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DTSTART;TZID=Europe/London:20260912T000000
DTEND;TZID=Europe/London:20261231T235959
DTSTAMP:20260921T102816Z
CREATED:20260921T102814Z
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SUMMARY:Jan Zatorsky: Prague – A Playground for David Černý
DESCRIPTION:This outdoor exhibition by photographer Jan Zatorsky complements David Černý: The Glorious 90s in Prague. Reprinted by Prusa Research\, on display at Vitrínka Gallery. While the gallery exhibition brings Černý’s iconic works to London in new 3D-printed forms\, Zatorsky’s photographs take you back to Prague\, where these works have become part of the city’s contemporary landscape. \nYou know the Czech capital\, Prague. She – because we call her the Mother – has of course the charming panoramas of historic buildings. And serves her visitors magnetic views of Prague Castle\, the Charles Bridge and many other sights. \nBut if you give the city a second look\, you will see a different face – with contemporary art scattered around\, in between historic buildings and the new ones too. Czech artist David Černý\, the forever ‘enfant terrible’ of Czech art\,  has his signature on many of them. In fact\, he has shaped the contemporary layer of Prague’s look like no other Czech artist. \nCzech photojournalist Jan Zatorsky\, holder of several Czech Press Photo awards\, has walked in Černý’s footprints in Prague to guide you through. His photo story from the Czech capital presents Černý’s striking pieces\, that almost shout at you with their size\, and also the less visible ones that are there to catch you by surprise – but both ways\, always make you think. \nThis photographic display accompanies the Czech Centre London exhibition of David Černý’s works\, seen around Prague\, in 3D models printed by Prusa Research\, a company that started modestly in the Czech Republic in 2012 and grew into one of the global leaders in 3D printer manufacturing. \nAt both venues you will see Černý‘s giant Babies sculptures (first made in 1999)\, which climb the Žižkov district TV tower and have already become one of the city’s symbols. The story of the legendary Pink Tank (first painted by Černý in the bright colour in 1991 to confront the remnants of Soviet political dominance and propaganda after the fall of Communism) has new chapters  written into today‘s landscape of Prague. Watch out\, so you don’t trip over it! Černý‘s more recent works include The Butterfly Effect\, honouring the Czechoslovak RAF pilots who fought alongside the Brits in the Second World War\, and the rotating head of Prague author Franz Kafka\, Instagram’s favourite sight in the Czech capital. \nDavid Černý was born in Prague in 1967 to a family of artists. He later studied at the Academy of Applied Arts in Prague between 1988 and 1996. In 1990\, he received the Special Prize at the Kortrijk Biennale\, Belgium. One year later\, he began his residential scholarship in Boswil after receiving a grant from the Swiss Government. In 1994\, he moved to New York as an artist in residence at the PS1 gallery. Two years later\, he completed the Whitney Independent Study Program. In 1996\, he won another grant\, this time from the Pollack-Krasner Foundation in the United States\, and in 2000\, he received the Jindřich Chalupecký Award for the country’s most promising visual artist under the age of 35. In 2001\, he founded Meetfactory\, a non-profit international centre for contemporary art. He lives in Prague and is the proud father of his daughter\, Elektra. \nJan Zatorsky is a Czech photographer\, who was born into the family of a protestant pastor in Northern Moravia in 1957. He was free to work as a photographer only after the fall of Communism in Czechoslovakia in 1989. For most of the 1990s\, when people without links to the Communist regime were needed\, especially in the security forces\, he held high positions at the Ministry of the Interior and the Police. Since 2000 he was the chief photographer of the Mediacop publishing house\, which had the influential weekly magazine Týden in its portfolio. Later he became the chief photographer for the Lidové noviny a daily Czech newspaper with a democratic tradition dating back to the 19th century. \nThis exhibition is part of the 30th Made in Prague Festival organised by Czech Centre London. \nOutdoor exhibition on the fence of the Czech Embassy 26 – 30 Kensington Palace Gardens\, London W8 4QY\nFree access 24/7 \nVisit David Černý: The Glorious 90s in Prague. Reprinted by Prusa Research at the Czech Centre’s Vitrínka Gallery to see newly created 3D-printed versions of Černý’s iconic works\, and also stop by the Bouda Gallery to explore Landscape\, an exhibition of student works from the Studio of Ceramics and Porcelain at the Academy of Arts\, Architecture and Design in Prague (UMPRUM).
