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⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

⏳ Last chance to visit "Echoes of History, Shadows of Progress", Sammy Baloji’s solo exhibition at @emstathens

📍 This Saturday at 12:00, I will be giving a guided tour of the exhibition — please join!

For more than two decades, Baloji has explored the complex entanglements of cultural identity, colonial history, and industrial exploitation in the Democratic Republic of Congo. His practice unfolds as an ongoing research into the cultural, architectural, and industrial heritage of Katanga — a contested, resource-rich region in the country’s southeast — while critically examining the enduring impact of Belgian colonisation.

Bringing together installations, video works, and photographic series from the past twelve years of his practice, the exhibition also includes a new commission. It traces the history, present-day realities, and contradictions that shape the formation of Congo, examining encounters between the pre-colonial Kongo empire and Europe, the violent exploitation of people and resources under Belgian rule, and the contemporary corporate extraction practices that continue to devastate landscapes and ecosystems.

@twentyninestudioproduction : Sammy Baloji and Rosa Spaliviero, Juliette Hourçourigaray, Marek Szponik, Henriette Gillerot, Minne De Meyer Engelbeen

Exhibition Design: @thalia_melissa
Lighting: @sakisbirbilis
Graphic Design: @eleni_spyridaki

✨ Don’t miss this final opportunity to see the exhibition!

📸: @paristav

Sunday reading 📚

🐙The second issue of @octopus_emst “Wild Words — Remembering and Imagining Human and Animal Relationships” is out now, released alongside the major international exhibition ‘Why Look at Animals?’

This issue explores human-animal connections through the lens of contemporary art, literature, and theory. From ecofeminism to food politics, posthumanism to cinema. It features essays, stories, poems, and specially commissioned illustrations.

✨ Guest editor for Issue #2: @filipaaaaaaaaaaa
Featuring contributions by: Myriam Bahaffou, Sue Donaldson, Chris Pearson, Daisy Hildyard, Gastón Carrasco Aguilar, Miranda Terzopoulou, @kyvelim, Maria Tsgkari and @janisrafa
🎨 Iconography by @michelademattei and original artwork by @suecoeart

📝 Director: @katerina.gregos | Editor-in-chief: @tramboulis | Editorial consultant: @iolitzan

📖 Read it free online: https://octopus.emst.gr/

Sunday reading 📚

🐙The second issue of @octopus_emst “Wild Words — Remembering and Imagining Human and Animal Relationships” is out now, released alongside the major international exhibition ‘Why Look at Animals?’

This issue explores human-animal connections through the lens of contemporary art, literature, and theory. From ecofeminism to food politics, posthumanism to cinema. It features essays, stories, poems, and specially commissioned illustrations.

✨ Guest editor for Issue #2: @filipaaaaaaaaaaa
Featuring contributions by: Myriam Bahaffou, Sue Donaldson, Chris Pearson, Daisy Hildyard, Gastón Carrasco Aguilar, Miranda Terzopoulou, @kyvelim, Maria Tsgkari and @janisrafa
🎨 Iconography by @michelademattei and original artwork by @suecoeart

📝 Director: @katerina.gregos | Editor-in-chief: @tramboulis | Editorial consultant: @iolitzan

📖 Read it free online: https://octopus.emst.gr/

Sunday reading 📚

🐙The second issue of @octopus_emst “Wild Words — Remembering and Imagining Human and Animal Relationships” is out now, released alongside the major international exhibition ‘Why Look at Animals?’

This issue explores human-animal connections through the lens of contemporary art, literature, and theory. From ecofeminism to food politics, posthumanism to cinema. It features essays, stories, poems, and specially commissioned illustrations.

✨ Guest editor for Issue #2: @filipaaaaaaaaaaa
Featuring contributions by: Myriam Bahaffou, Sue Donaldson, Chris Pearson, Daisy Hildyard, Gastón Carrasco Aguilar, Miranda Terzopoulou, @kyvelim, Maria Tsgkari and @janisrafa
🎨 Iconography by @michelademattei and original artwork by @suecoeart

📝 Director: @katerina.gregos | Editor-in-chief: @tramboulis | Editorial consultant: @iolitzan

📖 Read it free online: https://octopus.emst.gr/

Sunday reading 📚

🐙The second issue of @octopus_emst “Wild Words — Remembering and Imagining Human and Animal Relationships” is out now, released alongside the major international exhibition ‘Why Look at Animals?’

