The Space Age at Romantso @ ROMANTSO
Jun 22 @ 8:00 pm – Sep 10 @ 11:00 pm

The Space Age

Electric and Electronic Art in Greece 1957-1989 exhibition

It has been seventy years since the launching of the first artificial satellite, the soviet Sputnik (Спутник-1, Sputnik 1). It was launched on the 4th of October in 1957. Imagine that it a period in when the most common answer that children gave to the question “What will you do when you grow up?” was “I’ll become an astronaut”. If this makes you feel nostalgia, you were probably born before 1970. If this mystifies you, you were probably born much later. At some point in recent history, everyone, even children, were turned into very down-to earth citizens. The reason for this transformation was not only space research, the Berlin Wall’s fall, the Cold War’s end, the modernism’s end, the ideologies’ end, but maybe all these factors contributed in how everything finally ended up.

Starting from the USA, the term Space Age, has not only become a common saying between people, but it has also been used in official bibliography. It is a term that coincides in time, is connected and even identified with the term Atomic Age, a term that obviously regards the age that is defined by the atomic bomb in Hiroshima and the consequent fear of the absolute disaster during the Cold War. Greece never had a space program, neither atomic nor nuclear energy nor the related guns. During the age in when space exploration was in its beginning’s zenith between the two Cold War Superpowers, Greece was trying to heal its wounds from the devastating Civil War. Nevertheless, as many documents of this age confirm, suffering Greece, was empathizing the space vision as much as any other country, wealthy or poor, on the left or the right side of the Iron Curtain, on the planet during this age. As in any other country the idea of the Astronaut/Cosmonaut, the Spacecraft , the Robot and, a little bit later, the Computer, spread in scientific discussions, journalism and mass culture.

A new kind of art had to be created. The vision of a technological art will initially take the form of an electric and then of an electronic art. If, on an international level, the experimenting with electric visual art has already fruited before the World War II with Laszlo Moholy Nagy’s artworks, in Greece it will be a little late. Practically, the first use of electricity in the Greek art scene will come from the cinema projectors and preamplifiers of the musical instruments and the microphones in the light music. In visual arts, a series of artists from the 60s and on will rapidly cover lost ground.

The exhibition will explore the utopian future implementations and technologies in the fields of Music (Xenakis, Logothetis, Hristou, Mamagakis, Adamis,…), Visual Arts (Takis, Pantelis Xagoraris, Giorgos Zogolopoulos, Kostis Triantafyllou, Minons Argirakis,…), Cinema, Architecture and Urban Planning.

Minos Argyrakis, Takis, Pantelis Xagoraris, Valerios Kaloutsis, Giorgos Zogolopoulos, Thanasis Rentzis, Manthos Santorinaios, Kostis Triantafyllou, Konstantinos Doxiadis, Giannis Hristou, Giannis Xenakis, Anestis Xenakis and many more.

The exhibition will be accompanied by a book (Konstantinos Vassiliou, Thanasis Moutsopoulos) from Asini publications.

Organization: Euromare
General Curator: Thanasis Moutsopoulos
Assistant Curator: Ilia Mpoura
Architectural Editing: Nikos Patsavos
Musical Editing: Nektarios Papadimitriou
Video Art Editing: Nepheli Dimitriadi

Opening Day: Thursday 22nd of June 2017
Arrival time: 20.00
Exhibition’s Duration: Thursday 22nd of June 2017 – Sunday 10th of September 2017
Every day: 18:00-23:00
Free Entrance

Communication Sponsors: KROMA Magazine

Facebook event, Official Page

“Into the print of the nails” Andrea Nikolaou’s Art Installation @ Archaeological Museum of Patras
Jun 23 @ 8:00 am – Aug 31 @ 8:00 pm

Andreas Nicolaou

Epi ton typon ton ilon / Into the print of the nails

The artist Andreas Nicolaou, presents at the Archaeological Museum of Patras, the art installation entitled “Epi ton typon ton ilon / Into the print of the nails”. The title of the installation, has been taken from one of the six paintings that are included in it. In this painting, the finger is placed in the wound of the Greek flag, bringing us face to face with the wounds of our time and challenging us to put a finger on them to wonder and perhaps eventually be convinced that they are real.

The art installation “Epi ton typon ton ilon / Into the print of the nails” is also an ongoing art project and it has been presented for the first time in Art Athina 2016, International Art Fair of Contemporary Art. For the hospitality at the Archaeological Museum of Patras, new works have been added, complementary and evolutionary to the first group of paintings. Our goal is the project to be hosted in the future in other important cultural sites, both in Greece and abroad.