URL:https://euniclondon.org/event/jan-zatorsky-prague-a-playground-for-david-cerny/
LOCATION:Czech Embassy London\, 26-30 Kensington Palace Gardens\, London\, W8QY \, United Kingdom
CATEGORIES:Art,Design,EUNIC Project
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ORGANIZER;CN="Czech Cenrre London":MAILTO:http://london.czechcentres.cz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260912T100000
DTEND;TZID=Europe/London:20261231T170000
DTSTAMP:20260903T102041Z
CREATED:20260903T102040Z
LAST-MODIFIED:20260903T102041Z
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SUMMARY:Landscape
DESCRIPTION:The exhibition project Landscape\, featuring selected student works from UMPRUM\, shows how the landscape can bear witness to human presence\, but also how it in turn shapes our behaviour. The works reflect both the states of abandonment or departure of a human from the landscape and their intensely materialised presence.  \nEvery place we enter changes us\, and we change it in return. Through our everyday actions we leave traces on the world around us\, while the landscapes we inhabit shape our memories\, habits\, and ways of living. But landscapes also have lives of their own. Long after people leave\, nature continues to grow\, adapt\, and transform. \nThe exhibition project Landscape\, through a selection of student works from the Studio of Ceramics and Porcelain at the Academy of Arts\, Architecture and Design in Prague (UMPRUM)\, demonstrates how the landscape can bear witness to human presence\, but also how it itself shapes our behaviour. Similar themes resonated in public discourse in post-communist countries in the early 1990s\, at the dawn of interest in the systematic protection of the environment and human impact on the landscape. \nThe works on display reflect two types of movement. The first is the abandonment or departure of humans from the landscape and the ways in which nature gradually comes to terms with their absence. Within this line of thinking\, we can consider Noemi Sickova’s project Meadow\, which explores the relationship between the meadow ecosystem’s dependence on human activity\, and Marie Bokova’s Wound as a Technology of Remembrance\, which addresses the phenomenon of the preservation of old varieties of fruit trees from abandoned border regions. \nThis is directly followed by the second movement: the intensely materialised presence. It is often associated with the exploitation and commodification of natural resources and with unequal relationships between humans and other organisms. \nKrystof Vicha’s Seabed Elegy uses an art installation to explore the possible future of a specific deposit and the price we are willing to pay for a particular raw material. Similarly\, in her work With Their Hands in the Ground Barbora Kurkova draws on a specific location and personal experience to reflection memory in the mining landscape of northern Bohemia\, the process of its preservation and its loss. Roman Mares seeks to address the negative consequences of the expansion and transformation of human settlements on urban fauna by designing architectural elements that facilitate bird nesting. Meanwhile\, Veronika Marikova’s video installation If you’re afraid\, don’t get on a bike reflects on the hostility and power dynamics that influence movement within the urban landscape. \nThe projects by the youngest generation invite visitors to reflect on just how far thinking about ecology and environmental issues has progressed since the 1990s. \nGiven that the exhibiting artists did not themselves experience the optimistic atmosphere of the 1990s\, they maintain a distance from the hopeful prospects that humanity is capable of effectively resolving the problems it has caused. On the contrary\, their sensitive reflection on the relationship between humankind and the landscape leads them to humility\, to weighty considerations of responsibility\, and to the need to redefine the relationship between the landscape and humankind in a fairer way. \n\nEXHIBITION DATES: 12 September – 31 December 2026\nVENUE & OPENING TIMES\nBouda Gallery\, Czech Centre London\n132 Palace Gardens Terrace\, W8 4RT\nOpening hours: Tue – Fri 10am – 5pm\nSat 12 Sep\, Sun 13 Sep\, Mon 14 Sep\, Sat 19 Sep and Sun 20 Sep: 11:00 – 17:00
URL:https://euniclondon.org/event/landscape/
LOCATION:Czech Centre´s Bouda Gallery\, 132 Palace Gardens Terrace\, Kensington\, London\, W8 4RT\, United Kingdom
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ORGANIZER;CN="Czech Centre London":MAILTO:info@czechcentre.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260912T100000
DTEND;TZID=Europe/London:20261231T170000
DTSTAMP:20260903T102144Z
CREATED:20260903T102142Z
LAST-MODIFIED:20260903T102144Z
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SUMMARY:David Černý: The Glorious 90s in Prague. Reprinted by Prusa Research.
