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News - Athens Museums - Athens Museums Tue, 26 Mar 2019 20:13:59 +0000 en-gb Greece with kids: A 10-day Itinerary for a family trip What to see in Athens with kids

By Zest in A Tote

Whitewashed islands, sailing boats, fishing villages, ancient ruins, olives and feta cheese, enduring myths, awe-inspiring sunsets, the strum of the mandolin, sun-kissed figures – these are the images that Greece evokes. Romance. Luxury.

“With an olive tree, a vineyard and a boat, you can rebuild Greece.” – Odysseas Elytis, Greek poet and Nobel Laureate

Not the ideal destination for antsy, precocious kids. But we scoured through some sound advice from the Internet and put together a 10-day kid-friendly Greece Itinerary. This was limited to the city of Athens and the two most visited islands in the Cyclades – Santorini and Mykonos.

To pique interest for the kids, we got them a set of Leslie Patricelli’s Mini Myths including ‘Be Patient, Pandora’, ‘Play Nice, Hercules’ and ‘Make a Wish, Midas’.

Greece is good any time of the year – winters do get cold though (it even snows!), so if sun and sea are what you seek, anytime between March and October is a great time to travel. Then again, off-peak months like April and September provide sunshine without the party crowds.

Continue Reading: What to see in Athens with kids.

]]> (Administrator) Useful Tue, 27 Mar 2018 09:42:03 +0000
Until 2020 the next stage of the Acropolis Restoration Project Acropolis Restoration Project

Monuments at the Athens Acropolis will undergo a new series of restoration works until 2020 with a 5 million euros  budget which will include works to the Parthenon’s western pediment, on the north wall of the ancient monument as well as to the Propylaea and the Erechtheion.

The protection, conservation, restoration and enhancement of the monuments of the Athenian Acropolis, one of the most important sets of monuments of world cultural heritage, are realised by the Acropolis Restoration Service. The interventions are carried out to maintain and hand over to future generations, in the best possible condition, the unique monuments that were created by the Greeks at the peak of the Classical civilization, to promote their artistic values and appreciate their architectural form and function.

The scientific responsibility for the implementation of the restoration project lies since 1975 with the Committee for the Conservation of the Acropolis Monuments (ESMA), a multidisciplinary scientific panel of experts. The interventions began in 1975 as a rescue operation for treating the serious structural problems of the monuments and the rapid degradation of their surface. The methodical investigation of the surviving architectural material allowed the correction of misplacements from previous restoration interventions and made possible, in conjunction with the reintegration of scattered ancient material, the restoration of greater areas of the monuments, thus greatly improving their original form.

The systematic documentation, the focused studies before any intervention and the development of advanced technological applications during the execution of the works have rendered the work carried out on the Acropolis monuments in the last 38 years internationally recognised.

The project also envisages the documentation of the works conducted through film and photography with the aim to be utilised in educational programs aimed at both students and teachers.

It is co-funded by Greece and the European Union through NSRF’s “Competitiveness, Entrepreneurship and Innovation 2014-2020” program.


]]> (Administrator) Useful Wed, 28 Jun 2017 08:46:44 +0000
Group show 'HL2805xy57' at Kappatos Gallery Group show 'HL2805xy57' at Kappatos Gallery


Kappatos Gallery presents a series of works by eleven participating artists. The exhibition“HL2805xy57” is a route to artists who have devised an important course in contemporary art internationally, as well as to younger artists with profound uniqueness and high quality in their work.

Starting with the black-and-white photographs of the 70s of Marina Abramovic, Louise Bourgeois's "Hysteria" Triptych, Lynda Benglis exposing one of her most recent sculptures-fountains, the famous Spanish artist Santiago Sierra with his work "P.I.G.S " which shows Greece to be swallowed by its pigs-lenders, the work of legendary artist Takis from the Magnetic Fields series, the recently lost sculptor George Lappas with its characteristic humanoid sculptures and Michalis Katzourakis with works combining painting with photography that arise from the study of the public space and the search for human intervention on it. One of the special features of the exhibition is the dialogue that opens between all these well-known artists and younger  Greek artists who, with innovative approach and unique spirituality, participate in this group exhibition: Aliki Pappas, with her ceramic sculptures organized in totemic structure while maintaining marginal balances, George Papafigos, who invite us to infiltrate to his work through paradoxes, strange but also intimate landscapes,  Irene Georgopoulou, with its white, innovative cloth and salt sculptures that create places - non-places, and finally, Vassilis Salpistis, with his delicate painting of large-scale work, which while maintaining their autonomy, constitute at the same time "stories without a beginning, middle and end".

