With the assistance of virtual reality and a multimedia application for mobile phones, visitors to the exhibition will be able to watch, among others, Zeus on his throne above the entrance gate of the popular mall, the winged Pegasus flying in the skies above the complex of cinemas and Dionysus serving Greek wine to the visitors of the restaurants. At the same time, in a specially designed space in the central square, inside a replica of an ancient Greek helmet 6 meters high, a 3D video with scenes from Greek mythology will be shown. The exhibition is accompanied by advertising spots of the Greek National Tourism Organization, in selected parts of the shopping center. "Our myths and traditions have always served as a bridge between the two cultures. With this exhibition, our Chinese friends will have the opportunity to almost touch the ancient Greek gods and heroes, enjoying a truly exciting experience," the Ambassador of Greece to China, Dr. Evgenios Kalpyris said. The exhibition, which will open on Saturday, April 22nd, will run until the end of June. Then it will travel to the 478 malls across the Chinese territory operated by the Wanda Group, which has the management of Solana Beijing. The exhibition budget exceeded a total of 700,000 euros, which was fully invested by the organizers Solana Beijing, ONEK MR+ and the Wanda Group, while the realisation of the digital presentations and the development of the software took more than six months. The shopping centre is visited daily by approximately 70,000 people.

When people think of ancient Athens, they often think of the great Pericles, or the philosophers Socrates or Plato. But what of the butchers, bakers, carpenters, and money changers? What was everyday life like for them? And what of the myriad others who played a role in the day-to-day running of the city’s economy? In its latest initiative, the Acropolis Museum in Athens is hosting a special gallery tour that will explore just that: the world of employment in ancient Athens. To bring the working lives of the ancient Athenians back to life, the museum’s curators have designed a new thematic section in the Archaic Gallery, based around three ceramic vases on loan from the Museum of Fine Arts in Boston. The painted scenes on these exceptionally well-preserved vases each narrate stories about the jobs and occupations of ordinary Athenians. Who were they? What were their professions, and how did they practice them? What was their social status? And in what ways did they contribute the social, economic, and political changes of the time? Every Sunday from February 5th to July 30th, 2023, hour-long guided tours of the section will be hosted by the museum’s archaeologists, who will not only describe the jobs and working conditions of the ordinary citizens of ancient Athens, but also discuss the extraordinary artists and ceramicists behind the creation of the three vases.               Each tour is limited to 30 people at a time, first-in, first-served. An admission ticket to the museum is required for adults, while children go for free. Read about ticket prices and museum opening times here. Tours will be conducted in English at 11.00 and in Greek at 13:00.     For more information, visit the Acropolis Museum website.

Entering the Garden from the entrance of L. Amalia, the natural environment is enriched with the works of the exhibition Seeing The Invisible. Seeing the Invisible requires its free application (https://seeingtheinvisble.art/app/) on the visitor's mobile phone (with a minimum of 4GB memory) or iPad, tablet. After connecting to wifi, the proposed route appears on the app's map and the works hidden scattered throughout the Garden are revealed. The experiential and one-of-a-kind exhibition is presented in the National Garden of Athens and at the same time in ten botanical gardens around the world. For its Athenian edition, the Greek department of Outset (founded in 2012 by Elina Kountouri) collaborated with the municipality of Athens. The eponymous exhibition began as an initiative of the Jerusalem Botanical Gardens and in its first phase, in 2021, was presented simultaneously in twelve gardens around the world, in collaboration with the contemporary art organization Outset Contemporary Art Fund (founded in 2003 based in London) and the support of the Jerusalem Foundation. "The theme of the exhibition is a reference to climate change and the loss of biodiversity. It adopts models of sustainable practices from outside and places these digital experiences inside the gardens, highlighting the importance of the flora and fauna of the area and keeping the carbon footprint to a minimum" emphasizes Artemis Stamatiadis, director of Outset Greece. The National Garden of Athens hosts thirteen augmented reality works by renowned international artists as well as a commission from Outset Greece to a Greek artist, Loukia Alavanou, with the result that the National Garden is the only participating Garden with 14 works. Loukia Alavanou's project "Nea Zoi" was co-created with Roma children from Nea Zoi Aspropyrgos, who transformed with their paintings a dystopian original landscape into a green flower-strewn place, as they would ideally like their neighborhood. Unseen works scattered throughout the National Garden await visitors. Between them is a huge circle that forms zero, a symbol of peace, solidarity and coexistence, according to Persian scholar theory. The project was originally designed for the United Arab Emirates, home of participating artist Mohamed Kazem, who invites the viewer to traverse the circle that embodies universal values, as if starting from equal ground. As the day progresses, the light, shadows and reflections above the digital structure change, further enhancing the connection between work and natural environment. The same applies to the cave-temple of artist Timur Si-Qin - originally from China and based in Berlin. Through a portal the viewer passes through rooms with designed walls and constellations on the ceiling. The project proposes a new secular faith in the face of climate change, global pandemics and the collapse of biodiversity. The impressive colorful tapestry of soft drink caps, a combination of aesthetics and commentary on post-colonial history, racial discrimination, consumerism, is the work of sculptor El Anatsui, which he constructed together with the Ghanaian community. Refik Anadol's surrealist work from Turkey combines creation with artificial intelligence and other interesting works are revealed in the Seeing The Invisible exhibition, which runs until September 2023. More information at www.seeingtheinvisible.art