DESCRIPTION:rom protest icon to 3D-printed artwork. Created by Czech visual artist David Černý in collaboration with Prusa Research\, one of the world’s leading 3D printer manufacturers\, this exhibition explores the story of Prague’s Pink Tank of 1991 alongside some of the artist’s best-known sculptures from the 1990s.\n\nWithout exaggeration\, 35 years ago\, in 1991\, a new era of Czech visual art began. Artist David Černýpainted a Soviet tank bright pink. Legend has it he did it for a girl – but this story is far from an uncomplicated love tale.\n\nAt the centre of the exhibition is Soviet Tank No. 23\, once prominently displayed in Prague\, erected to commemorate the liberation of Czechoslovakia at the end of the Second World War. Over time\, however\, it came to symbolise Soviet expansionism and\, after 1968\, the real occupation by tanks sent from Moscow to Czechoslovakia.\n\nAs part of the London Design Festival\, Czech Centre London presents David Černý’s iconic work and its story with interesting twists and turns in a new printed edition – quite literally. The artist has teamed up with the innovative Czech company Prusa Research\, one of the world’s leading manufacturers of 3D printers\, to create a 3D-printed model of the Pink Tank.\n\nThe sculpture itself captures the optimism of the newly regained freedom of the early 1990s while bringing Černý’s trademark humour and sense of absurdity into an important debate about public space. It reflects a specific Central European experience and creates an interesting dialogue with the British one. What we cannot unsee is how it casts the shadow of threats that have once again become relevant today.\n\nAlongside the Pink Tank\, the exhibition will feature other works by David Černý\, recipient of international and Czech art awards\, whom the BBC named among the world’s most provocative visual artists. Don’t miss\, for example\, Cerny’s take on St Wenceslas statue\, depicting the Czech patron saint well known to the British public from the popular English carol Good King Wenceslas\, also presented as a 3D print.\n\nPrusa Research\, represents new chapters of Czech innovation and creativity. Today a global technological company started as a garage start-up in 2012 in Prague. This exhibition will showcase the possibilities of 3D printing in contemporary art\, demonstrating how this rapidly evolving technology is opening new creative possibilities for artists and designers too. In 2025\, Josef Prusa\, the founder of Prusa Research\, received the Czech Presidential Medal of Merit for his contributions to the economy\, popularizing 3D printing and making the technology globally accessible.\n\n 	EXHIBITION DATES: 12 September – 31 December 2026\n 	VENUES & OPENING TIMES \n\nVitrínka Gallery\, Czech Centre London \n30 Kensington Palace Gardens\, London\, W8 4QY\nOpening hours: Tue – Fri 10am – 5pm\nSat 12 Sep\, Sun 13 Sep\, Mon 14 Sep\, Sat 19 Sep and Sun 20 Sep: 11:00 – 17:00\n\nPublic space outside of the Czech Embassy\, London\n26 Kensington Palace Gardens\, London\, W8 4RT\nAccessible 24/7
URL:https://euniclondon.org/event/david-cerny-the-glorious-90s-in-prague-reprinted-by-prusa-research-2/
LOCATION:Czech Centre’s Vitrínka Gallery\, 30 Kensington Palace Gardens\, London\, Select a State\, W8 4QY\, United Kingdom
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ORGANIZER;CN="Czech Centre London":MAILTO:info@czechcentre.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261008T000000
DTEND;TZID=Europe/London:20261107T235959
DTSTAMP:20260814T090521Z
CREATED:20260814T090520Z
LAST-MODIFIED:20260814T090521Z
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SUMMARY:Revisiting: Fernweh\, or Nostalgia for Unknown Lands