The exhibition "HL2805xy57" is on show until 15th July, 2017.
Tuesday to Friday 12:00 to 18:00 and Saturday 12:00 με 15:00.
Kappatos Gallery, 12 Athinas st, Monastiraki, Athens

More info: Kappatos Gallery

]]> (Administrator) Events Tue, 27 Jun 2017 14:18:48 +0000
documenta 14, Athens 2017 documenta 14, Athens 2017


On April 8, documenta 14 opens its exhibition in Athens.

Extending over the city in more than 40 different public institutions, squares, cinemas, university locations, and libraries, over 160 international artists will show works newly conceived for documenta 14.

Opening hours: Tuesday–Sunday 11 am–9 pm
Opening hours of individual venues may differ.

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Interactive map of documenta 14 exhibition: Maps of all venues in Athens can be found here.

More info:

The story

On October 6, 2014, a symposium titled "documenta 14, Kassel: Learning from Athens" was held at Kunsthochschule (Academy of Fine Arts) in Kassel, Germany, at the invitation of the academy. Organized by the team of documenta 14, and led by Artistic Director Adam Szymczyk, the symposium presented key members of the next documenta organization, as well as discussed essential ideas and thematic concerns of the exhibition project as a whole, scheduled to take place in 2017.

The city of Kassel has been the host of documenta since its inception in 1955. Likewise, over the past thirteen editions, documenta has served as host to many artists and cultural practitioners from around the globe. But, ultimately, this position of host—with all the privileges involved—appears to be no longer tenable and begs to be questioned, if only temporarily. To this end, Szymczyk introduced documenta 14’s planned twofold structure: In 2017, documenta 14 will establish a second site—Athens—bringing Kassel and the Greek capital onto equal footing as the two locations of the exhibition. Thus documenta’s undisputed position as host will be abandoned for another role, that of guest, in Athens.

Szymczyk noted that the main lines of thinking behind this move are manifold. They have to do with the current social and political situation both in Europe and globally, which motivates artistic action. Further, they indicate the need to embody in documenta 14 the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production. The challenge involves avoiding the traps of binary logic, while resonating with changing realities. To that end, instead of the singular spectacle, with its clearly designated location and temporal order, typical for great international exhibitions, documenta 14 will comprise two iterations set in dynamic balance in space and time.

The distance between Kassel and Athens will fundamentally alter the visitors’ experience of documenta 14. A feeling of loss and longing brought about by geographic and mental displacement created by two distant iterations of the exhibition might change the visitors’ perception of the show, working against the idea of rootedness and countering the widespread, normative assumption that such an exhibition must sustain the unity of action, place, and time. Challenging this state of things, documenta 14 will attempt to encompass a multitude of voices in, between, and beyond the two cities where it is situated, reaching beyond the European context from the vantage point of the Mediterranean metropolis, where Europe, Africa, the Middle East, and Asia face each other. The diverse and diverging locations and socioeconomic circumstances of Kassel and Athens will come to bear on the very process of creation of the exhibitions, while inspiring and determining its individual works of art. For documenta 14, the participating artists will be invited to think and produce within the dynamic between these two cities.

