July

Event Details
When: Opening: Thursday 5 June, 2025 | 18:00-22:00 Exhibition duration: June 6-July 12, 2025 | Opening hours: Monday- Friday, 15:00-19:00, Saturday, 12:00-18:00 Where: 17 Ipitou St., Plaka, Athens, 105 57 Curated by Dr.
Event Details
When:
Opening: Thursday 5 June, 2025 | 18:00-22:00
Exhibition duration: June 6-July 12, 2025 | Opening hours: Monday- Friday, 15:00-19:00, Saturday, 12:00-18:00
Where:
17 Ipitou St., Plaka, Athens, 105 57
Curated by
Dr. Tamara Chalabi
Organized by:
The Frances Rich School of Arts, Humanities and Social Sciences,
The American College of Greece
And
The Demos Center,
The American College of Greece
About the exhibition
Clay and textile—two of humanity’s most ancient and eloquent materials—serve as profound witnesses to human experience. Through impression, weave, and mark, these materials preserve intimate traces of touch and intention, creating permanent records of gesture across time. This exhibition brings together ten contemporary artists from the Mediterranean, Middle East, and their diasporas who harness these materials’ inherent capacity for memory and testimony.
The relationship between clay and textile is deeply entwined in human cultural memory. From the impressed patterns on ancient vessels to the encoded narratives in traditional weaving, these materials have long served as repositories of cultural knowledge and technical innovation. This is most poetically embodied in the Sleeping Lady of Malta—a Neolithic clay figurine who’s carefully rendered drapery speaks to humanity’s enduring impulse to document both form and fabric.
The artists presented here extend this legacy, transforming these ancient mediums into contemporary testimonies of identity, displacement, belonging, and cultural preservation.
The selected works, including several new commissions, demonstrate diverse approaches to material testimony:
Paolo Colombo’s commissioned works for ITERARTE embrace the Chamba Rumal tradition—a 17th-century embroidery technique once practiced by Himalayan royal women—where silk threads transform muslin into intricate narratives. His signature visual language of lines, dots, and squares, originally inspired by Byzantine and Classical mosaics, finds new resonance through thread. The embroidered works extend his meditative practice into textile form, where each stitch echoes the precise geometry of his compositions while engaging with living craft traditions of the Indian subcontinent.
Iliodora Margellos engages deeply with embroidery’s dual heritage as domestic craft and tool of resistance. Her meticulously stitched works, developed over months of patient labor, break free from traditional grid structures to create emotional landscapes that reveal themselves differently from afar and in intimate proximity. Analepsis (After the Mares) exemplifies this approach, while “Hope, a Field of Poppies”—created in collaboration with INAASH through ITERARTE—connects her practice to Palestinian refugee women in Lebanon, acknowledging embroidery’s ongoing role as a portable medium of cultural preservation and resistance. Each stitch in her work becomes a meditation on nature’s forms and a testament to embroidery’s enduring power as both personal expression and political witness.
Majd Abdel Hamid in newly commissioned and existing work reuses works on fabric and embroidery, to underline the multifaceted dimensions of use, inviting the viewer to join him in rethinking notions of memory, trauma and psychological nuances as an ongoing archive of existence. His work transforms materials into records of human experience, challenging conventional approaches to documentation.
The ceramic works of Elif Uras and Tancredi di Carcaci investigate how traditional forms carry contemporary cultural tensions. Working between New York and Iznik—the historic center of Ottoman ceramic production—Uras creates wheel-thrown plate paintings that bridge ceramics and textile patterns, underlining female labor and class through traditional techniques and contemporary sensibility. Di Carcaci employs the ancient practice of spolia—the repurposing of architectural fragments—as a metaphor for our shifting relationship with the sacred, examining how contemporary forms of idolatry emerge from the ruins of religious imagery.
Francesco Simeti’s deeply layered works draw on social, philosophical, and environmental discourses, particularly exploring water’s dual nature through site-specific digital collages and textile installations. Through layered imagery that incorporates historical and contemporary sources, his works map the transformation of natural landscapes, using fabric’s inherent mutability to reflect on ecological shifts and human intervention.