DESCRIPTION:Revisiting: Fernweh\, or Nostalgia for Unknown Lands brings together 15 international artists and 17 artworks from the Irene Y. Panagopoulos Collection\, spanning sculpture\, painting\, photography\, printmaking\, collage\, video\, lightboxes\, and books\, and dating from the eighteenth to the twenty-first century\, to explore Greece as a symbolic construct of both past and present\, escaping fixed notions of place.  \n\nOne year after its debut in Athens in 2025\, where it inaugurated the Irene Y. Panagopoulos Collection Space\, the exhibition Fernweh\, or Nostalgia for Unknown Lands comes to the Hellenic Centre in London with a renewed perspective\, shaped in part by the spatial parameters of the venue.   \n\nAt its conceptual axis lies Fernweh – the German word for a “longing for distant places”\, first recorded in 1835 by the German Prince Hermann von Pückler-Muskau to describe the melancholic longing he felt for places he had never visited. The term frames an exhibition that draws on the legacy of Romanticism to explore humanity’s enduring desire to pursue the unattainable and to reinterpret reality through the intertwined lenses of knowledge\, memory\, and imagination. The artists assume the role of observers\, navigating between experience and reverie\, romantic projection and historical consciousness. They reflect on Greece not only as a geographical territory but as a cultural and symbolic landscape – one long defined by journeys\, myths\, memories\, and perceptions shaped over time.  \n\n \n\nCurated by Katerina Hadji and presented by the Irene Y. Panagopoulos Collection in collaboration with the Hellenic Centre. \n\nImage: William Nelson Copley\, Homeric Emblem\, 1961\, Irene Y. Panagopoulos Collection\n\n \n\nSPECIAL PUBLIC EVENTS\n\nTuesday 13 October\, 18:00 – 21:00 – Exhibition Private View. RSVP here.\n\nFriday 16 October\, 09:30 – 11:00 – Breakfast reception. RSVP here.\n\nSaturday 17 October\, 11:00 – Exhibition Private Tour with curator Katerina Hadji. RSVP here.
URL:https://euniclondon.org/event/revisiting-fernweh-or-nostalgia-for-unknown-lands/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Art
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ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261008T000000
DTEND;TZID=Europe/London:20261119T235959
DTSTAMP:20260814T090449Z
CREATED:20260814T090448Z
LAST-MODIFIED:20260814T090449Z
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SUMMARY:A Different Kind of Pop: Giorgos Ioannou’s Works 1960s – 1970s
DESCRIPTION:Marking the centenary of the birth of Giorgos Ioannou (1926–2017) this exhibition is the first significant presentation of the artist’s work in the UK. Focusing on works produced between the late 1960s and 1970s – a period shaped by the Greek military dictatorship – these distinctive works explore the political undercurrents that emerged in Ioannou’s practice during that time. Although exceptionally prolific in Greece\, Ioannou’s work remains relatively unknown in the UK. This exhibition introduces his striking paintings to a wider international audience\, highlighting his creative vision as well as his passion for democracy and human rights. \n\nThroughout his career\, Ioannou developed a rich and varied visual language\, becoming particularly renowned for his use of pop art and comic-book imagery. Although his work evolved in parallel with\, and independently of\, American Pop Art\, he should not be understood simply as a Greek Pop artist. His paintings weave together personal memory\, political trauma\, nostalgia\, folk traditions and autobiography\, resulting in a deeply individual artistic vision. \n\nIt was during the years of the Greek military junta that Ioannou established his distinctive visual language. While engaging with the imagery and visual vocabulary of pop art\, he remained firmly committed to interrogating the social and political realities of his time. Ioannou operated within a climate of censorship\, yet the immediacy and accessibility of his approach enabled him to engage directly with the political climate of the period\, articulating his concerns with clarity and urgency. \n\nMany of the works included in this exhibition were first shown during the years of the dictatorship. Despite his opposition to the regime\, Ioannou continued to exhibit widely throughout the period\, including the Greek Pavilion at the 1970 Venice Biennale\, at the height of the regime. \n\nThe exhibition is accompanied by a small publication and a programme of events\, including an in-conversation with the artist’s son\, artist Dimitris Ioannou and Kostas Stasinopoulos\, Director of Exhibitions and Programmes at KYKLOS\, moderated by independent critic\, historian and curator Andrew Wilson. \n\nLead sponsor Alpha Bank London. With support from the Onassis Foundation and The Panayotis & Effie Michelis Foundation. 
