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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: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: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
ATTACH;FMTTYPE=image/png:https://euniclondon.org/wp-content/uploads/2026/08/Greek-Tragedy-Upside-Down-Re-looking-Electra-and-Medea-through-the-lenses-of-contemporary-Queer-and-Feminist-theory.png
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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: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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