This issue explores human-animal connections through the lens of contemporary art, literature, and theory. From ecofeminism to food politics, posthumanism to cinema. It features essays, stories, poems, and specially commissioned illustrations.

✨ Guest editor for Issue #2: @filipaaaaaaaaaaa
Featuring contributions by: Myriam Bahaffou, Sue Donaldson, Chris Pearson, Daisy Hildyard, Gastón Carrasco Aguilar, Miranda Terzopoulou, @kyvelim, Maria Tsgkari and @janisrafa
🎨 Iconography by @michelademattei and original artwork by @suecoeart

📝 Director: @katerina.gregos | Editor-in-chief: @tramboulis | Editorial consultant: @iolitzan

📖 Read it free online: https://octopus.emst.gr/

📽️ "Rumba Rules, New Genealogies" (2020)
This Sunday at 21:00 at CineFix – @emstathens rooftop open-air cinema!

🎬 Directed by David N. Bernatchez & Sammy Baloji (@twentyninestudioproduction), in collaboration with Kiripi Katembo Siku

Permeating the daily life of one of the great orchestras of the current generation, "Rumba Rules" proposes an incursion into the arcanes of a monumental African music.

Ya Mayi, Lumumba, Xéna La Guerrière, Pitchou Travolta, Alfred Solo, Soleil Patron and many others: nearly thirty artists feed the creative life of the Brigade Sarbati Orchestra. By entering the group and the city of Kinshasa, the film gets into the rumba as if it were penetrating a rootstock. Through studio work, rehearsals and concerts, different portraits offer a foray into the dynamics and stories of this highly acclaimed Congolese music. From local roots to the patrons from the diaspora, the voices of the Rumba Rules polyphony are past and present.

🎤 Following the screening, join us for a discussion with Sammy Baloji & David N. Bernatchez, @katerina.gregos, and myself.

🔗 http://twentyninestudio.net/films/rumba-rules

📽️ "Rumba Rules, New Genealogies" (2020)
This Sunday at 21:00 at CineFix – @emstathens rooftop open-air cinema!

🎬 Directed by David N. Bernatchez & Sammy Baloji (@twentyninestudioproduction), in collaboration with Kiripi Katembo Siku

Permeating the daily life of one of the great orchestras of the current generation, "Rumba Rules" proposes an incursion into the arcanes of a monumental African music.

Ya Mayi, Lumumba, Xéna La Guerrière, Pitchou Travolta, Alfred Solo, Soleil Patron and many others: nearly thirty artists feed the creative life of the Brigade Sarbati Orchestra. By entering the group and the city of Kinshasa, the film gets into the rumba as if it were penetrating a rootstock. Through studio work, rehearsals and concerts, different portraits offer a foray into the dynamics and stories of this highly acclaimed Congolese music. From local roots to the patrons from the diaspora, the voices of the Rumba Rules polyphony are past and present.

🎤 Following the screening, join us for a discussion with Sammy Baloji & David N. Bernatchez, @katerina.gregos, and myself.

🔗 http://twentyninestudio.net/films/rumba-rules

📽️ "Rumba Rules, New Genealogies" (2020)
This Sunday at 21:00 at CineFix – @emstathens rooftop open-air cinema!

🎬 Directed by David N. Bernatchez & Sammy Baloji (@twentyninestudioproduction), in collaboration with Kiripi Katembo Siku

Permeating the daily life of one of the great orchestras of the current generation, "Rumba Rules" proposes an incursion into the arcanes of a monumental African music.

Ya Mayi, Lumumba, Xéna La Guerrière, Pitchou Travolta, Alfred Solo, Soleil Patron and many others: nearly thirty artists feed the creative life of the Brigade Sarbati Orchestra. By entering the group and the city of Kinshasa, the film gets into the rumba as if it were penetrating a rootstock. Through studio work, rehearsals and concerts, different portraits offer a foray into the dynamics and stories of this highly acclaimed Congolese music. From local roots to the patrons from the diaspora, the voices of the Rumba Rules polyphony are past and present.

🎤 Following the screening, join us for a discussion with Sammy Baloji & David N. Bernatchez, @katerina.gregos, and myself.