Through a dynamic fusion of sequins, gouache, and graphite, Lydia Delikoura’s works explore the bonds between humans, creatures, and landscape. She creates harmonious spaces where shimmering elements—both natural and synthetic—interweave with themes of sisterhood and impossible love, drawing inspiration from classical mythology. This investigation extends into her ITERARTE collaborations, where paintings are transformed into functional objects like stools, challenging conventional distinctions between fine art and design while preserving traces of material evolution.
Through a dynamic fusion of sequins, gouache, and graphite, Lydia Delikoura’s works explore the bonds between humans, creatures, and landscape. She creates harmonious spaces where shimmering elements—both natural and synthetic—interweave with themes of sisterhood and impossible love, drawing inspiration from classical mythology. This investigation extends into her ITERARTE collaborations, where paintings are transformed into functional objects like stools, challenging conventional distinctions between fine art and design while preserving traces of material evolution.
Hale Ekinci transforms domestic textiles into repositories of immigrant memory, merging Middle Eastern and Western traditions through a distinctive process of repurposing family photographs. In her newly commissioned Under One Roof (2025) installation and earlier works like Travel Pillow Necklace (2023) and Apron (2022), she obscures faces with French knots and overlays traditional Middle Eastern patterns with contemporary Western symbols. Influenced by Turkish Oya—meaningful lace edgings on headscarves traditionally used by women for non-verbal communication—the piece features exaggerated, colourful crochet edges resembling paragraphs or letters, encoding messages in their own right.
Afsoon’s ceramic vessels navigate between function and storytelling, drawing on her transcultural journey from Iran through California to London Fools and Devils (2025) transforms traditional Persian vessels into contemporary narratives. Each piece merges cultural symbols with talisman-like elements, reimagining an ancient tale of innocence and temptation through the lens of diasporic identity.
Nuveen Barwari’s work materializes the complexities of Kurdish-American identity through textile interventions. In Cola and Chiya, she pairs references to Kurdish mountains with Coca-Cola imagery, creating a charged dialogue between traditional and contemporary cultural symbols. Her architectural window installations, constructed from four traditional Kurdish dresses representing Kurdistan’s regions, transform intimate garments into monumental structures that speak to both fragmentation and preservation of cultural heritage across borders.
Through these diverse approaches, clay and textile emerge not merely as artistic media but as active participants in the preservation and transformation of cultural memory. Each work serves as both witness and testimony, speaking to the enduring power of materials to carry forward human stories across time and geography.
Participating artists: Afsoon, Nuveen Barwari, Tancredi di Carcaci, Paolo Colombo, Lydia Delikoura, Hale Ekinci, Majd Abdel Hamid, Iliodora Margellos, Francesco Simeti, Elif Uras.
About Tamara Chalabi
Dr. Tamara Chalabi is a cultural historian, curator, and founder of multiple pioneering art initiatives; ITERARTE and the RUYA Foundation. Her curatorial practice spans the Mediterranean to India, where she has established dynamic conversations for contemporary art and cultural exchange. Notable projects include commissioning four national Iraqi Pavilions at the Venice Biennale. Dr. Chalabi holds a PhD from Harvard University and has published extensively on cultural heritage. Her latest project, Material Witnesses explores intersections between historical materiality and contemporary artistic practice.
About ITERARTE
ITERARTE is a platform for artists focused on storytelling that bridges cross cultural dialogue across the Mediterranean to India; a magazine and shop connecting artists and artisans to collectors. Derived from the Latin word for journey (iter), through exhibitions, collaborations and online, ITERARTE showcases lands that lie between the Mediterranean Sea and India, including the Middle East.
Through its Variations project, it exemplifies this mission by uniting contemporary artists with traditional craftspeople to create unique reinterpretations of existing works through techniques like embroidery and weaving. Through both its publications and commissioned pieces, ITERARTE preserves and reimagines cultural heritage while fostering dialogue between artists, collectors, and audiences across Europe, Africa, and Asia.