The annual motorcycle event is under the auspices of the Association of Motorcycle Importers of Greece (SEME) and will end on Sunday, April 2. Besides new models, the fair will include the newest trends in clothing, accessories, and tech devices. Music events and test rides will be included. The Fair will be open 14:00-21:00 Monday-Friday and 10:00-21:00 Saturday-Sunday. Entrance fee is 7 euros.

Hellenic Culture Minister Lina Mendoni led a ceremony Friday for the repatriation of three sculpture fragments — representing a horse and two male heads — from the Parthenon temple on the Acropolis which had been kept at the Vatican Museums. “Initiatives like these show the way, how the pieces of the Parthenon can be reunited, healing the wounds caused by barbaric hands so many years ago,” Mendoni said. “This takes us to the just and moral demand of the entire Greek people, and of this government and its prime minister, for the final return of all the sculptures of the Parthenon.” The fragments will be added to the collection at the Acropolis Museum, which opened in 2009 at the foot of the ancient site in the center of the Greek capital. Mendoni said Greece would be willing to lend the British museum ancient Greek artifacts for exhibition to “fill the gap” if the marbles were returned. “Greece cannot recognize possession and ownership by the British Museum because it considers the sculptures to be there as a product of theft,” she said. The Vatican called the return an ecumenical “donation” to Greece’s Orthodox Church, but the gesture added pressure on the London museum to reach a settlement with Greece following a campaign launched by Athens 40 years ago. “This act by Pope Francis is of historical significance and has a positive impact on all levels … We hope it sets an example for others,” the leader of Greece’s Orthodox Church, Archbishop Ieronymos II, said. Greece argues that the Parthenon sculptures are at the core of its ancient heritage, while supporters of the British Museum maintain that their return could undermine museum collections and cultural diversity globally. Carved in the 5th century BC, the sculptures from the Parthenon were taken in the early 19th century by British diplomat Lord Elgin before Greece won independence from the Ottoman Empire. Culture Ministry officials in Greece have played down remarks made last month by British Museum chair George Osborne that the U.K. and Greece were working on an arrangement to display the Parthenon Marbles in both London and Athens. Last year another marble sculptural fragment from the Parthenon temple — depicting a foot of the ancient Greek goddess Artemis — was returned to Athens from a museum in Palermo, Sicily. Bishop Brian Farrell, a Vatican secretary for promoting Christian unity, headed the visiting delegation to Athens and said the return of the three fragments from the Vatican had been discussed during a visit to Athens by Pope Francis in 2021. “The gifting of the fragments of the Parthenon which had been held in the Vatican Museums for more than two centuries, shows itself as cultural and social gesture of friendship and solidarity with the people of Greece,” Farrell said. “We assure you of our intimate joy at the realization of your legitimate wish to have the ... fragments at home in their place of origin,” he added.