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The working schedule envisages documenta 14 to open in Athens in April 2017; it will then be inaugurated two months later in Kassel, on June 10. This will ensure that there will be a month of overlap, with two parts of the exhibition running in parallel. Moreover, though each iteration of the exhibition will be developed as an autonomous project, they will inform each other’s content while not repeating the form, with several distinctive venues in Athens, as in Kassel. Documenta 14 intends to learn from the city of Athens and its citizens, instead of parachuting a prepackaged event from Kassel into one or several picturesque venues. Rather than being merely a sum of two destinations, documenta 14 will unfold in a three-year-long process of learning and producing knowledge, while also engaging in the process of instituting spaces for public life in both locations. In this process, both cities’ communities will become involved, contributing to the project. Already, over the course of 2013 and 2014, several instructive meetings have taken place in Athens with a number of the city’s cultural producers who represented the diversity and contradictions of the Greek context today, beginning an ongoing discussion of collaboration with certain institutions there. In parallel, similar discussions have been led in Kassel.

Greece in 2014 is not an isolated case; it is emblematic of the fast-changing global situation, and it embodies the economic, political, social, and cultural dilemmas that Europe must face today—much as Kassel in 1955 embodied the need to deal with the trauma of destruction brought about by the Nazi regime and simultaneously served as a strategic location at the onset of the Cold War. If Athens exemplifies the current issues that extend beyond the proverbial notion of the "Greek Crisis," these problems—which are as much European and global as they are Greek—remain unresolved. Yet they present us with an opportunity to open up a space of imagination, thinking, and action, instead of following the disempowering neoliberal setup that offers itself as (non)action implied in the (non)choice of austerity. While the specific timing and choice of locale of Kassel in 1955 were precisely the factors that allowed documenta to develop into a now half-century-old venture, those sociopolitical parameters that made documenta urgent are no longer in play. This sense of urgency, then, must be found elsewhere.

Szymczyk and his team concluded by noting that documenta 14—in its temporary displacement and doubling of perspectives—would enable those artistic strategies that reach toward the reality of a contemporary world, one understood as a place for a multitude made up of individuals, and not as a territory defined by hegemonic relationships that make it a place of suffering and misery for many. It is this world that will be addressed in the exhibition, the world larger than Germany or Greece.

]]> (Administrator) Events Sat, 08 Apr 2017 07:57:28 +0000
Douglas Gordon / Lawrence Weiner: Rosy-Fingered Dawn DOUGLAS GORDON Exhibit D, 2016 Carrara marble


Gagosian is pleased to present “Rosy-Fingered Dawn,” a correspondence between Douglas Gordon and Lawrence Weiner. 

What do you do when you dig something up – do you put it back, or do you display it? Because if you display it, there would be a hole where it has been.
—Douglas Gordon

Art is not supposed to interrupt the flow of life, it’s supposed to bring to you information that changes the next course.
—Lawrence Weiner

For both artists, the written word is a formal foundation and a conceptual conduit. Exploring processes of human consciousness and perception, Gordon reveals the dual nature of the self, while Weiner exposes the sculptural dimensions of language. “Rosy-Fingered Dawn” is a recurring epithet from Homer's Odyssey, an optimistic proposition for a new beginning.

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Gordon’s projections, installations, photographs, text works, and performances investigate the potential of collective memory. Here, seven marble sculptures depict parts of the artist’s hands and forearms in embracing positions. The gestures can be read as either innocent or sinister. Precise details, like veins and creases in the skin, emerge from more amorphous, uncarved areas. The hands are simultaneously in progress and in ruin, their missing fingers and jagged surfaces evoking fragments of ancient sculpture. This battle of selfhood, a persistent theme in Gordon's work, continues in Shadows and Ghosts (2012). Around the gallery walls, reverse-stenciled white lettering emerges from a faint cloud of metallic gray spray paint, describing the “demons” of a “former self,” waiting nefariously for the current self “to join them.”

Weiner’s work intersects the structure of language with the structure of sculpture. His phrases and striking graphics—stenciled, painted, inscribed, or otherwise applied to walls and surfaces—inescapably alter their given context. Here, in overlapping English and Modern Greek, Weiner evokes the predatory attraction of one culture for another, suggesting a fatal erotic encounter. The text is presented in vivid blue and reflective silver, and arranged in sliding sculptural segments that accentuate the innate materiality of language. In Weiner’s words, it “HAS TO DO WITH THE CARESS OF ONE CULTURE TO ANOTHER & AS IT ASSUMES AN UNDERSTANDING OF THAT CULTURE IT DISCARDS ITS MEANING.”