About The Frances Rich School of Arts, Humanities and Social Sciences
The Frances Rich School of Arts, Humanities and Social Sciences offers a dynamic curriculum designed to cultivate the student’s critical mind and creative potential, while preparing them for success in the social and professional arenas. At a time of global unrest, marked by economic inequalities, the rise of artificial intelligence, and climate change, arts, humanities and social sciences education takes center stage in any higher education institution that caters to the present while looking to the future. In line with our vision and mission, our humanities and social sciences programs offer a broad as well as in-depth exposure to knowledge that fosters refined understanding, global consciousness, and ability to deploy creative synthesis, which is the foundation of critical, innovative thought. Our arts programs, run by distinguished academics and practitioners, offer a well-rounded arts education that blends theoretical knowledge with practical training and rich opportunities for creative self-expression.
About Demos Center
The Demos Center of The American College of Greece is a place where we strengthen democracy by encouraging active citizenship. This is reflected in its mission, partnerships and programing. Located in the heart of Plaka, the Center hosts exhibitions, debates, and cultural programs that strengthen democratic values and active citizenship. Through diverse programming and community partnerships, Demos creates space for cross-cultural exchange and civic participation. The Demos’s motto is “devote the rest of your life to making progress” and in that sentiment encourage the youth of Athens to come to The Demos Center to be inspired and energized.
June
202518Jun19:3021:00Performance of Aeschylus’ The Suppliant Women19:30 - 21:00

Event Details
When: Wednesday, June 18, 19:30-21:00 Where: Irene Bailey Open Air Theater, 6 Gravias Str., Aghia Paraskevi Organized by: Frances Rich School of Fine and Performing Arts, Deree – The American College of Greece About
Event Details
When: Wednesday, June 18, 19:30-21:00
Where: Irene Bailey Open Air Theater, 6 Gravias Str., Aghia Paraskevi
Organized by:
Frances Rich School of Fine and Performing Arts,
Deree – The American College of Greece
About the event
This is a performance of Aeschylus’ tragedy The Suppliant Women’ presented by the students of the Music Theater Workshop in collaboration with the Music and Theater Arts majors, under the musical and theatrical direction of Effie Minakoulis and movement direction of Katerina Drakopoulou. Piano accompaniment, Spyros Souladakis.
For more information, please contact [email protected]

Event Details
When: Opening: Thursday 5 June, 2025 | 18:00-22:00 Exhibition duration: June 6-July 12, 2025 | Opening hours: Monday- Friday, 15:00-19:00, Saturday, 12:00-18:00 Where: 17 Ipitou St., Plaka, Athens, 105 57 Curated by Dr.
Event Details
When:
Opening: Thursday 5 June, 2025 | 18:00-22:00
Exhibition duration: June 6-July 12, 2025 | Opening hours: Monday- Friday, 15:00-19:00, Saturday, 12:00-18:00
Where:
17 Ipitou St., Plaka, Athens, 105 57
Curated by
Dr. Tamara Chalabi
Organized by:
The Frances Rich School of Arts, Humanities and Social Sciences,
The American College of Greece
And
The Demos Center,
The American College of Greece
About the exhibition
Clay and textile—two of humanity’s most ancient and eloquent materials—serve as profound witnesses to human experience. Through impression, weave, and mark, these materials preserve intimate traces of touch and intention, creating permanent records of gesture across time. This exhibition brings together ten contemporary artists from the Mediterranean, Middle East, and their diasporas who harness these materials’ inherent capacity for memory and testimony.
The relationship between clay and textile is deeply entwined in human cultural memory. From the impressed patterns on ancient vessels to the encoded narratives in traditional weaving, these materials have long served as repositories of cultural knowledge and technical innovation. This is most poetically embodied in the Sleeping Lady of Malta—a Neolithic clay figurine who’s carefully rendered drapery speaks to humanity’s enduring impulse to document both form and fabric.
The artists presented here extend this legacy, transforming these ancient mediums into contemporary testimonies of identity, displacement, belonging, and cultural preservation.
The selected works, including several new commissions, demonstrate diverse approaches to material testimony:
Paolo Colombo’s commissioned works for ITERARTE embrace the Chamba Rumal tradition—a 17th-century embroidery technique once practiced by Himalayan royal women—where silk threads transform muslin into intricate narratives. His signature visual language of lines, dots, and squares, originally inspired by Byzantine and Classical mosaics, finds new resonance through thread. The embroidered works extend his meditative practice into textile form, where each stitch echoes the precise geometry of his compositions while engaging with living craft traditions of the Indian subcontinent.
