ATHENS TOP NEWS
Athens , 31-08-2016
Cariocas Beach - Loutraki, 30-08-2016
Chios , 30-08-2016
ATHENS EVENT HIGHLIGHTS
ODYSSIA ELECTRONIC DANCE FESTIVAL 2016 (05-09-2016 11:00 pm) Odyssia is a 7-day electronic dance music festival that presents a staggering line-up with over 60 DJs playing at the magical secluded bay of Schinos, just 1-hour drive from Athens. Inspired from Homer’s epic poem “Odyssey”, this unique music celebration travels around 18 hour daily partying on both land and sea, performance art and installations, traditional food and drinks, plus much more, to make a mosaic of activities that offer a complete holiday and entertainment experience, but also inspire the will for adventure and build a sense of community. This Summer, the spotlight shines on Greece, sensed out by Odyssia who, brought together by Need2soul, Cariocas and NEUHM, will launch its inaugural festival on the 30th of August. A haven from the hordes and hype of a massed festival map, the picturesque and private cove of Cariocas Beach provides the perfect scene for this first-of-its-kind escape. A secluded bar with a proud 18-year legacy hosting historic acts, a shore-side stage in a bay until now secreted away, this little-known locale is the hand-picked and hand built paradise demanded of a festival wishing to create a cultivated escape. With the globally minded DJ Harvey and universally influential Gilles Peterson amongst first names announced, along with the spirited, rarely refined Body & Soul collective of François K, Joe Claussell and Danny Krivit who will be doing a vey special 10 hour set in celebration of their 20th Anniversary. Odyssia promises the most informed curation on the circuit for its finely crafted launch. Trailblazing this new and stunning setting, Odyssia is an adventure boasting beauty and artistry from purveyors of pure, experiential electronics – not merely at the peak of the game but changing it. The prodigious selector Benji B – protégé to Gilles Peterson – is among tastemakers from every flavour of music, including Rinse FM’s reputed jam-stress Josey Rebelle and NTS Radio’s navigator of club sound Jon Rust. Amsterdam’s auteurs of Motown to modern dance in Detroit Swindle, Detroit’s chosen re-creator Kyle Hall, intrepid Italian Gigi Testa, and authentic and technical techno of Vakula, Midland and more show the uncompromising direction of a festival ahead of the curve. All the while Odyssia hewn this new path it wears its heritage in a host of global, first-generation acts with Boo Williams, Maurice Faulton and Delano Smith on point. Taking Homer’s hero Odysseus as its own, Odyssia invites the pioneering festival goer to lose themselves in the luxury of an exploration in music, amidst a mythical landscape. This with only the pleasure and none of the trial. The city of Loutraki will accommodate travelers in its celebrated culture, providing sights to match the natural splendor and organic sounds sampled by day. An accomplished, pan-European team of promoters have crossed the corners of the continent with a discerning eye and ear for detail, to inaugurate a music holiday intimately piecing together an alluring electronic collective cut from only the most credible of the underground. Hence Discodromo and Invisible City, Piranahead and Sunshine Pedro or Lovefingers and Thris Tan; the top tier of the lineup is built on a base of entrenched experimenters scouted with know-how from the niches of Europe and beyond. With acclaimed club partners such as Half Baked, Phonica and Deviation, a custom-made sound system, beach sessions and boat parties that will daily stretch beyond sunset, this prophetic first edition has staked a prime spot on the festival map from which to entrance every goer. 31st August – 4th September 2016. 30th August (Opening party) – 5th September (Closing Party). Cariocas Beach, Loutraki, Greece. For more information: www.odyssiafestival.com _______________________ Official Media sponsor: Athens24.
