky, Carla Magnier, Niklas Niklas, Timo Pfeifer, Ragna Jürgensen, Lap Yip.
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: Almuth Baumfalk, Petra Forman, Alina Grabovsky, Carla Magnier, Niklas, Timo Pfeifer, Ragna Jürgensen, Lap Yip.

“Tentacular ways: art strategies, ecosystems and planetary transformation” Akademie der bildenden Künste Wien and Athens School of Fine Arts A.S.F.A.
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.
What does it mean to be human in the Anthropocene / Capitalocene / Chthulucene? How do we navigate through a world shaped by the exploitative interventions against natural ecosystems, proliferation of reactionary power structures, and galloping inequalities? Can we think of our artistic agency in ways that accentuate our capacity to design alternative futures while remaining resilient in the present? Donna Haraway’s concept of the Chthulucene invites us to reflect on our “tentacular connectedness” and explore our entanglement within multispecies of human and non-human components. Addressing these questions, and seeking tangible alternatives from the perspective of an expanded artistic praxis, students and professors from the Academy of Fine Arts Vienna and the Athens School of Fine Arts extend their on-going collaboration and exchange to stage a new creative output defined by attentive and transformative response to each other’s moves, maneuvers, materialities, desires – a tentacular dance!

“SKIN and BONES”
Group exhibition
Designed and Curated by: Antigoni Kapsali
Artists: Vasilis Angelopoulos, Artemis Alcalay, Penny Gkeka, Zoi Zipela, Antigoni Kapsali, Sophia Kyriakou, Vaia Pilafa, Myrto Sakka.
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 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.


“Auswaertsspiel” (“Away Game”)
Group exhibition
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.
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.

“Spitball Ideas” Group exhibition Curated by: flat1
Artists: Ewa Kaja, Karin Maria Pfeifer, Fabian Seiz, Christiane Spatt, Sanna Sønstebø, Sula Zimmerberger.
flat1 is an independent art space founded in 2009 in Vienna. Since its inception, it has been committed to presenting thematic group exhibitions that explore current tendencies and discourses within contemporary visual art. The program serves as a platform for artistic experimentation and reflection, with an emphasis on the interplay between concept, material, and spatial experience.
Beyond its focus on visual art, flat1 also embraces interdisciplinary approaches that bridge music, film, and performance. These elements form a continuously expanding supplementary program, creating a vivid field of artistic encounter and exchange. By inviting artists from diverse backgrounds and working across different media, flat1 aims to foster dialogue, provoke thought, and encourage new ways of perceiving and experiencing art. A central ambition of flat1 is to promote the exchange between international artists and to build networks that extend beyond the commercially oriented gallery environment. The space operates as a meeting point for artistic practices that are process-oriented, critical, and reflective, offering an alternative to conventional exhibition formats. Collaborations with curators, institutions, and independent initiatives have been essential to developing a sustainable and ever-evolving structure that remains responsive to contemporary artistic and social developments. flat1’s program is conceived and realized by a collective of visual artists who expand their own artistic practice through curatorial engagement. This approach blurs the boundaries between creating and curating, allowing for a multifaceted dialogue between artistic production and its presentation. Through this self-reflexive model, the team continuously redefines the curatorial process as a form of artistic research and collaboration. Over the years, flat1 has established itself as a relevant voice within Vienna’s independent art scene, a space where experimentation, diversity, and critical discourse coexist. Its exhibitions and accompanying events seek to connect local and international contexts, generating resonance and exchange across cultural and disciplinary borders. In doing so, flat1 remains faithful to its founding idea: to create a space that values artistic freedom, fosters open dialogue, and continually reimagines the possibilities of collective artistic practice.

“Domesticating Savages”, Spyridwn
Curated by: Pavlina Bechrakis Art project
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.

“Aspra Marmara”, Frank Holbein
Video Installation
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.

   3rd floor    

“person : ˈpɜːsn”
Alexandros Kontogeorgakopoulos / Odysseas Klissouras (oneContinuousLab)
Light-sound installation
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.