More info: Gagosian Gallery - Athens

]]> (Administrator) Events Thu, 30 Mar 2017 17:29:29 +0000
Georg Baselitz: Recent Works On Paper Georg Baselitz: Recent Works On Paper


Gagosian is pleased to present selected works on paper by Georg Baselitz, drawn from several recent series, including his Hokusai drawings from 2015.

Rendered in ink, pen, and watercolor, dynamic figures emerge from within Baselitz’s thin washes and intimate notations.

Georg Baselitz was born in 1938 in Deutschbaselitz, Saxony, and lives and works between Ammersee, Germany; Basel, Switzerland; Imperia, Italy; and Salzburg, Austria. Collections include Berlinische Galerie Museum of Modern Art, Berlin; Museum Ludwig, Cologne; Städel Museum, Frankfurt; Centre Georges Pompidou, Paris; Fondation Beyeler, Basel; Tate Modern, London; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; The Fisher Collection at San Francisco Museum of Modern Art; and Solomon R. Guggenheim Museum, New York.

Selected solo exhibitions include “Georg Baselitz—A Retrospective,” Art and Exhibition Hall of the Federal Republic of Germany, Bonn (2004); “Baselitz—Remix,” Pinakothek der Moderne, Munich (2006, traveled to Albertina, Vienna); “Georg Baselitz: A Retrospective,” Royal Academy of Arts, London (2007, traveled to MADRE, Naples); “Georg Baselitz: The Russian Paintings,” Musée d’Art Moderne, Saint-Étienne (2007, traveled to National Museum of Contemporary Art, Seoul; and Deichtorhallen, Hamburg); “Georg Baselitz: Pinturas Recentes,” Pinacoteca, São Paulo (2010–11); “Georg Baselitz,” and “Baselitz as Sculptor,” Musée d'Art Moderne de la Ville de Paris (1996-97 / 2011–12); “Georg Baselitz: Works from 1968 to 2012,” Essl Museum, Vienna (2013); “Georg Baselitz—How it began…,” State Russian Museum, Saint Petersburg (2015); “Georg Baselitz—Back then, in between, and today,” Haus der Kunst, Munich (2014–15); 56th Biennale di Venezia (2015); and “Georg Baselitz: The Heroes,” Städel Museum, Frankfurt (2016).

“Georg Baselitz: The Heroes” is currently on view at Moderna Museet, Stockholm, and will travel to Palazzo delle Esposizioni, Rome; and Museo Guggenheim, Bilbao.

More info: Gagosian Gallery - Athens

]]> (Administrator) Events Tue, 31 Jan 2017 06:03:13 +0000
Cycladic Society 5000 years ago Cycladic Society 5000 years ago


In 2016 the Museum of Cycladic Art celebrates 30 years of creative presence with an exhibition entitled “Cycladic Society 5,000 Years Ago” open from early December 2016 to late March 2017.

What was Cycladic flora and fauna like 5,000 years ago?
What were the nuclei of Cycladic society?
How was Cycladic society stratified? 
How did the islanders subsist? (farming, animal husbandry, hunting, fishing, farming?) 
Did the islanders practice shipbuilding, weaving, and basketry? 
What were their forms of entertainment?
What role did music, drink, and dance play in their lives?
What were their rituals and cults?
What do we know about their religious beliefs?

In 2016 the Museum of Cycladic Art celebrates 30 years of creative presence with an exhibition entitled “Cycladic Society 5,000 Years Ago” open from early December 2016 to late March 2017.

Since no written documents of the Early Cycladic period survive, this exhibition attempts to “read” in a simple and straightforward manner the social structure, activities, living environment, and, where possible, convictions and beliefs of the Cycladic islanders in the Early Bronze Age (3,200-2,000 BC) through their creations.

