In the exhibition Model Collapse: Love you, bye, Maria Mavropoulou explores parallels between the human brain and artificial intelligence in terms of their decay process. The gradual loss of memories, as it manifests in cases of dementia or Alzheimer’s, is compared to the phenomenon of model collapse in artificial intelligence, where models are fed back with the data they’ve produced, leading to errors.
Following research on patients in the early stages of dementia, the artist documents personal stories and objects associated with their memories while conversing with artificial intelligence applications to comment on the distance between an individual’s contradictory subjectivity and the supposed objectivity of AI models’ data.
The exhibition is enriched by the dialectical relationship between the works and the archaeological findings showcased at the Archaeological Museum of Eretria, a par excellence repository of collective memory.
The work invites audiences to reflect on the significance of human memory and the role of technology in shaping our collective and individual identities.
Iconography 2.0 is a groundbreaking cultural project that aims to redefine the dialogue between traditional iconography methods, technological innovation, art, faith, and aesthetics.
The event culminates in an original visual art installation at the Holy Monastery of Our Lady of Akrotiriani and Saint John the Theologian in Toplou, Sitia, where light, image, and sound create a hybrid phygital setting that unfolds throughout the spaces of the Monastery and transforms the visitor’s experience into a multi-sensory journey between the past and present.
Byzantine music and the natural soundscapes of Crete engage in conversation with modern musical compositions and poetic texts, supporting the visual works that will be created as part of the three-day educational and artistic programme preceding the event. This polyphonic dialogue among sound, image, and speech allows for the co-existence of tradition and innovation, creating a new, vibrant space for cultural expression, where art becomes the language of faith, memory, aesthetics, and collectiveness.
The work Spider Mother is a visual, theatrical, and musical event, featuring twelve contemporary pieces of textile art selected and curated by distinguished art historian and curator Iris Kritikou.
These twelve wefts are crafted by the prominent textile artists Irini Gonou, Maria Grigoriou, Stathis Katsarelis, Eleni Krikki, Maria Kotsou, Anastasis Madamopoulos, Pandora Mouriki, Ioannis Papadopoulos, Ismini Samanidou, Hermione Syrogiannopoulou, Ioanna Terlidou, and Argyris Chatzimallis. Fixed on unevenly-sized frames, these pieces serve not only as representative samples of contemporary textile art, but also as a standalone, total work of art, which constitutes the performance’s setting.
The texts, selected and dramatized by Giorgos Giannarakos, who also directs the show, span the last three millennia and reference Greek textile art through epic poems, mythology, theatre, literature, legends, and poetry. The songs, including both adapted traditional tunes and modern creations, all tied together by the thematic “thread” of the performance, highlight the continuity of music and the importance of textile artistry across time.
The Tinos Virtual Museum (TVM), as part of the Ministry of Culture’s programme “All of Greece, One Culture 2025”, presents a multifaceted initiative dedicated to the weaving art of Tinos and its revival in the present day. Through a programme of exhibitions, talks, screenings, artistic and educational activities, weaving is approached as a living cultural practice and a means of creative expression, viewed through a historical lens and recontextualised in contemporary terms.
The events will take place at emblematic landmarks of the island — the Ursuline School in Loutra, the Zarifeios School of Weaving and Handicrafts in Chora, the historic Weaving Workshop in Pyrgos village — as well as at the TVM space in Chora. The programme includes visual art exhibitions, children’s workshops, presentations by distinguished historians and folklorists, and screenings of research-based videos curated by the TVM.
This performance serves as a multisensory ritual of awakening, a manifesto of emancipation that connects the past to the present through the female voice, as an act of resistance and survival.
Revolving around poems by women from South Asia and the Middle East who dared to speak out in regimes of silence, this piece brings together poetry, the body, and image. Each verse turns into a gesture, each pause into a shadow, and each breath into a whisper that requests space and light.
Through the blend of performance art, original music, scenography, and technology, the production Is It Written? Maktoub highlights the female experience as a universal narrative – timeless, bold, lyrical. The female performer’s body becomes a field of memory and metamorphosis: it challenges itself against the past, questions tradition, and creates space for freedom. Through marginalization and repression, a new figure is born – not a victim; a storyteller, a flame. Is it written? Or is it perhaps time we rewrote it?
PCAI presents its new exhibition by acclaimed artist, musician and composer Konstantinos Vita titled Space and Memory, curated by Kika Kyriakakou, PCAI artistic director. The exhibition and accompanying live performance respond to the central thematic axis of the Ministry of Culture 2025 programmeAll of Greece, One Culture: The Reception of the Past – Today Viewed as Tomorrow and Yesterday (Andreas Empirikos).
This original programme aims to occupy musically and visually the historic Pikionis Pavilion—now known as “pi”—and to engage with the important architectural heritage of the monument, the historical weight of the Delphi region, and the surrounding natural and energetic landscape.
The title of the project is inspired by the first poetry anthology of major post-war poet Nikos-Alexis Aslanoglou (Difficult Death, 1954). Vita’s prolific work over the years spans musical composition, lyric writing, poetry, drawing, and painting. This exhibition of Vita and PCAI is triggered by Empiriko’s quote and enters into dialogue with Aslanoglou’s poetry, exploring artistic connections to the past, memory and the present. In this context Konstantinos creates a series of new paintings (oil, pencil and acrylic) accompanied by a live music performance. These works are in tune with the unique natural and energetic landscape of Delphi and the architectural character of the Pavilion, inviting visitors to experience and interpret them during the event.
Konstantinos Vita states: “Memory in the poetry of Nikos-Alexis Aslanoglou is not only individual, it is collective, historical and deeply Greek. Through his writing and personal experiences, the wounds and transformations of postwar Greece emerge. Aslanoglou’s Greece is a country of memory—marked by existential anguish and reflection. While reading his poems, I felt the need to create certain images. His poetic voice becomes a space of nostalgia, loss, and awareness, reflecting the soul of contemporary Greece”.
Kika Kyriakakou, artistic director of PCAI notes that: “The visual language of Konstantinos Vita is a marvelous expression of his multi-dimensional talent. As part of the exhibition and the music that accompanies it, his work harmoniously converses with Aslanoglou’s poetry and the Delphic landscape, offering us a return to the poetic self”.
Athanasios Polychronopoulos, Polygreen CEO and PCAI Founder, states: “It is a great pleasure to collaborate with the Ministry of Culture’s programme “All of Greece, One Culture” and with the prominent and highly respected artist and musician Konstantinos Vita”.
The site-specific installation and sonic happening take the myth of the Achelous River as their point of departure. Here, geomythology serves as a living memory and a transformative force. The notion of diversion refers not only to the rerouting of the river itself but also to a shift in historical and cultural narratives.
Panos Charalambous draws on familiar motifs from his practice—irrigation pipes, metal basins, a boat from Lake Amvrakia—reimagined as vessels of animate ecologies. The tsamiko, deconstructed and elongated, becomes a gesture of embodied and environmental reflection—a choreography of memory inscribed in both body and landscape.
Angelos Krallis constructs a sonic palimpsest, layering rast tonalities, micro-environments, and live processing into a form of acoustic excavation.
Diversion emerges as a practice of reconfiguring our relations with water, land, and time—toward a present of coexistence.