“atopon”, Alexandros Kontogeorgakopoulos, Dimitris Charitos
Sound performance / experimental Dj Set)

“Can you be just another can”
Group exhibition
Curators: Ismini Bonatsou / Lambrini Boviatsou

Artists: Ismini Bonatsou, Lamprini Boviatsou, Stella Drygiannaki, Elli Griva, Sophia Kyriakou, Evdokia Kyrkou, Kosmas Lilikakis, Yiorgos Lintzeris, Alexandros Nikolaou (itsmi), Pantelis Pantelopoulos, Elena Papadimitriou, Apostolis Philippou, Vivi Perysinaki, Chrysa Skordaki, Angelos Skourtis, Annetta Spanoudaki, Nikos Stathopoulos, Aris Stoidis, Martha Tsiara, Margarita Vasilakou, Sofia Vlazaki, Nikos Vozaitis (vozis).
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.

“Hidden Curriculum”
Group exhibition
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.
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.

“A Record Label Showcase”, Modular expansion
Exhibition of Modular Expansion’s 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.

Aklima Iqbal
Painting Installation

“AROUND ABOUT”
Group exhibition
Curated by: Julia Harrauer
Artists: Dominykas Cinauskas, Ilias Koen, Nikola Milojčević, Lidia Russkova-Hasaya, Katerina Papazissi, Saulė Šmidtaitė.
“Rooms” Performance by: Lidia Russkova-Hasaya
AROUND ABOUT investigates the tension between appearance and reality, exploring how materials can deceive and shape perception. The body functions as the primary medium in these transformations, determining how we experience our surroundings. The exhibition takes place from October 22 to 26, as part of OpenArtLink 2025, an international platform for contemporary art. It is located in the Ioannou Alexiou Building at the port of Piraeus, where the industrial harbour becomes an intrinsic part of the conceptual framework. Ships arrive and depart, while the textures of metal, concrete and rust fill the landscape. The sea is present in its duality, gentle yet formidable. Water appears light, on the calm surface it sparkles in the sunlight. Yet on the open water enormous waves rise, asserting their immense power and bears the extraordinary weight of freighters. In this environment of constant motion and transformation, what appears fragile yet substantial engages in an immediate dialogue with the space. As a result, each of the five featured artistic positions interprets material transformation and the interplay between fragility and toughness in their own way, revealing how perception, matter, and consciousness are inseparably intertwined. Diverse mediums are reshaped and placed in new contexts, redefining their original properties. Seemingly hard metal plates are made of paper, carefully painted and formed into intricate structures. Other works evoke floral forms yet are made from solid steel, bent with immense force into fragile. Human-made paintings range from naturalistic and digitally generated to hyperreal, while sculptures appear as though salvaged from shipwrecks but are in fact composed of delicate ceramics. Deception becomes a conceptual tool, only revealed at second glance, making transformation tactile as a state suspended between destruction and creation.

“Alternative Firing Techniques”
Works by students of the University of Applied Arts Vienna (die Angewandte Ceramic Studio)
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.
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.


“Ego-Existence”
Group exhibition
Curated by: Irene Vlachianou
Artists: Eftychia Gkatzelia, Vasileia Katsouli, Elisabeth Zarri, Kirki Tsakania, Irene Vlachianou.
Human beings are directly connected with the earth - both temporally and materially. Yet, this coexistence can become intrusive, to the point of exploitation - something no other living creature on the planet engages in. It is true that humanity has had to intervene in nature in order to survive; however, such interventions, as we often observe, can be destructive. As an organism, the human being has an inherent need for constant evolution, a drive that often fuels grandiose tendencies, the consequences of which are evident all around us. This human mindset frequently disregards the natural balance. Through art - through our own work - we make a social observation, offering a visual interpretation of the multifaceted relationship between nature and humanity. The urban landscape blends with the natural and organic. Inspiration stems from personal experiences, exploring themes that resonate individually with each of us. Each artwork focuses on different perspectives of this relationship. At times, human interventions in the environment and in nature may arise from the need for creation and expression. Such interventions are not necessarily negative or harmful to the natural world. In other words, through our works emerge commentaries drawn from observations of everyday life. Fluid forms, harmonious color transitions, and the transformation of materials symbolically facilitate a deeper communication with nature. Nevertheless, we cannot deny that human (and thus artistic) activity is influenced and shaped by each person’s “ego,” manifesting in either positive or negative ways. We therefore gathered our individual “egos” to present aspects of our own self-centered - yet artistic - connection with nature. The environment defines us, but we, in turn, define it.