🔗 http://twentyninestudio.net/films/rumba-rules

📽️ "Rumba Rules, New Genealogies" (2020)
This Sunday at 21:00 at CineFix – @emstathens rooftop open-air cinema!

🎬 Directed by David N. Bernatchez & Sammy Baloji (@twentyninestudioproduction), in collaboration with Kiripi Katembo Siku

Permeating the daily life of one of the great orchestras of the current generation, "Rumba Rules" proposes an incursion into the arcanes of a monumental African music.

Ya Mayi, Lumumba, Xéna La Guerrière, Pitchou Travolta, Alfred Solo, Soleil Patron and many others: nearly thirty artists feed the creative life of the Brigade Sarbati Orchestra. By entering the group and the city of Kinshasa, the film gets into the rumba as if it were penetrating a rootstock. Through studio work, rehearsals and concerts, different portraits offer a foray into the dynamics and stories of this highly acclaimed Congolese music. From local roots to the patrons from the diaspora, the voices of the Rumba Rules polyphony are past and present.

🎤 Following the screening, join us for a discussion with Sammy Baloji & David N. Bernatchez, @katerina.gregos, and myself.

🔗 http://twentyninestudio.net/films/rumba-rules

Some excerpts from ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash

🔗Tap the link in bio to read more

Some excerpts from ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash

🔗Tap the link in bio to read more

📖 Read ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash
Link in bio 🔗

Lola Flash has been working as a practising artist in the US and UK with numerous international exhibitions and commissions over the past four decades. Flash received their bachelor’s degree from Maryland Institute and Master’s from London College of Printing, UK. They work primarily in portraiture, engaging those who are often deemed invisible. Their work is included in important collections such as the Victoria and Albert Museum, MoMA, the Whitney, the Museum of African American of History and Culture, and the Brooklyn Museum. Flash is currently a member of the Kamoinge Collective and on the Board of Queer Art.

Ιoli Tzanetaki is a writer and curator, advisor at ΕΜΣΤ, and member of the editorial team of Οctopus

📷 Lola Flash, Cross Colour, 1987-ongoing. Darkroom processed cross-colour vintage photograph. Courtesy of the artist.

📖 Read ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash
Link in bio 🔗

Lola Flash has been working as a practising artist in the US and UK with numerous international exhibitions and commissions over the past four decades. Flash received their bachelor’s degree from Maryland Institute and Master’s from London College of Printing, UK. They work primarily in portraiture, engaging those who are often deemed invisible. Their work is included in important collections such as the Victoria and Albert Museum, MoMA, the Whitney, the Museum of African American of History and Culture, and the Brooklyn Museum. Flash is currently a member of the Kamoinge Collective and on the Board of Queer Art.

Ιoli Tzanetaki is a writer and curator, advisor at ΕΜΣΤ, and member of the editorial team of Οctopus

📷 Lola Flash, Cross Colour, 1987-ongoing. Darkroom processed cross-colour vintage photograph. Courtesy of the artist.

📖 Read ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash
Link in bio 🔗

Lola Flash has been working as a practising artist in the US and UK with numerous international exhibitions and commissions over the past four decades. Flash received their bachelor’s degree from Maryland Institute and Master’s from London College of Printing, UK. They work primarily in portraiture, engaging those who are often deemed invisible. Their work is included in important collections such as the Victoria and Albert Museum, MoMA, the Whitney, the Museum of African American of History and Culture, and the Brooklyn Museum. Flash is currently a member of the Kamoinge Collective and on the Board of Queer Art.

Ιoli Tzanetaki is a writer and curator, advisor at ΕΜΣΤ, and member of the editorial team of Οctopus

📷 Lola Flash, Cross Colour, 1987-ongoing. Darkroom processed cross-colour vintage photograph. Courtesy of the artist.

📖 Read ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash
Link in bio 🔗

Lola Flash has been working as a practising artist in the US and UK with numerous international exhibitions and commissions over the past four decades. Flash received their bachelor’s degree from Maryland Institute and Master’s from London College of Printing, UK. They work primarily in portraiture, engaging those who are often deemed invisible. Their work is included in important collections such as the Victoria and Albert Museum, MoMA, the Whitney, the Museum of African American of History and Culture, and the Brooklyn Museum. Flash is currently a member of the Kamoinge Collective and on the Board of Queer Art.