URL:https://euniclondon.org/event/a-different-kind-of-pop-giorgos-ioannous-works-1960s-1970s/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Art
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ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261102T000000
DTEND;TZID=Europe/London:20261122T235959
DTSTAMP:20261009T163535Z
CREATED:20261009T163207Z
LAST-MODIFIED:20261009T163535Z
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SUMMARY:VOILA! Theatre Festival 2026
DESCRIPTION:Produced by the Cockpit\, part of United Colleges Group \n\n\n\n2-22 November in London \n\n\n\nConnecting border-busting theatre to citizens of everywhere. \n\n\n\nTheatre in 60 different languages will take over eight London venues this year\, as 450artists come together for Voila! Theatre Festival’s exhilarating programme of 101 showsand events. Reflecting contemporary flows of cultures\, stories and aesthetics\, thisvibrant celebration of international theatre puts challenge and change firmly in the spotlight. \n\n\n\n \n\n\n\nMore info and tickets: @voilafest #voilafesthttps://www.voilafestival.co.uk \n\n\n\n\n\n\n\n\n\n\nCONNECTING BORDER-BUSTING THEATRE TO CITIZENS OF EVERYWHERE
URL:https://euniclondon.org/event/voila-theatre-festival-2026/
LOCATION:The Cockpit\, Gateforth Street \, London\, NW8 8EH\, United Kingdom
CATEGORIES:Theatre & Dance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261107T190000
DTEND;TZID=Europe/London:20261107T210000
DTSTAMP:20261001T090759Z
CREATED:20261001T090758Z
LAST-MODIFIED:20261001T090759Z
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SUMMARY:Little Thief + Q&A with director Ondřej Hudeček and actor Václav Neužil
DESCRIPTION:UK Premiere\n\nFresh out of prison\, good-hearted small-time thief Lupyn returns to his hometown in South Moravia\, only to find the world turned upside down by the pandemic. With businesses struggling and the usual rules seemingly suspended\, his particular talents suddenly offer an unlikely way to help those around him. But when Lupyn’s plans bring him into the orbit of local crime boss Asasín and corrupt policeman Čeněk (wonderfully played by Václav Neužil) – who happens to be dating Lupyn’s mother- things quickly become more complicated than he bargained for.\n\nThis feature debut from Sundance-winning director Ondřej Hudeček is a sharp and wonderfully earthy mix of black comedy\, crime and satire. Steeped in local dialect\, characters and atmosphere\, it puts a distinctly Czech spin on the classic heist comedy\, delivering a mischievous ‘Covid Western ‘ where the boundaries between right and wrong become increasingly blurred.\n\nOndřej Hudeček\, Czech Republic 2026\, 118‘\, English subtitles\nCast: Matyáš Řezníček\, Václav Neužil\, Stanislav Majer\, Denisa Barešová \, Eva Vrbková \n\n“A love letter to a heist  comedy” Ondřej Hudeček\n\nThis event is part of the 30th Made in Prague Festival organised by Czech Centre London
URL:https://euniclondon.org/event/little-thief-qa-with-director-ondrej-hudecek-and-actor-vaclav-neuzil/
LOCATION:Regent Street Cinema\, 309 Regent St\, London\, W1B 2UW\, United Kingdom
CATEGORIES:Film,Talks
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ORGANIZER;CN="Czech Centre London":MAILTO:info@czechcentre.org.uk
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261112T190000
DTEND;TZID=Europe/London:20261112T230000
DTSTAMP:20260921T103115Z
CREATED:20260921T103114Z
LAST-MODIFIED:20260921T103115Z
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SUMMARY:LENNY
DESCRIPTION:LENNY is an award-winning Czech pop artist (recipient of 7 Anděl Awards\, the Czech equivalent of the GRAMMYs)\, known for her unmistakable voice\, strong songwriting\, and a sound that blends modern pop\, rock\, and emotionally charged ballads.\n\nLENNY has previously shared the stage with artists including Mike Shinoda\, Imagine Dragons\, LP\, and Emeli Sandé. Her debut album Hearts went straight to #1\, and her breakthrough single “Hell.o” was awarded Song of the Year in the Czech Republic\, topping airplay\, Spotify\, and iTunes\, while also achieving Gold status in Italy. LENNY has been featured in Vanity Fair Italy and Forbes 30 Under 30. in 2022 she collaborated with Mike Shinoda (of Linkin Park) on her song “Lithium”.\n\nThis autumn she’s dropping her fifth album – and you can be there when she plays it live for the first time at London’s legendary Notting Hill Arts Club.\n\nThis event is part of the 30th Made in Prague Festival organised by Czech Centre London.