Iliodora Margellos engages deeply with embroidery’s dual heritage as domestic craft and tool of resistance. Her meticulously stitched works, developed over months of patient labor, break free from traditional grid structures to create emotional landscapes that reveal themselves differently from afar and in intimate proximity. Analepsis (After the Mares) exemplifies this approach, while “Hope, a Field of Poppies”—created in collaboration with INAASH through ITERARTE—connects her practice to Palestinian refugee women in Lebanon, acknowledging embroidery’s ongoing role as a portable medium of cultural preservation and resistance. Each stitch in her work becomes a meditation on nature’s forms and a testament to embroidery’s enduring power as both personal expression and political witness.
Majd Abdel Hamid in newly commissioned and existing work reuses works on fabric and embroidery, to underline the multifaceted dimensions of use, inviting the viewer to join him in rethinking notions of memory, trauma and psychological nuances as an ongoing archive of existence. His work transforms materials into records of human experience, challenging conventional approaches to documentation.
The ceramic works of Elif Uras and Tancredi di Carcaci investigate how traditional forms carry contemporary cultural tensions. Working between New York and Iznik—the historic center of Ottoman ceramic production—Uras creates wheel-thrown plate paintings that bridge ceramics and textile patterns, underlining female labor and class through traditional techniques and contemporary sensibility. Di Carcaci employs the ancient practice of spolia—the repurposing of architectural fragments—as a metaphor for our shifting relationship with the sacred, examining how contemporary forms of idolatry emerge from the ruins of religious imagery.
Francesco Simeti’s deeply layered works draw on social, philosophical, and environmental discourses, particularly exploring water’s dual nature through site-specific digital collages and textile installations. Through layered imagery that incorporates historical and contemporary sources, his works map the transformation of natural landscapes, using fabric’s inherent mutability to reflect on ecological shifts and human intervention.
Through a dynamic fusion of sequins, gouache, and graphite, Lydia Delikoura’s works explore the bonds between humans, creatures, and landscape. She creates harmonious spaces where shimmering elements—both natural and synthetic—interweave with themes of sisterhood and impossible love, drawing inspiration from classical mythology. This investigation extends into her ITERARTE collaborations, where paintings are transformed into functional objects like stools, challenging conventional distinctions between fine art and design while preserving traces of material evolution.
Through a dynamic fusion of sequins, gouache, and graphite, Lydia Delikoura’s works explore the bonds between humans, creatures, and landscape. She creates harmonious spaces where shimmering elements—both natural and synthetic—interweave with themes of sisterhood and impossible love, drawing inspiration from classical mythology. This investigation extends into her ITERARTE collaborations, where paintings are transformed into functional objects like stools, challenging conventional distinctions between fine art and design while preserving traces of material evolution.
Hale Ekinci transforms domestic textiles into repositories of immigrant memory, merging Middle Eastern and Western traditions through a distinctive process of repurposing family photographs. In her newly commissioned Under One Roof (2025) installation and earlier works like Travel Pillow Necklace (2023) and Apron (2022), she obscures faces with French knots and overlays traditional Middle Eastern patterns with contemporary Western symbols. Influenced by Turkish Oya—meaningful lace edgings on headscarves traditionally used by women for non-verbal communication—the piece features exaggerated, colourful crochet edges resembling paragraphs or letters, encoding messages in their own right.
Afsoon’s ceramic vessels navigate between function and storytelling, drawing on her transcultural journey from Iran through California to London Fools and Devils (2025) transforms traditional Persian vessels into contemporary narratives. Each piece merges cultural symbols with talisman-like elements, reimagining an ancient tale of innocence and temptation through the lens of diasporic identity.
Nuveen Barwari’s work materializes the complexities of Kurdish-American identity through textile interventions. In Cola and Chiya, she pairs references to Kurdish mountains with Coca-Cola imagery, creating a charged dialogue between traditional and contemporary cultural symbols. Her architectural window installations, constructed from four traditional Kurdish dresses representing Kurdistan’s regions, transform intimate garments into monumental structures that speak to both fragmentation and preservation of cultural heritage across borders.