Ιoli Tzanetaki is a writer and curator, advisor at ΕΜΣΤ, and member of the editorial team of Οctopus

📷 Lola Flash, Cross Colour, 1987-ongoing. Darkroom processed cross-colour vintage photograph. Courtesy of the artist.

📖 Read ‘CHANGING COLOURS.’ , ioLi Tzanetaki in conversation with Lola Flash
Link in bio 🔗

Lola Flash has been working as a practising artist in the US and UK with numerous international exhibitions and commissions over the past four decades. Flash received their bachelor’s degree from Maryland Institute and Master’s from London College of Printing, UK. They work primarily in portraiture, engaging those who are often deemed invisible. Their work is included in important collections such as the Victoria and Albert Museum, MoMA, the Whitney, the Museum of African American of History and Culture, and the Brooklyn Museum. Flash is currently a member of the Kamoinge Collective and on the Board of Queer Art.

Ιoli Tzanetaki is a writer and curator, advisor at ΕΜΣΤ, and member of the editorial team of Οctopus

📷 Lola Flash, Cross Colour, 1987-ongoing. Darkroom processed cross-colour vintage photograph. Courtesy of the artist.

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

What an amazing week of studio visits @athens. Thank you for the invitation @emstathens and @katerina.gregos

Thank you Aliki Karioti, @fivos_sakalis @vickyTriantafylloudi for making this trip so smooth and joyful

So happy that my visit was combined with the visit of the amazing @catherinenichols567 (So looking forward to your #18thLyonBiennale in 2026)

And of course a big shout out to all the amazing artists that took the time to meet us and share their work.
And @antonispittas for taking the time to show us the city in all its glory

Here soms pics of my meetings with three of the grand dames of Greek Feminist art Despina Meimaroglou, Leda Papaconstantinou and Eleni christodoulou
And of course some pics of the current shows on @emst (shout out to Sammy Baloji for his amazing solo curated by @iolitzan)

To be continued….

#InternationalCuratorsVisitingProgramme #NationalMuseumofContemporaryArtAthens

Opening this Thursday! ✨
Two solo exhibitions + two large-scale in situ commissions at @emstathens: @janisrafa, Sammy Baloji (@twentyninestudioproduction), @kasperbosmans & @talbot.emma

Sammy Baloji (@twentyninestudioproduction), ‘Echoes of History, Shadows of Progress’

@janisrafa, ‘We Who Betrayed the Horses’

@kasperbosmans, ‘The Fuzzy Gaze’

@talbot.emma, ‘Human/Nature’

🚀 Free Entry
🔗 More via link in @emstathens bio!

🎞️✂️ @sergiozalmas

After almost a year we say goodbye to 'SALT', @flashnine9's solo presentation at @emstathens!

Working at the forefront of #queer visual politics for more than four decades, renowned photographer Lola Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. An active member of ACT UP (AIDS Coalition to Unleash Power) during the time of the AIDS epidemic in New York City, Flash was notably featured in the 1989 “Kissing Doesn’t Kill” poster. 🏳️‍🌈

🧂SALT is a series of portraits that feature iconic women aged over 70, who have had a quiet impact on their respective worlds and are still passionately engaged in their life’s work.

In a culture where beauty is equated with youth, these women are not only beautiful but accomplished and making significant contributions to society. This intimate portrait series reflects their wisdom, attractiveness and power which is often disregarded because of ageism.

🔗https://www.emst.gr/en/exhibitions-en/lola-flash-salt

📷
1. Esther, 2013
2. Ruth, 2014
3. Ilona, 2012
4. Rudean, 2016
5. Installation view at EMΣT by @paristav

After almost a year we say goodbye to 'SALT', @flashnine9's solo presentation at @emstathens!

Working at the forefront of #queer visual politics for more than four decades, renowned photographer Lola Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. An active member of ACT UP (AIDS Coalition to Unleash Power) during the time of the AIDS epidemic in New York City, Flash was notably featured in the 1989 “Kissing Doesn’t Kill” poster. 🏳️‍🌈

🧂SALT is a series of portraits that feature iconic women aged over 70, who have had a quiet impact on their respective worlds and are still passionately engaged in their life’s work.