Τhe exhibition is organized  by the Museum of Cycladic Art in collaboration with the Ephorate of Antiquities of Cyclades and it houses 191 ancient artefacts:from its own collections,  the Ephorate of Antiquities of Cyclades (98 artefacts  come from the Museums of Naxos, Apeiranthos,

Syros and Paros) as well as the National Archaeological Museum and the Paul and Alexandra Canellopoulos Museum.  

The exhibition is organized with the financial contribution of the Associated Paul and Alexandra Canellopoulos Foundation.

Cycladic figurines, in their present form, with their simple shape and clean outline, became popular through their association with abstract art by 20th-century artists like Modigliani, Brancusi, Matisse, and Picasso. Viewed primarily as works of art, they were often presented in a strictly typological manner, without reference to their creators’ cultural sphere.

The exhibition “Cycladic Society 5,000 Years Ago” aims to fill that void and explore the daily life and undertakings of the Cycladic islanders 5,000 ago!

The exhibition is organized with the financial contribution of the Associated Paul and Alexandra Kanellopoulos Foundation.


1.    Social nuclei
2.    Activities
3.    Social life
4.    Social hierarchy
5.    Life and death – Beliefs and cults

More information: Cycladic Art Museum

]]> (Administrator) Events Thu, 22 Dec 2016 00:00:00 +0000
Yannis Tsarouchis: Illustrating an autobiography. Second Part (1940-1989) Yannis Tsarouchis: Illustrating an autobiography. Second Part (1940-1989)


The exhibition is part of a group of themed presentations of the holdings of the Yannis Tsarouchis Foundation collection, which will be hosted by the Benaki Museum from November 2012 at the Pireos Street Annexe.

The theme “Illustrating an autobiography” has been scheduled to be shown in two parts, the first of which took place in Benaki Museum Pireos Street Annexe from October 2013 to July 2014. The second part presents the history of Yannis Tsarouchis’ painting through chronological groupings, re-creating the environment in which he lived and investigating the manner in which he was influenced throughout his artistic progress. The visitor follows Yannis Tsarouchis trails, starting at the Albanian front on the declaration of the Second World War in 1940, to occupied Athens and the troubled days of the civil war. Through Tsarouchis’s work one can wander the decades to follow, discovering the transformation of his painting, his influences, his connections, his surroundings and his collaborators. The visitor will encounter individuals such as Iolas, Alexis Minotis, Maria Kallas, Manos Hadjidakis, Lila de Nobili and many more, in a tour led by the artist himself, through his texts as well as rich photographic documentation.

Exhibition curator: Niki Grypari
Architectural design: Lili Pezanou
Tickets € 7, € 3,5

More info: Benaki Museum (Pireos Street Annexe)

]]> (Vassilis Tsamouras) Events Thu, 22 Dec 2016 00:00:00 +0000
Robert McCabe. Memories and monuments of the Aegean Robert McCabe. Memories and monuments of the Aegean


An exhibition with works by Robert McCabe at the Cycladic Art Museum.

The Cycladic Art Museum presents, from December the 8th until March the 19th, the exhibition "Robert McCabe. Memories and monuments of the Aegean", in parallel with the exhibition "Cycladic Society 5000 years ago".

The exhibition of the renown photographer, includes two sections with a different theme, linked by the Greek seas and the critical role they played in human societies in the Aegean over the centuries. The first section illustrates important aspects of life in the Aegean in the 1950s and 60s. At that time, everyday life flowed without electricity, roads, motor vehicles, telephones, running water and ferries. The infrastructures that were available to people in the '60s, had little changed compared to 5000 years ago. The 40 photos in this section cover four broad themes: festivals, women’s occupations, men’s occupations and work at sea.

The second section, with 33 photos, presents some archaeological sites by the sea. Most were taken in 1954 and 1955, when these areas were little changed compared to the descriptions of travelers who visited Greece in the 19th century. Most of these sites have a long history, some as religious centers, others as commercial hubs and some for their strategic military importance.

More information: Cycladic Art Museum

]]> (Administrator) Events Thu, 08 Dec 2016 00:00:00 +0000
Kahlil Joseph at Bernier/Eliades Gallery Kahlil Joseph at Bernier/Eliades Gallery


Bernier/Eliades Gallery is pleased to present the first solo show of the award-winning filmmaker Kahlil Joseph.