Through these diverse approaches, clay and textile emerge not merely as artistic media but as active participants in the preservation and transformation of cultural memory. Each work serves as both witness and testimony, speaking to the enduring power of materials to carry forward human stories across time and geography.
Participating artists: Afsoon, Nuveen Barwari, Tancredi di Carcaci, Paolo Colombo, Lydia Delikoura, Hale Ekinci, Majd Abdel Hamid, Iliodora Margellos, Francesco Simeti, Elif Uras.
About Tamara Chalabi
Dr. Tamara Chalabi is a cultural historian, curator, and founder of multiple pioneering art initiatives; ITERARTE and the RUYA Foundation. Her curatorial practice spans the Mediterranean to India, where she has established dynamic conversations for contemporary art and cultural exchange. Notable projects include commissioning four national Iraqi Pavilions at the Venice Biennale. Dr. Chalabi holds a PhD from Harvard University and has published extensively on cultural heritage. Her latest project, Material Witnesses explores intersections between historical materiality and contemporary artistic practice.
About ITERARTE
ITERARTE is a platform for artists focused on storytelling that bridges cross cultural dialogue across the Mediterranean to India; a magazine and shop connecting artists and artisans to collectors. Derived from the Latin word for journey (iter), through exhibitions, collaborations and online, ITERARTE showcases lands that lie between the Mediterranean Sea and India, including the Middle East.
Through its Variations project, it exemplifies this mission by uniting contemporary artists with traditional craftspeople to create unique reinterpretations of existing works through techniques like embroidery and weaving. Through both its publications and commissioned pieces, ITERARTE preserves and reimagines cultural heritage while fostering dialogue between artists, collectors, and audiences across Europe, Africa, and Asia.
About The Frances Rich School of Arts, Humanities and Social Sciences
The Frances Rich School of Arts, Humanities and Social Sciences offers a dynamic curriculum designed to cultivate the student’s critical mind and creative potential, while preparing them for success in the social and professional arenas. At a time of global unrest, marked by economic inequalities, the rise of artificial intelligence, and climate change, arts, humanities and social sciences education takes center stage in any higher education institution that caters to the present while looking to the future. In line with our vision and mission, our humanities and social sciences programs offer a broad as well as in-depth exposure to knowledge that fosters refined understanding, global consciousness, and ability to deploy creative synthesis, which is the foundation of critical, innovative thought. Our arts programs, run by distinguished academics and practitioners, offer a well-rounded arts education that blends theoretical knowledge with practical training and rich opportunities for creative self-expression.
About Demos Center
The Demos Center of The American College of Greece is a place where we strengthen democracy by encouraging active citizenship. This is reflected in its mission, partnerships and programing. Located in the heart of Plaka, the Center hosts exhibitions, debates, and cultural programs that strengthen democratic values and active citizenship. Through diverse programming and community partnerships, Demos creates space for cross-cultural exchange and civic participation. The Demos’s motto is “devote the rest of your life to making progress” and in that sentiment encourage the youth of Athens to come to The Demos Center to be inspired and energized.

Event Details
When: May 23, 2025 | 18:00-22:00 (Opening), Duration: 24 May - 28 June, 2025 Opening hours: Monday- Friday: 15:00- 19:00 Saturdays: 12:00-16:00 Where: ACG Art Gallery Organized by: Frances Rich
Event Details
When: May 23, 2025 | 18:00-22:00 (Opening), Duration: 24 May – 28 June, 2025
Opening hours: Monday- Friday: 15:00- 19:00 Saturdays: 12:00-16:00
Where: ACG Art Gallery
Organized by: Frances Rich School of Fine and Performing Arts,
Deree – The American College of Greece
The exhibition is free and open to the public.
About the exhibition
Recast in the mold of a taxonomic ordering of things, chronology becomes the alibi of time, a way of making use of time without reflecting on it. – Michel de Certeau (1986:216)
History can never be reduced to a simple articulation of how things truly were. Any such attempt at interpretation is doomed to submit history’s complexity to a totalizing, relentless positivism. If history were to be understood as absolute knowledge – if we were ever seduced by this possibility – it would be attainable only after its very end, after the falling of dusk. History is nevertheless living.