URL:https://euniclondon.org/event/lenny/
CATEGORIES:Music
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ORGANIZER;CN="Czech Centre London":MAILTO:info@czechcentre.org.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261117T000000
DTEND;TZID=Europe/London:20261118T235959
DTSTAMP:20261105T124801Z
CREATED:20261027T201541Z
LAST-MODIFIED:20261105T124801Z
UID:10006039-1794873600-1795046399@euniclondon.org
SUMMARY:How to In Short\, Europe 2026
DESCRIPTION:A Series of European Film Panel Discussions and Networking Events \n\n\n\n17 & 18 November 2026 · London · Free \n\n\n\nIn Short\, Europe is EUNIC London’s short film programme\, which has brought the best of European short cinema to British audiences since 2020. In 2026 it becomes How To: In Short\, Europe\, a pair of evening panel discussions with leading figures from European and British film. Each panel is followed by a networking reception. \n\n\n\nThe first evening looks at the bigger picture of European film in the UK. The second gives practical advice to filmmakers working in short film. \n\n\n\n\n\n\n\nPanel 1: In Short\, How Does Europe Add to the British Film Landscape?📅 Monday 17 November 2026\, 18:00–20:00📍 Embassy of Ireland\, 17 Grosvenor Place\, London SW1X 7HR \n\n\n\nHow does European cinema shape what British audiences see\, and how do British films travel across Europe? Critics\, festival programmers\, funders and distributors discuss co-production and funding\, festivals and awards\, and how audience tastes are changing on both sides of the Channel. \n\n\n\nSpeakers:  \n\n\n\nAgnieszka Moody\, Head of International Relations at British Film InstituteDániel Deák\, Festival Director\, Friss Hús Budapest IFF; Founder\, Daazo.comYiannis Georgiades\, Expert Associate\, Cinema Sector\, Deputy Ministry of Culture of the Republic of CyprusModerated by Gráinne Humphreys\, Executive Festival Director\, Dublin International Film Festival \n\n\n\nFor screen industry professionals and anyone in culture or diplomacy who is interested in European culture in Britain. \n\n\n\nThis event is by invitation only. To RSVP please email: contact@eunic-london.org \n\n\n\n\n\n\n\nPanel 2: In Short\, How to Build Success for Your Short Film in Europe📅 Tuesday 18 November 2026\, 18:00–20:00📍 Goethe-Institut London\, 50 Princes Gate\, Exhibition Road\, London SW7 2PH \n\n\n\nGot a short film and wondering where it can go next? Four people who decide how short films reach audiences share practical advice on festival selection\, distribution\, festival runs and building an audience online\, in the UK and across Europe. \n\n\n\nSpeakers: \n\n\n\nLola Lambert\, Co-Head of Festival Distribution\, interfilm International Short Film Festival Berlin; programmer\, KUKIMatt Lloyd\,  Director\, Glasgow Short Film FestivalNathan Haines\, Filmmaker; co-founder of the film platform CenterFrame; runs the British Short Film AwardsModerated by Sanne Jehoul\, Founder\, onzer films; commissioning editor\, Talking Shorts; former programme director\, Glasgow Short Film Festival \n\n\n\nFor students\, early-career filmmakers and anyone working in short film. It’s especially relevant to young Europeans in the UK and British filmmakers with European heritage. \n\n\n\n👉 RSVP here \n\n\n\n\n\n\n\nFormat for both evenings: 60-minute panel\, 15-minute audience Q&A\, then a networking reception. The event on 17 November is by invitation only. Places for the event on 18 November are limited\, so advance registration is essential. \n\n\n\nHow To: In Short\, Europe is presented by EUNIC London with the support of the Delegation of the European Union to the UK\, and hosted by the Embassy of Ireland and the Goethe-Institut London. \n\n\n\n\n\n\n\n\n\n\n\n\nRSVP HERE
URL:https://euniclondon.org/event/how-to-in-short-europe-2026/
LOCATION:Goethe-Institut London\, 50 Princes Gate\, Exhibition Rd\, London\, SW7 2PH \, United Kingdom
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DTSTART;TZID=Europe/London:20261119T190000
DTEND;TZID=Europe/London:20261119T200000
DTSTAMP:20260814T090803Z
CREATED:20260814T090802Z