“Last treat”
Group exhibition
Artists / Curated by: Alexandros Ntovaris Kolovos, Chrisita Dimakopoulou, Foivi Flamboura.

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.

“The Subtle East” Group exhibition Curator: Jing Ling
Artists: Li Jing, Song Wei, Cheng Fang, Wen Jing, Cheng Tianyou, Wang Ya.
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.

“TRUE THERMAL FREEDOM”, Stella Myraf, Leah Dorner
Multimedia performance work
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.

“Free Will”, Vasilis Zarifopoulos
Installation
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!

   Ground floor    

“Beyond Marine Plastic Waste”, BlueCycle
Curator: BlueCycle Team
Artist: BlueCycle Team
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.

“Walls on Fire”
Group exhibition of contemporary muralists
Curator: Natalia Hatgis
Artists: 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 “graffiti”, 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.

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

   Roof    

The Last “Open-Air”, Because Group
Short Films by Emerging Filmmakers
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’

"untitled #81", unknown.artists.collective
Video sequences for public media space
“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.

“Walls on Fire”
Group exhibition of contemporary muralists
Curator: Natalia Hatgis
Artists: Taxis, Monos Sotos, Ruin, Simek, Kez, Exit, Greg Papagrigoriou

   Performances/ Events Program    

Wednesday, 22 October

17:00 Opening

22:00 “Modular expansion”
Dj sets: Acid Vatican, EMEX (George Apergis), NUEΛ, HUDD (Steve Sai), Talantösis.

Thursday, 23 October

17:30 “TEA TIME”
Chinese tea ceremony with music and Chinese calligraphy
Curated by: Jing Ling

18:00 “Transformation”, Lars* Kollros
Transformation is a performance using light, sound and video, 15 minutes
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.

18:30 Milena Nowak

19:30 “BLIND” Performances, Giannis Mitrou Curated by: Filippos Tsitsopoulos

20:30 “Vaginal Cycle (Un)written”, Mehrta Shirzadian
Lecture performance, 15 min. Part of the exhibition “In Transit”, curated by Lars* Kollros

21:00 “RAUM G”, Peter Kraus, Pablo Chiereghin
Sound Performance, part of the exhibition “Travel Roots”

22:00 “CARROUSEL”, Sebastian Boulter
Music performance

Friday, 24 October

17:30 "Meena Alexander between exile and dislocation", Sophie d'Aubreby
Reading of a selection of poems

19:00 “The Geography of Yellow Walls”, Mehrta Shirzadian
10 minutes. Part of the exhibition “In Transit”, curated by Lars* Kollros
20:00 Nafsika Riga
Performance part of the exhibition “Familiar” Curated by Nafsika Riga and Giorgos Divaris

21:00 “The Last ‘Open-Air’” Curated by: Because Group
Short Films by Emerging Filmmakers
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’

22:00 Stratos Sterianos
Improvised musical performance

Saturday, 25 October

17:00 “22 stops”
Walking performance
Concept, Creation, Performance: Katerina Drakopoulou Photography: Ioulia Ladogianni

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. 22stops.com

18:00 “[In Between]”, Maria Xanthopoulou “TRANSFORMATIONS”, BRAINSHOT
Installation – Performance

20:00 “Clothing Mountain – From Garment to Artwork” “TRANSFORMATIONS”, BRAINSHOT
Collective Sound–Painting Performance & Installation Artists: Dimitra Kousteridou, Eva Manaridou and others Concept & Artistic Direction: Elisavet Latsiou
In collaboration with: Nikos Benetos & Chryssanthe

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 completed collective artwork - fabrics reborn from discarded clothes
- will remain on display 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 & movement, transforming collective creation into a unique artistic experience.