Yiannis Bolis, art historian, writes about “Epi ton typon ton ilon / Into the print of the nails”:

In direct correlation with the emotional, mental and experiential behaviours, the artwork by Andreas Nicolaou looks into the human condition, alienation and the dramatic nature of the human condition in a hostile and fragmented world, raising questions on the existential and ontological order, thus maximizing the significance of its implications. The plasticity of the forms, the critical contrast of light and shadow, the treatment of the relationship between form and space in a remarkably plain, suggestive and dramatic manner and a special sense of monumentality contribute decisively to the unique painting sensitivity, to the intensity of his themes, the core of which has always been man and his destiny. Recurring themes, such as the sensual male and female nudes, are charged with the indicative meaning ascribed by Nicolaou and the manner in which he develops and transfigures them by means of a mature technique, demonstrating a painfully conquered eloquence in the treatment of the language: richer narratives, more in-depth symbolisms, outstandingly well-combined tempo, forms provoking a sense of direct physical experience and intimate contact, while simultaneously distancing themselves, experiencing their own secret life.

Andreas Nicolaou validates the economy of expressive means, consistency, cohesion and the quality of his morphoplastic quest. His dedication and experimentation of a particular way, his ability to draw a content rich in tones and innerness, is open to multiple interpretations and connotations. Notions of Sleep, Love and Death become entangled in an unbroken unity with religious and mythological references claiming a leading role. The modern Pieta with her sacerdotal posture and tenderness, the unresisting tragedy of the tradition of the theme and the contact developed between the woman and the man where the dramatic feeling of loss coexists with the serene impression of acceptance and elegiac grief, as well as the voluptuous naked bodies of the young girls in the arms of Morpheus compose an unexpected universe of images. In fact, they create an almost metaphysical-mystical atmosphere, they transmit and preserve unaltered the primary emotion, the truth and the distinguishing romantic character of their theme, they approach the deeper essence of the forms, which seem to have lost their material, earthly existence being transformed into symbols and allegories. The lonesome, fragile and erotic bodies appear to emerge from the light and sink into darkness, levitate on the threshold between reality and its spectral-dreamlike reflection, on the fringes of an intermediary world, surrendered and exposed to an inescapable predestination, to inner ellipticity and significance, neutral and fragmentary, to moments frozen and unalterable in space and time. The viewer is confronted with this “landlocked” world, the borders of which coincide with the borders of the composition, a world of imperturbable and eerie silence and tranquillity where the representation retreats in the course of the revelation of what is kept hidden below the surface, the mysterious, ambivalent and magical power of the image, which acquires its own defence and life. Furthermore, compositions such as Pieta, young girls screaming in anguish and rage, but most of all Epi ton typon ton ilon, echo the experiences, the response and the critical stance of the artist towards his contemporary realities, documenting moments of the trauma and dead ends of an alienated, transitional and unpredictable era.

Curators:  Liana Zoza, Yiannis Bolis

Exhibition Duration:  23rd June – 31st August 2017

Opening Hours: Every day 08.00 – 20.00



ART begins at the end of your comfort ZONE @ ARTZONE 42
Jul 6 @ 8:00 pm – Sep 30 @ 3:00 pm

ART begins at the end of your comfort ZONE

Vassilis Garyfallakis / ‘Palimpsest’ /mixed media on metal / 50 x 50

Paraphrasing the well-known quote “Life begins at the end of your comfort zone” and making a pun with the name of the hosting gallery, 33 Greek contemporary artists wholeheartedly submit painting, sculpture, photography and artistic jewellery works and try to artistically evince the creative transcendence they are called upon to achieve in their involvement with Art.

Because making Art, does not only entail constant personal practice and technical evolution or innovatory vision and inspiration – and consequently an uninterrupted creative, spiritual battle with your own self, but at the same time a daily battle, human, with an impact often on psychological, social, financial, political, moral, livelihood level. This constant struggle against the realistic extentions of life requires sacrifices, requires from the artist to outface difficulties and obstacles in practice and dare, against everyone and everything, in order to illustrate his worries and dreams.


Nick Vavatsis / ‘Faces’ /oil on canvas / 60 x 60

A persistent conflict with external forces, with the adversities created by the sterile daily routine, often with political status quos and deeply rooted perceptions that go against everything innovative and groundbreaking art can counter, social stereotypes and conservatism, people’s scepticism on everything that includes modernism and avant garde.

But, is it a duty of only the artist to get away with it and break the safeguards of a conventional life, in order to create and submit a personal view through his work? Clearly not. But in times lacking healthy standards and ideals, it is certainly his duty as well -among others’- to raise his carriage through his personal impression, to surpass himself and express “artistic word”, perceptive and incompatible. Moreover, according to Erich Fromm’s apposite remark, “The quest for certainty blocks the search for meaning. Uncertainty is the very condition to impel man to unfold his powers”.

Curator : Domna Chanoumidou, Theoretician – Art critic


6-29 of July & 14-30 of September

Tuesday, Thursday, Friday 11:00-14:00 & 18:00-21:00

Wednesday & Saturday 11:00-15:00