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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261001T190000
DTEND;TZID=Europe/London:20261001T200000
DTSTAMP:20260814T090412Z
CREATED:20260814T090411Z
LAST-MODIFIED:20260814T090412Z
UID:10005992-1790881200-1790884800@euniclondon.org
SUMMARY:Sofia Mitsola in Conversation with Alyce Mahon
DESCRIPTION:Join London-based artist Sofia Mitsola and Alyce Mahon\, Professor of Modern and Contemporary Art History at the University of Cambridge\, for an in-conversation spanning Mitsola’s art practice. The conversation marks the launch of the monograph\, Sofia Mitsola: Sisterly Affections\, published by DCV. Featuring the essay The Coquetterie of Sofia Mitsola by Alyce Mahon\, the conversation follows the ongoing dialogue between the two speakers.   \nMitsola’s paintings investigate the female form. Her invented characters are informed by diverse references from ancient Greek and Egyptian mythology\, the writing of Vladimir Nabokov to Gustav Klimt. Depictions of goddesses or mythical creatures rather than real people\, are set in simple geometric backgrounds\, imagined architecture or Cycladic islands and through them\, she plays with ideas of voyeurism\, confrontation\, and power.  
URL:https://euniclondon.org/event/sofia-mitsola-in-conversation-with-alyce-mahon/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/1.10.SofiaMitsola-scaled.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261008T000000
DTEND;TZID=Europe/London:20261107T235959
DTSTAMP:20260814T090521Z
CREATED:20260814T090520Z
LAST-MODIFIED:20260814T090521Z
UID:10005991-1791417600-1794095999@euniclondon.org
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
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/COPLWI002-image-edt-scaled.jpeg
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
UID:10005990-1791417600-1795132799@euniclondon.org
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
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/Giorgos-Ioannou-Exhibition-scaled.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261015T093000
DTEND;TZID=Europe/London:20261015T103000
DTSTAMP:20260814T090542Z
CREATED:20260814T090541Z
LAST-MODIFIED:20260814T090542Z
UID:10005993-1792056600-1792060200@euniclondon.org
SUMMARY:In Conversation: Andrew Wilson with Dimitris Ioannou and Kostas Stasinopoulos
DESCRIPTION:Join us for a breakfast reception\, followed by a conversation and Q&A discussing Giorgos Ioannou’s expansive artistic practice and methodology. The talk is led by independent critic\, historian and curator Andrew Wilson\, who invites Kostas Stasinopoulos\, Director of Exhibitions and Programmes at KYKLOS\, and Dimitris Ioannou\, artist\, the son of Giorgos Ioannou\, to engage and reflect on Ioannou’s work. \n\nThis conversation accompanies our exhibition A Different Kind of Pop: Giorgos Ioannou’s Works 1960s – 1970s\, 8 October-19 November. \n\nThis event is sponsored by the Hellenic Centre’s official air carrier\, Aegean Airlines. \n\nImage: Giorgos Ioannou\, Thinking On the Way\, 1974\, oil on linen\,100 x 70 cm\, courtesy the Artist’s Estate and Kalfayan Galleries\, Athens.
URL:https://euniclondon.org/event/in-conversation-andrew-wilson-with-dimitris-ioannou-and-kostas-stasinopoulos/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/74_91_GiorgosIoannou_KalfayanGalleries-1-scaled.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261016T093000
DTEND;TZID=Europe/London:20261016T110000
DTSTAMP:20260814T090609Z
CREATED:20260814T090605Z
LAST-MODIFIED:20260814T090609Z
UID:10005994-1792143000-1792148400@euniclondon.org
SUMMARY:In Conversation: Irene Y. Panagopoulos\, Katerina Hadji & Dr. Nayia Yiakoumaki
DESCRIPTION:What does it mean to collect as a way of making sense of the world? What lies behind the desire to pursue the unattainable? A morning conversation on collecting\, curating\, and the ideas that shape how Greece is imagined and reinvented. Founder of the eponymous collection Irene Y. Panagopoulos\, Katerina Hadji\, curator of the show\, in conversation with Dr. Nayia Yiakoumaki\, Director of the Hellenic Centre\, come together to explore the ideas behind the exhibition Revisiting: Fernweh\, or Nostalgia for Unknown Lands. At the centre of their conversation lies the act of collecting – not simply as gathering of objects\, but as a way of ordering the world and deciding which stories are kept\, shown\, and passed on – a desire that extends naturally to Fernweh itself: the longing for distant places that gives the exhibition its name\, and the desire to understand the world through knowledge\, memory\, and imagination. \n\nFollowing breakfast at 09:30\, the discussion runs from 10:00 to 10:45. \nImage: Elizabeth Peyton (b. 1965)\, Lord Byron\, c. 1989\, oil on panel\, 38.1 x 35 cm\, Irene Y. Panagopoulos Collection.