Hellenic American Union presents “Embracement”, a solo exhibition of works by Apostolos Koustas, an engraver and painter of international standing. The exhibition features a collection of engravings, paintings, portable frescos, sculptures and drawings—hallmarks of work he has done over the last 20 years. The Messolonghi-born artist has achieved worldwide recognition in his 35-year career, with solo exhibitions abroad and a prize-winning entry at the 1991 Triennale in Osaka. Like a true craftsman, Koutsas works on surfaces he makes himself, such as the hydraulic plasters he creates, and uses his hands at each stage in realizing the work. The material, together with the paper and coloring agents he uses, offers a broad range of different expressive possibilities, but each is inextricably tied to the artist’s inspiration: novel proportions that seem at times to reach for monumental effect, an austere, hieratic line, and a rich, dense chromatic texture.   Hours: Monday – Friday: 12:00 – 20:00, Saturday: 10:00 – 14:00, Sundays closed Tickets Admission is free Location Hellenic American Union Galleries Massalias 22, Athens

The new exhibition highlights how the arts bring the world together, transcending every kind of border. Since its earliest inception, the theater has constantly made us aware that we are all passengers on a single planet, the great globe itself. On the Arrivals level, a theatrical map invites passengers and visitors to the airport to explore a world without borders and countries, an open world that brings people and cultures together. This map, although by no means exhaustive, features influential authors from around the world, who we can learn more about through QR codes with details of their life and work, photographs of National Theater of Greece productions of their plays, and quotations from their writing. Visitors to the exhibition will also be able to see Moliere’s costume from a production of Mikhail Bulgakov’s play of the same name directed by Stathis Livathinos on the Main Stage in 2020. The costume was designed by Eleni Manolopoulou and worn by Stamatis Fasoulis, who played Moliere.   OPENING HOURS DAILY 24H/DAY   TICKETS ENTRANCE IS FREE AIA Venue: Art & Culture, Arrivals Level (Exit 1)

More than 1,000 exhibits and over 500 photographs bring to life the heyday of Hellenism before the persecutions, the dramatic period between 1919 and 1923 as well as the settlement and integration of the Asia Minor refugees in Greece. Visitors embark on their journey to the ‘heyday’ of Asia Minor Hellenism (first section) in Ionia and the west coast, they proceed to Cappadocia and the southern provinces, travel to Pontus, then continue towards the West and the environs of Istanbul and they end up in Eastern Thrace. The heyday is followed by the period of persecutions, the conclusion of World War I and the ensuing Treaties, the period of the Greek landing in Asia Minor and the ensuing Campaign, the ‘Catastrophe’ of 1922, as well as the ‘Exodus’ of refugees (second section). The third and final section of the exhibition focus on the settlement and integration of refugees in Greece, as well as their impact on many sectors of Greek society. Part of the epilogue of the exhibition is dedicated to the creation of the Center for Asia Minor Studies in 1930 by Melpo and Octave Merlier. This chronicle is described through works of art, icons, ecclesiastical, war and personal heirlooms, costume, jewellery, handicrafts, maps, photographs, archival and cinematographic material, newspapers, letters, postcards, and many other items. Excerpts from personal testimonies complement the narrative, bringing images and silent objects to life.   OPENING HOURS THURSDAY, SUNDAY: 10:00 - 18:00 FRIDAY, SATURDAY: 10:00 - 22:00   GENERAL ADMISSION: 15€ ADDRESS 138 PIREOS AVENUE, 11854  

Cities, computers, and communities all feature in an exhibition presented across two episodes. With material from the Constantinos A. Doxiadis Archives and with new research into contemporary Athens, the exhibition traces how the postwar and our contemporary periods are linked through ideas about data, space, and people. The exhibition examines one of the most pressing and transformational conditions of the last half century—the overlapping and intertwining of cities, people, and information systems. The exhibition shows this in two episodes. The first covers the prescient use of computers in the 1960s by the Greek architect and internationally celebrated planner of cities, Constantinos A. Doxiadis through the work of DACC—the Doxiadis Associates Computer Center. The second episode traces these computational practices to present day Athens, with new research into the physical form, technical administration, and territorial spread of city and state border management systems. Each episode pivots around a population group and a form of information collection. In the 1960s, Doxiadis Associates ran The Human Community, a DACC-assisted study of Athenian residents that gauged their adaptation to the growth and pace of the postwar city. The exhibition includes The New Human Community, a critical restaging of Doxiadis’ survey conducted with recently arrived residents and refugees. The Machine at the Heart of Man: Constantinos Doxiadis’ Informational Modernism tracks how our contemporary and postwar periods are linked through techniques of data extraction and accumulation. In the exhibition, these two episodes chart Greece’s emerging informational geography, locating its boundaries, borders, and the data subjects they engender. With its mainframe UNIVAC and spinning tape drives, DACC was a startling venture for an architecture office in the 1960s. Doxiadis belonged to a cohort of international architects and intellectuals appraising the implications of new digital technologies for the future of cities. Unlike his peers, who often considered this impact abstractly or theoretically, the techniques and products of computation were deeply integrated into Doxiadis’ practice. Spanning early analog data collection to later urban computation, the exhibition recasts Doxiadis’ practice through informational processes and automation, placing it within the emerging postindustrial logics of the 1960s and 1970s. The exhibition also puts the Doxiadis Associates Computer Center in communication with our current debates on computation and community. For Doxiadis, community was an ideal of social integration and resident satisfaction. It was also a dynamic measure of urban scale seen via neighborhood boundaries made volatile by postwar upheaval and migration. For many residents of contemporary Athens, these local boundaries have multiplied and expanded to encompass state borders and their control systems. While The Human Community and DACC mark a pivotal early moment in the historical formation and articulation of computational urbanism, the information extraction technologies that appear at and through this contemporary border complex are its most current elaboration.   Dates 28.01 —26.02.2023 Wednesday - Sunday 18:00 - 23:00 Exhibition Hall -1 Tickets Free admission Venue Onassis Stegi To find out more about the concept and visitor information, log on to https://www.onassis.org/whats-on/constantinos-doxiadis-human-communities.