Kahlil Joseph has worked with some of the most influential artists in music, including Beyonce, Kendrick Lamar, Seu Jorge, Shabazz Palaces & FKA twigs. One of several collaborations with Shabazz, Black Up, was included in the Ruffnecks exhibit at the ICA and was also selected by Kevin Jerome Everson for his screening, Through the Lens of the Blues Aesthetic, at the Whitney Museum of Art in 2013.

Joseph’s body of work falls somewhere between music videos and short films. Though they are definitely works of art, they’re usually watched on a laptop on Vimeo and on museum walls.
His works are gorgeous but unsettling, meant to reflect the underlying instability that threatens to erupt any day or moment. His camera gracefully travels through ordinary life scenes, erupted by scenes of violence and then there are moments of magical realism. Like MOCA’s chief curator Helen Molesworth said for Kahlil’s work m.A.A.d: “I encourage you to let that piece wash over you. I watched it three times in a row and when it was done I felt like I needed to swim to the surface to come up for air.”

In his first solo show at Bernier/Eliades, the artist will present three films:

m.A.A.d., a collaboration with musician Kendrick Lamar, which evolved from a short film into a two-screen video installation in 2014. It is a lush portrait of contemporary Compton, California. The camera sinuously glides through a predominantly African American neighborhoods capturing quotidian scenes hovering between the real and dreamlike. The dual screen installation was originally exhibited during The Underground Museum’s group show, The Oracle. It was then acquired by the Museum of Contemporary Art in Los Angeles, during their 2015 season, for an exhibit entitled, Double Conscience, which was Joseph’s first solo major museum show. In June 2016, the Bernier/Eliades Gallery exhibited m.A.A.d. at Art Basel Unlimited.

Nooksie & Janet, this two screen film installation was originally filmed in Grasyon, Oklahoma in 2012 as part of a London based commission the artist received.  The core of this work is not based on a rodeo at all but rather on the spirit of woman named Janet who passed away only months before filming, and on her husband and life partner, Nooksie who founded the rodeo in the early 1970’s. This version of the work is the first time it has ever exhibited.   The film’s music is composed by Flying Lotus.

Until the Quiet Comes, an arresting, visually sensuous portrait of life in one of LA's most well known housing apartment complex, Nickerson Gardens. It is a beautifully shot, evocative short film which received widespread critical acclaim and won the Grand Jury Prize for Short Films at Sundance Film Festival 2013 and Video of the Year at the UKMVA’s in 2013. The film was also included in Kara Walker’s celebrated exhibit, Ruffneck Constructivists, at the Institute of Contemporary Art in Philadelphia in 2014. The film’s music is composed by Flying Lotus.

Born and raised in Seattle in 1981, Joseph migrated to Los Angeles in 1999 to attend Loyola Marymount University, where he studied television production. After university, Joseph embarked on a tutelage under accomplished directors, cinematographers and artists, including Malik Sayeed and Arthur Jafa.
He has participated in several group and solo exhibitions and film festivals: 2015 Toronto International Film Festival, World Premiere, Toronto, Canada. Marfa Film Festival, Marfa, Texas. Double Conscience (solo show) Museum of Contemporary Art, MOCA, Los Angeles. Music Video Festival, São Paulo, Brazil. 2014 The Oracle (group show) The Underground Museum in Los Angeles, CA, curated by Noah Davis.
Founded in Athens in 1977, the BERNIER/ELIADES Gallery has always been at the forefront of contemporary art in Greece. Jean Bernier and Marina Eliades have introduced a number of artistic movements such as Art Povera, Minimalism, Land Art and Conceptual Art to the Greek public, focusing also on young  American and European artists. In April 2016 they opened a new space in Brussels.

Gallery is open Tuesday- Friday, 10:30-18:30. Saturday, 12:00-16:00.

More information: Bernier-Eliades

]]> (Administrator) Events Thu, 24 Nov 2016 12:08:23 +0000