URL:https://euniclondon.org/event/in-conversation-irene-y-panagopoulos-katerina-hadji-dr-nayia-yiakoumaki/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/Elizabeth-Peyton-b.-1965-Lord-Byron-c.-1989-scaled.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261022T190000
DTEND;TZID=Europe/London:20261022T200000
DTSTAMP:20260814T090638Z
CREATED:20260814T090637Z
LAST-MODIFIED:20260814T090638Z
UID:10005995-1792695600-1792699200@euniclondon.org
SUMMARY:Spinning Myths\, Painting Shadows: Women and the Origins of Greek Art
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\nIn the first lecture of the series art historian Gelly Gryntaki discusses the role of women in mythology and ancient societies. She shines a light on the earliest female weavers and ancient female painters for whom evidence still exists\, from Arachne and Penelope to Timarete and Anaxandra. \n\nThe second lecture\, in December\, 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/spinning-myths-painting-shadows-women-and-the-origins-of-greek-art/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/22.10.The-Origin-of-Painting.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261029T190000
DTEND;TZID=Europe/London:20261029T200000
DTSTAMP:20260814T090705Z
CREATED:20260814T090704Z
LAST-MODIFIED:20260814T090705Z
UID:10005996-1793300400-1793304000@euniclondon.org
SUMMARY:Artist Talk: Christos Dikeakos  
DESCRIPTION:This talk offers a journey through five decades of Christos Dikeakos’ artistic practice. In conversation with curator Emily Butler\, Dikeakos will reflect on key works that marked his career\, including the series  Sites and Places: Athens  (1986-1997).  At once archival and conceptual\, these works reflect on the layered nature of history\, the continual movement of cultures\, and the enduring\, shape-shifting presence of Greek mythology within present day life. These investigations led to the series Sites and Places: Vancouver (1990-2015)\, a series that engages deeply with the pre-colonial histories of North America\, while also probing the mythic and deep historical strata within a place.  \n\nIn parallel\, Dikeakos has a long–standing fascination with collecting. The Collectors comprises a series of insightful portraits of artists\, patrons\, curators\, writers and art lovers\, which reveal the inside world of collections\, providing a close view of the relationships that people forge with objects that fascinate them. Whether expansive urban landscapes or intimate scenes from orchards in the Oakanagan Valley\, Dikeakos’ photographs foreground the multi-layered nature of reality and examine the semiotics of image and language and the interplay between memory and place.  
URL:https://euniclondon.org/event/artist-talk-christos-dikeakos/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/29.10.Christos-Dikeakos.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20261105T190000
DTEND;TZID=Europe/London:20261105T200000
DTSTAMP:20260814T090738Z
CREATED:20260814T090737Z
LAST-MODIFIED:20260814T090738Z
UID:10005997-1793905200-1793908800@euniclondon.org
SUMMARY:Mnemosyne Grove: Photography\, Memory and Time | Georgia Metaxas in Conversation with Dr. Marta Weiss
DESCRIPTION:Mnemosyne Grove is Georgia Metaxas’ first monograph\, published by Perimeter Editions (Australia\, 2024). Using the olive tree as its central motif\, the work traces connections between land\, family archives\, migration\, and storytelling\, reflecting on photography’s capacity to serve as a nexus for multiple personal histories. \n\nDrawing on her Greek-Australian heritage\, Metaxas journeys between two sites of familial significance in Greece: an olive grove in Palairos\, where ancient trees named after women in the maternal line have stood for over five centuries\, and Ithaca\, the island from which her father’s family migrated to Australia in 1901. Through photographs\, archival materials\, and inherited narratives\, Mnemosyne Grove considers memory as a porous and evolving process\, one shaped as much by absence\, imagination\, and retelling as by historical fact. The project is further informed by Homer’s Odyssey\, a text whose themes resonate with Metaxas’ own journey. \n\nGeorgia Metaxas will be in conversation with Dr. Marta Weiss\, Senior Curator of Photographs at the Victoria and Albert Museum. Their discussion will explore the making of Mnemosyne Grove and the ways the work has continued to evolve\, from an exploration of memory and family history towards an ongoing investigation of photography’s relationship to time\, repetition\, return\, and regeneration. 
URL:https://euniclondon.org/event/mnemosyne-grove-photography-memory-and-time-georgia-metaxas-in-conversation-with-dr-marta-weiss/
LOCATION:The Hellenic Centre\, 16-18 Paddington St \, London\, W1U 5AS\, United Kingdom
CATEGORIES:Talks
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/5.11.Mnemosyne-Grove.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/john-the-violent-1.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://euniclondon.org/wp-content/uploads/2026/08/26.11.Costas-Fotopoulos-scaled.jpg
ORGANIZER;CN="The Hellenic Centre":MAILTO:info@helleniccentre.org
END:VEVENT
BEGIN:VEVENT
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
END:VEVENT
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
END:VEVENT
BEGIN:VEVENT
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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