The exhibition was inspired by the publication of the academic volume Corpus Inscriptionum Judaicarum Graeciae: Corpus of Jewish and Hebrew Inscriptions from Mainland and Island Greece (Late 4th c. BCE-15th Century), which collects and presents 108 epigraphic items of Jewish interest that are located in Greek territory, many of them for the first time. The epigraphic corpus, which was awarded a prize by the Academy of Athens in December 2019 in the letters and fine arts category, is part of the research activity of the JMG, which focuses on the recording, study and publication of the intangible and material evidence for the archaeological and historical past of Greek Jews. The aim of the joint temporary exhibition is to highlight and showcase selected items of the historical and archaeological evidence of the Jews of Greece (mainly from the late 4th BCE to the 15th century). The information this evidence contains, allows us to reconstruct aspects of one of the oldest religious and cultural communities in Europe while it also reveals the multicultural past of the country. The exhibits are presented in thematic sections, which cover all aspects of the social, religious, political, and cultural life of the Jewish communities of late antiquity. The novel approach represented by this double presentation, lies in the exploration of the early settlement of the Jews in Greece not as an isolated historical event, but as an integral part of a broader historical, geographical, and chronological context.   TICKETS € 6,00   START TIME SUNDAY 10:00 - 14:00   16/5/22 - 28/2/23 JEWISH MUSEUM OF GREECE / ATHENS 39 NIKIS STREET, 105 57

The exhibition showcases the artist’s multifaceted, uplifting and deeply Greek creative output in a gesture of powerful symbolism, being the first retrospective dedicated to a Greek artist in the new National Gallery, following on the first, monumental temporary exhibition “The Art of Portraiture in the Louvre Collections”. Konstantinos Parthenis’s life and career spans from the late 19th century until the late 1960s, when he lived and worked in his home studio at the foot of the Acropolis. Alexandria, Vienna, Paris, Corfu and Athens are landmark cities in a career that is yet to be comprehensively documented and definitively assessed in art history. In his painting, Parthenis developed a creative dialogue with the modernist movement while maintaining his own distinct style, where iconographic references to antique and Byzantine art expand his extraordinary painting vocabulary, which evolved steadily throughout his life in a wide range of works.He pioneered a groundbreaking approach to modernism and justified his belief that the artist deserves recognition and support from the state.   OPENING HOURS SATURDAY 10:00 - 17:00 SUNDAY 10:00 - 18:00   TICKETS € 10,00   15/6/22 - 28/2/23 NATIONAL GALLERY / ATHENS 1 MICHALAKOPOULOU STREET AND 50 VAS. KONSTANTINOU Av., 11528    

The exhibition takes us to the time of the Revolution, but also before it, the period of enthusiastic preparation. The time when impetuous writers and poets of the diaspora, philhellenes, and the oppressed inhabitants of this corner of the multicultural and internally torn Ottoman Empire converged on a revolutionary path. This road was full of sounds and music: marches written and spread across Europe and the Balkans and folk songs that recounted conflicts both personal and collective. Creations, both named and anonymous, that were based on old and familiar rhythms and that have reached our days as poetic narratives co-shaping modern Greek identity.   OPENING HOURS: 20/1/23 08:30 - 15:30.   VENUE: Museum of Greek Folk Musical Instruments "Fivos Anoyanakis" - Centre for Ethnomusicology Diogenous 1, Athina 105 56 210 3250198