In a culture where beauty is equated with youth, these women are not only beautiful but accomplished and making significant contributions to society. This intimate portrait series reflects their wisdom, attractiveness and power which is often disregarded because of ageism.

🔗https://www.emst.gr/en/exhibitions-en/lola-flash-salt

📷
1. Esther, 2013
2. Ruth, 2014
3. Ilona, 2012
4. Rudean, 2016
5. Installation view at EMΣT by @paristav

After almost a year we say goodbye to 'SALT', @flashnine9's solo presentation at @emstathens!

Working at the forefront of #queer visual politics for more than four decades, renowned photographer Lola Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. An active member of ACT UP (AIDS Coalition to Unleash Power) during the time of the AIDS epidemic in New York City, Flash was notably featured in the 1989 “Kissing Doesn’t Kill” poster. 🏳️‍🌈

🧂SALT is a series of portraits that feature iconic women aged over 70, who have had a quiet impact on their respective worlds and are still passionately engaged in their life’s work.

In a culture where beauty is equated with youth, these women are not only beautiful but accomplished and making significant contributions to society. This intimate portrait series reflects their wisdom, attractiveness and power which is often disregarded because of ageism.

🔗https://www.emst.gr/en/exhibitions-en/lola-flash-salt

📷
1. Esther, 2013
2. Ruth, 2014
3. Ilona, 2012
4. Rudean, 2016
5. Installation view at EMΣT by @paristav

After almost a year we say goodbye to 'SALT', @flashnine9's solo presentation at @emstathens!

Working at the forefront of #queer visual politics for more than four decades, renowned photographer Lola Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. An active member of ACT UP (AIDS Coalition to Unleash Power) during the time of the AIDS epidemic in New York City, Flash was notably featured in the 1989 “Kissing Doesn’t Kill” poster. 🏳️‍🌈

🧂SALT is a series of portraits that feature iconic women aged over 70, who have had a quiet impact on their respective worlds and are still passionately engaged in their life’s work.

In a culture where beauty is equated with youth, these women are not only beautiful but accomplished and making significant contributions to society. This intimate portrait series reflects their wisdom, attractiveness and power which is often disregarded because of ageism.

🔗https://www.emst.gr/en/exhibitions-en/lola-flash-salt

📷
1. Esther, 2013
2. Ruth, 2014
3. Ilona, 2012
4. Rudean, 2016
5. Installation view at EMΣT by @paristav

After almost a year we say goodbye to 'SALT', @flashnine9's solo presentation at @emstathens!

Working at the forefront of #queer visual politics for more than four decades, renowned photographer Lola Flash’s work challenges stereotypes and gender, sexual, and racial preconceptions. An active member of ACT UP (AIDS Coalition to Unleash Power) during the time of the AIDS epidemic in New York City, Flash was notably featured in the 1989 “Kissing Doesn’t Kill” poster. 🏳️‍🌈

🧂SALT is a series of portraits that feature iconic women aged over 70, who have had a quiet impact on their respective worlds and are still passionately engaged in their life’s work.

In a culture where beauty is equated with youth, these women are not only beautiful but accomplished and making significant contributions to society. This intimate portrait series reflects their wisdom, attractiveness and power which is often disregarded because of ageism.

🔗https://www.emst.gr/en/exhibitions-en/lola-flash-salt

📷
1. Esther, 2013
2. Ruth, 2014
3. Ilona, 2012
4. Rudean, 2016
5. Installation view at EMΣT by @paristav

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

Today is the last chance to visit "Shitty Disco" @talamadani's solo exhibition at @emstathens!!

✨ In her multilayered work, Madani creates enigmatic scenes, depicting human figures at their most vulnerable, private, violent, absurd, and perplexing moments.

Moving steadily between immediacy and ambiguity, Madani dismantles preconceived gender roles and stereotypes to explore power structures, sexuality, group dynamics, westernised and idealised notions of family, and the construction of identity.

Frequently referencing the visual language of cartoons, Madani’s often self-deprecating characters defy the laws of physics and engage in impossible degrees of senseless yet tragi-comic violence which brings a welcome degree of comic relief to a bleak scenario. Light is central to many of the artist’s paintings, connecting her work to cinema and art history.