THOMAS HOPE EXHIBITION (25-09-2016 6:00 pm) 60 works of Dutch and British merchant banker, author, philosopher and art collector Thomas Hope (1769-1831), which present Istanbul during the era of the Ottoman Empire, are hosted in an exhibition titled “Thomas Hope: Drawings of Ottoman Istanbul” at the Benaki Museum of Islamic Art. The exhibition, which opens on Thursday and will last until September 25, 2016, was described by Turkish Ambassador to Greece Kerim Uras as a “pleasant cultural break in the relations of the two countries.” Thomas Hope (1769-1831), a scion of a wealthy banking family, went on a Grand Tour, the traditional trip to Greece and Turkey for the young men of his class, during the last quarter of the 18th century. Virtuoso, with unique collections of antiquities, sculptures and European paintings, a generous sponsor and an expert in the fields of architecture and decoration overturned the artistic settings of his time, leaving his mark on the period of the Regency. The exhibition reveals the artist’s works from the capital of the Ottoman Empire. More specifically: Topographic views and folding panoramas of Istanbul, individual scenes from different neighbourhoods of Istanbul, monuments, temples, Ottoman palaces, halls of the seraglios, gates, mosques, funerary monuments, fountains, gates, the yalı on the Bosporus, the sultan’s entertainments boats. Other scenes include details from market shops, coffee shops, images of various men, women with children of Istanbul, depictions of costumes, architectural details, accompanied by lengthy explanations and descriptions with comments. The works are of excellent quality because Thomas Hope was an unparalleled designer, a virtuoso of linear draftsmanship comparable to the qualities of a miniature painter. His works, 350 in total, were kept in his personal library bounded in five volumes, which disappeared after his death. The international scientific community thought they were lost, but in fact they had been bought by Antonis Benakis in 1930 and were kept at the museum’s library. After an extensive search, they were discovered in 1984 by the exhibition’s curator and History Professor Dr Fani Maria Tsigakou. However, the importance of the Thomas Hope collection is not limited to the aesthetic pleasure it offers to art enthusiasts. The designs constitute a unique treasure of visual testimonies for the scholars of the Ottoman civilization. Venue: The building complex in Kerameikos. The Islamic art collections of the Benaki Museum are housed in a complex of neo-classical buildings located in the historical centre of Athens, in the Kerameikos district. Major archaeological sites located in the same area include the grounds of the ancient Agora (currently undergoing development), the Doric temple of Hephaestus (the "Theseio") and the Museum of the ancient Kerameikos necropolis (cemetery). This complex of buildings at the corner of Agion Asomaton and Dipylou streets, was donated to the Museum by the late Lambros Eftaxias, who in his later years served as Honorary President of the Museum Board of Trustees.
ATHENS & EPIDAURUS FESTIVAL 2016 (30-09-2016 9:00 pm) The Athens & Epidaurus Festival’s program, as well as the presale date, were announced on May 16th, 2016. For more information: www.greekfestival.gr.
DODONA ORACLE EXHIBITION AT THE ACROPOLIS MUSEUM (10-01-2017 8:00 pm) The Acropolis Museum has currently debuted an exhibition regarding the Oracle of Dodona that will last through January 10th, 2017. The exhibition aims at providing wider knowledge about the oldest Greek oracle, tracing the way it functioned, its role and importance in the ancient world, and at the same time showcasing the human need to predict the future. The exhibit¢s narration begins with Dodona during the late Bronze Age. Clay and bronze artifacts illuminate the identity of the first inhabitants, the primitive cult of Mother Earth and the establishment of Zeus¢ cult. The main interest in the exhibition lies in Zeus and his predominant presence in the sanctuary. The central theme is the prophetic oak tree that with the rustle of its leaves would answer the agonizing questions of people of what lies ahead. Prophecies were also given by priests who de-coded the sounds of bronze cauldrons and the cooing of pigeons. The excavations conducted in Dodona have brought to light some thousands of questions carved in metal sheets of lead, posed by visitors in the sanctuary. Some of these questions concern matters of trade, debts, assets, court decisions, health, fertility, upcoming marriage, dowries and widowhood and are presented in a separate unit of the exhibition. From the dedications in the sanctuary parts of bronze statues, parts of armory, swords and part of their suspensions, dedications from those who benefited from the gods or invoked their help are also displayed. Moreover, characteristic coins highlight the political aspect of the Oracle and its connection with Pyrros, the King of Epirus. Lastly, the relationship between the city of Athens and Dodona is presented by two exhibits from the Acropolis Museum. The exhibition is conducted with the collaboration of the Acropolis Museum and the Ephorate of Antiquities of Ioannina. The exhibits are on a loan from the Ioannina Museum and the National Archaeological Museum, Carapanos Collection. Venue: The Acropolis Museum, Makriyianni Street 2-4th, Tel. +30 210 - 9241043.
DOCUMENTA 14 (31-08-2017 8:00 pm) On October 6th, 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. 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. Author: http://www-en.elculture.gr.