21:00 “Curing Fragility”, Athina Kanela
Participatory performance/ installation
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?
Curing Fragility explores these questions through a fragile, interior world inspired by Tennessee Williams’ The Glass Menagerie, reimagined for contemporary times. 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 functions as a protective shell, while in essence revealing its own 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 on the performativity of privacy, the notion of testimony and the management of visibility within the frame of contemporary technological conditions, proposing metaphorical responses through the performative action itself.
Timelapse of the project during exhibition hours: https://www.youtube.com/watch?v=9irPwz0B3_U&list=PLzcV8V-EaV0xozMYF5N0NmqoQF9dX- TkQ&index=4&t=1s

21:30 "Liquid Memory"
Composition/Idea/ elec. bass, electronics: Nefeli Stamatogiannopoulou Violin, fx: Aggelos Mastrantonis
An audiovisual composition inspired by the element of water and its relation to memory and the body. Sounds of water, flows, vapors and vibrations merge with light and movement, forming a field of continuous transformation. Scent bridges the present and the past, the aroma of water and the sea evokes memories and sensations. The body follows, moving between matter and diffusion, with water as a vessel of memory, breath, and reconnection.

22:00 “atopon”, Alexandros Kontogeorgakopoulos, Dimitris Charitos
Sound performance / experimental Dj Set

Sunday, 26 October
18:30 “Rooms”, Lidia Russkova-Hasaya
Part of the exhibition "AROUND ABOUT" Curated by Julia Harrauer
19:00 “TRUE THERMAL FREEDOM”, Stella Myraf, Leah Dorner
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.
20:00 “Eclypsis”, Christos Tzovaras, Maria Kasidokosta “TRANSFORMATIONS”, BRAINSHOT
Contemporary dance duet. 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.
20:30 “Skin1811”, Maria Zourou “TRANSFORMATIONS”, BRAINSHOT
A performance that investigates the body as a site where society imprints its values. Artificial “skins” are created, each marked with the word LIKE - stamped, tattooed, or stitched with red thread like wounds being closed. These fragments, witnesses of our collective obsession with external validation, are gradually sewn together over a disintegrating skeleton, forming a new skin woven from approval, memory, and technological mediation. Accompanied by a relentless soundscape repeating LIKE, the work immerses the audience in an environment of digital noise and overexposure. Engaging with posthumanist theory (Stephan Sorgner, Stelarc), Skin1811 transforms stitching into language, pain into memory, the body into a hybrid site of decomposition and reconstruction, questioning how identity is shaped, consumed, and sustained in the age of networks.
21:00 “Choreography of Bodies”, Marili Topouzoglou (psychologist, art therapist & interdisciplinary artist)
“TRANSFORMATIONS”, BRAINSHOT
Participatory interactive installation. Visitors are invited to stand against a large white wall and have the outline of their body traced. As more and more outlines accumulate, they form a vibrant, collective image resembling a choreography. What begins as a series of small, individual imprints transforms into a dynamic, colorful composition - a living metaphor that only together can we create true change. The installation is participatory, open, and ever-changing, making the audience an inseparable part of the artwork.
21:30 “Threshold Studies”, Karl Heinz Jeron “TRANSFORMATIONS”, BRAINSHOT
Audience-Activated Performances. Threshold Studies by Karl Heinz Jeron invites visitors into simple, meditative actions - sweeping, whispering, drawing, or crossing thresholds - carried out alone or with others. No training is needed; participation unfolds quietly and intuitively. By scanning a QR code, audiences can glitch-record their own performances. Through these minimal scores, the work explores presence, absence, and the subtle disruptions of perception. Rather than spectacle, it cultivates stillness and slowness, transforming thresholds into spaces of transition where audiences become co-creators of ephemeral, resonant encounters.
22:00 Modular expansion
Dj sets: Acid Vatican, EMEX (George Apergis), NUEΛ, HUDD (Steve Sai), Talantösis.