The title of the exhibition is inspired by Madani’s works of the same name. Made especially for the show at EMΣΤ, 'Shitty Disco' (2024) depicts a metaphysical nightclub, a place that moves between fantasy and nightmare, invoking film, technology and different states of consciousness. For the exhibition, Madani has also created a series of new site-specific wall paintings, which cover the four imposing columns in the centre of the exhibition space.

Exhibition design: @yarvan

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/tala-madani-shitty-disco

📷
1: Shitty Disco, 2024
2, 4, 6, 8: @paristav
3: Boxed Head, 2011, The David and Indrė Roberts Collection
5: Untitled (Melody), 2020
7: Guts, 2011, D.Daskalopoulos Collection

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

💜 D POSSESSIONS
After 11 months we said goodbye to @danai.anesiadou's solo exhibition at @emstathens

🌀An allegorical scenography consisting of sculptures, collages, and the artist's own furniture referencing the rise of political, social and spiritual crises. In an attempt to permanently get rid of all her personal belongings, she cast them into epoxy. The sculptures carry multiple forms and shapes created from moulds of props from film sets.

Anesiadou looks to trace connections between things that on the surface seem utterly unrelated – from conspiracy theories, Hollywood and the Pentagon’s Entertainment Industrial Complex, reality TV and the fashion industry and references to ancient Greek sculpture, surrealism and B-movies. What impact may these have on the state of our world and our minds today?

The different elements that make up this kaleidoscopic exhibition create an immersive and alluring environment which, at the same time, suggests a sense of the uncanny, the surreal and the uneasy. Playing with rumour, fantasy and the mystical, Anesiadou’s work acts as an acute socio-political commentary on the multiple and multi-layered crises we face, the invisible, repressed or darker sides of reality, and the extreme polarisation we witness on a daily basis.

Co-produced with @wiels_brussels

🔗 Find out more: https://www.emst.gr/en/exhibitions-en/danai-anesiadou

📷 @paristav

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

Last chance to see!!
🌞 “Flying too close to the sun”
@hera.buyuktasciyan_studio & @tsagkari_maria

Curated by @katerina.gregos & @iolitzan
Organized by @schwarzfoundation

📆 06.08 - 29.09.2024 at @artspacepythagorion

The exhibition brings together two artists, Hera Büyüktaşcıyan and Maria Tsagkari, whose practice is research-based and concerned predominantly with the history and memory of the wider region of the Eastern Mediterranean and especially that of Greece and Turkey in the aftermath of the Ottoman Empire and the consolidation of the idea of the nation-state. Both artists’ practice is centred on a confrontation with the past; through a multi-disciplinary approach, they weave memories, reflections and storytelling in order to demonstrate how the personal and the historical converge and intersect.

In their work, both Hera Büyüktaşcıyan and Maria Tsagkari, bring to the fore issues of absence, invisibility, as well as marginalised, suppressed or forgotten narratives in order to anchor memory through unseen and obscured aspects of time, space as well as cultural memory as they all relate to ruptures in socio-political histories.
Excavating and unearthing unexpected narratives, occurrences and momentous events the artists highlight the entanglements between geographies of proximity and point to the material and psychological memory of unstable or contested spaces and territories. Their work explores the way longing or trauma manifests itself through objects and activates mechanisms of memory, by calling forth experiences of war, displacement, exodus and migration and the parallel histories that emerge because of them.

🔗 https://www.schwarzfoundation.com/initiative/flying-too-close-to-the-sun

📸 @vassoparaschi

🙏💛 @sergiozalmas @zacharopoulouk @construcktivist_ee @madame_de_merteuil @andie_didibliss

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!

📚🏆 We are thrilled that our publication for @hannah_toticki's solo exhibition "Everything, Everywhere, All The Time“ at @emstathens designed by @bend_hyperstudio just won the prize for Exhibition Catalogue Design at this year's @ebgegr awards! 💛

Designed by: @bend_hyperstudio
Edited by: @iolitzan, @tramboulis
Texts: @katerina.gregos, @iolitzan and @hannah_toticki
Photography: @paristav.
Printer: @kostopoulosprintinghouse

📷 @bend_hyperstudio
🔗https://ebge.gr/submissions/38282?awards=%CE%95%CE%92%CE%93%CE%95&years=2024
Get your copy now at @shopatemst!