LAST-MODIFIED:20260814T090803Z
UID:10005998-1795114800-1795118400@euniclondon.org
SUMMARY:Greece’s Gender Divide: Femicide Through the Lens
DESCRIPTION:How do films and the media shape our understanding of violence against women and what does it distract us from? This all-female panel brings together former Judge Betty Iliadou\, Dr. Tonia Kazakopoulou and Dr. Afroditi Koulaxi to examine how coverage of femicide\, centered on victimanhood and emotional spectacle\, can distract from political and legislative failures and even shape judicial verdicts.\n\nThe discussion is grounded in two emblematic Greek films recently screened at The Garden Cinema as part of their ongoing Greek Salad film strand: Mihalis Cacoyannis’ Stella (1955)\, whose heroine defies misogynist convention even as the film remains shaped by the male gaze\, and Tonia Marketaki’s John the Violent (1973)\, which uses a real-life murder as a springboard for a feminist inquiry that feels startlingly radical decades on.\n\nUsing excerpts from both films as a starting point for their conversation\, our speakers ask how the moral codes of the 1950s and 60s still echo today\, touching on gender inequality\, patriarchy\, and the ways violence against women continues to be justified.\n\n\n\nThis event builds on our 2025 event\, Greece’s Gender Divide: Unmasking the Crisis of Femicides. \n \nThe Q&A is moderated by Erifili Missiou\, Filmmaker and Head Curator & Programmer at The Garden Cinema\, London. \nPresented in collaboration with The Garden Cinema.
URL:https://euniclondon.org/event/greeces-gender-divide-femicide-through-the-lens/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Film,Talks
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ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261126T190000
DTEND;TZID=Europe/London:20261126T210000
DTSTAMP:20260814T090825Z
CREATED:20260814T090824Z
LAST-MODIFIED:20260814T090825Z
UID:10005999-1795719600-1795726800@euniclondon.org
SUMMARY:Piano Recital with Costas Fotopoulos
DESCRIPTION:Costas Fotopoulos’ piano recital begins with two giants of the Baroque era\, both born in 1685:  three highly original harpsichord sonatas by Domenico Scarlatti are followed by the sixth of the Partitas composed for keyboard by J. S. Bach. Published in 1731 and consisting of seven movements encompassing a wide variety of emotions\, it is arguably Bach’s greatest suite.  \n\nThe recital’s second half opens with two rich and highly expressive works by Chopin: the second of his Op. 62 set of Nocturnes and one his last as well as one of his greatest and most popular pieces: the First Ballade in G minor.  Fotopoulos will then perform his own Hommage à Chopin\, composed as a tribute to the great master\, before performing two of Granados’ wonderful Twelve Spanish Dances inspired by the folk music of his native country.  \n\nThe recital will end with a fiendish transcription of three movements from Stravinsky’s electrifying Firebird Suite. Transcribed by Guido Agosti\, it is dedicated to the memory of his teacher – the pianist and composer Ferruccio Busoni. 
URL:https://euniclondon.org/event/piano-recital-with-costas-fotopoulos/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Music
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ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
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DTSTART;TZID=Europe/London:20261128T150000
DTEND;TZID=Europe/London:20261128T160000
DTSTAMP:20260814T090847Z
CREATED:20260814T090845Z
LAST-MODIFIED:20260814T090847Z
UID:10006000-1795878000-1795881600@euniclondon.org
SUMMARY:Greek Tragedy Upside Down: Electra and Medea Through the Lenses of Contemporary Queer and Feminist Theory 
DESCRIPTION:Join award winning director\, choreographer\, performer and dramatist Mayra Stergiou and multi-award-winning\, published artist\, writer and researcher Nazli Tabatabai-Khatambakhsh as they delve into how approaching tragedy through the queer and feminist lenses disrupts inherited hierarchies of gender\, power\, time\, and authorship embedded within the classical canon. 
URL:https://euniclondon.org/event/greek-tragedy-upside-down-electra-and-medea-through-the-lenses-of-contemporary-queer-and-feminist-theory/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks,Theatre & Dance
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DTSTART;TZID=Europe/London:20261203T190000
DTEND;TZID=Europe/London:20261203T200000
DTSTAMP:20260814T090910Z
CREATED:20260814T090909Z
LAST-MODIFIED:20260814T090910Z
UID:10006001-1796324400-1796328000@euniclondon.org
SUMMARY:The Uses of Oppression: Greek Newspapers in the Ottoman Empire 1830-62
DESCRIPTION:Marina Sakali\, Lady Marks\, discusses her book The Uses of Oppression\, with Dr Şükrü Ilıcak (Αssociate Professor\, University of Athens)\, following the development of the Ottoman Greek press from its birth in 1830 until 1862\, employing the vivid reflections of its editors\, correspondents\, advertisers\, commentators\, and readers as a lens through which to view the everyday lives of this generation of Ottoman Greeks.  \n\nDuring the middle decades of the 19th century\, a generation of Ottoman Greeks was caught up in radical social and political changes\, including the period of reforms known as Tanzimat. The Ottoman Greek press was both a product and an agent of these changes.  \n\nThe Uses of Oppression follows the development of the Ottoman Greek press from its birth in 1830 until 1862\, employing the vivid reflections of its editors\, correspondents\, advertisers\, commentators\, and readers as a lens through which to view the everyday lives of this generation of Ottoman Greeks – their social aspirations\, their reactions to political events\, their reception of Western-style norms\, and other contemporary issues.  \n\nIn collaboration with the Anglo-Turkish Society.  
URL:https://euniclondon.org/event/the-uses-of-oppression-greek-newspapers-in-the-ottoman-empire-1830-62/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Literature,Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/9780674293984.jpeg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261210T190000
DTEND;TZID=Europe/London:20261210T200000
DTSTAMP:20260814T090932Z
CREATED:20260814T090931Z
LAST-MODIFIED:20260814T090932Z
UID:10006002-1796929200-1796932800@euniclondon.org
SUMMARY:Michael Anastassiades In Conversation with Writer and Curator Emily King
DESCRIPTION:The designer Michael Anastassiades in–conversation with writer and curator Emily King. Discussing Anastassiades’ recent exhibitions at the Melas Martinos gallery in Athens and the Taka Ishii gallery Tokyo\, Anastassiades and King explore the process of design\, in particular its fundamentally iterative nature.
URL:https://euniclondon.org/event/michael-anastassiades-in-conversation-with-writer-and-curator-emily-king/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Art,Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/10.12.Michael-Anastassiades.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
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DTSTART;TZID=Europe/London:20261217T190000
DTEND;TZID=Europe/London:20261217T200000
DTSTAMP:20260814T091015Z
CREATED:20260814T091013Z
LAST-MODIFIED:20260814T091015Z
UID:10006003-1797534000-1797537600@euniclondon.org
SUMMARY:Proofs of the Impossible: Three Greek Women Painters\,1821–1960
DESCRIPTION:The Origin of Painting: Greek Women Artists from Antiquity to the Present is a lecture series that sets out to trace the remarkable history of Greek women’s contributions to the visual arts over nearly three millennia.  \n\nAccording to Pliny the Elder\, the origins of painting lie in the gesture of a Greek woman. As her beloved prepared to leave\, Kora of Sicyon traced the outline of his shadow on a wall in an attempt to preserve his image. This founding myth of Western art has been revisited by generations of artists\, yet the women who followed in Kora’s footsteps have remained largely overlooked in art history. \n\nThe first lecture began in antiquity with Timarete and Anaxandra.  \n\nIn the second lecture of the series The Origin of Painting: Greek Women Artists from Antiquity to the Present\, art historian Gelly Gryntaki explores the Greek female painters in the late 19th and early 20th centuries\, women’s roles\, political and social conditions\, and the general difficulties women faced in becoming artists: Eleni Altamoura\, Sofia Laskaridou\, Thalia Flora-Karavia. \n\nFuture lectures in 2027 will turn to sculpture and focus on the work of Natalia Mela\, Alex Mylona\, and Nafsika Pastra. The series will culminate in the bold experimental practices of the late 20th century – performance\, installation\, and video work by Maria Karavela\, Niki Kanagkini\, and Klonari/Thomadaki.  \n\nEach lecture is richly illustrated and densely informative\, offering participants an encounter with works\, lives\, and contexts that have too often been overlooked. Following each session\, attendees receive a carefully curated bibliography along with recommendations for films\, documentaries\, websites\, and cultural texts.  
URL:https://euniclondon.org/event/proofs-of-the-impossible-three-greek-women-painters1821-1960/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Art,Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/eleni-boukoura-altamoura-photo-c1850-fc3512-002.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
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