Walter Benjamin once defined history as remembrance. Remembrance is not a definite science, nor a settled affair: it intervenes, modifies, and redeems. It turns what presents itself with the semblance of completeness into the resoundingly incomplete, opening new territories and futures still to be charted. It transforms the reified image of the past into a dialectical one, what appears to be a closed-off, non-communicative object, into a process of object-formation: a constellation of memory and experience. In this understanding of history, something is irretrievably lost only insofar as it is not recognized by the present as its own concern (On the Concept of History, 1940). What artists perceive as their own concern from this history produces, and is produced by, their self-understanding as social subjects. A link and a break in time explores what members of the artistic community at The American College of Greece consider worth citing and reflecting on from the college’s history in a non-chronological, non-linear configuration. Drawing on their dual roles as artists and educators, as well as on personal and collective memories, participating artists offer a meditation on the past while alluding to the present and future.
This year marks 150 years since the college’s founding. In 1875, Mary West, a missionary from Boston, opened “The American School for Girls” in a restored mansion in Smyrna, driven by the idea of liberating women from illiteracy. From its relocation to Athens following the catastrophe of Smyrna, to its use as a military hospital during the Greek-Italian war, and its transformation during the German occupation, the college has undergone multiple redefinitions. In 1963, it moved to its current campus on the slopes of Hymettus in Agia Paraskevi; in 2012, the School of Fine and Performing Arts was renamed in honor of artist and benefactor Frances Rich (1910-2007). This exhibition reflects on these transitions, not as milestones in a linear progression, but as layered moments that form a constellation of lived, institutional memory.
Rather than imposing order, Eelco Runia proposes that historical understanding emerges through disruption – turning things upside down, pulling them apart, and “making a mess”. This approach involves self-questioning, where historians grapple with what they bring to the subject. In this framework, creating a mess becomes an invitation to open ourselves to the contingencies of history and its openness to the future – a way of fathoming discontinuity and unforeseeable leaps and bounds. As Runia writes, ‘the march of chronicity is interrupted, and past, present, and future start to play hide and seek’ (Moved by the Past, 2014, xiv). A link and a break in time brings together new works in various media by the faculty of the Visual Arts program at Deree – ACG, mostly created in collaboration with academic peers and students, and presented in dialogue with artworks from the ACG Art Collection and archival material. The exhibition explores the college’s long-lasting educational mission and its ongoing capacity to adapt. It interrogates how the college has redefined its core activities and values, particularly the evolving role of art education, while foregrounding notions of diversity, access, equality, freedom of speech, ecological consciousness, and connection to both the built and natural environments.
The exhibition is conceived as a collaged roadmap, visualizing the shifting field of arts education at the college. Centered on the development of student practices under the mentorship of experienced artists, the exhibition fosters collaboration, co-creation, and mutual learning, offering an alternative to the prevailing emphasis on individualism and competition that characterizes the current educational climate. What do aspiring artists need to learn, and how do faculty members’ practices and experiences shape their growth? How do educational legacies inform current pedagogies, and what values endure in today’s turbulent world?
The gallery becomes a testing ground and a platform for open dialogue, where multiple temporalities and perspectives converge. The creative and critical thinking skills embedded in art and broader educational practice foster a sense of hopeful transformation — our ability to act in the present and shape the future: after all, students have long been at the forefront of change. Through experimental and imaginative propositions, participating artists explore the vital role of art-making in shaping cultural imaginaries in response to entangled climate, political, technological, and humanitarian crises. Under a collaborative framework, this exhibition positions the art school as a responsive learning community that inspires solidarity, shared responsibility, and collective action.
Participating Artists:
Dionisis Christofilogiannis x Elen Demiryan x Christos Dielas x Carolina Gadia x Theodora Hareras x Aristi Kouri x Giorgos Papazoglou x Giannis Sarris x Ainsley Silberhorn x George Theodorakakos x Preston Tsouanatos x Nikos Vagias x Alexandra Yaneva x Zhou Zhiye, Effie Halivopoulou x Nikos Falagas x Tim Ward x Konstantina Chatzouli x Natalia Zara, Zoe Hatziyannaki, Dimitris Ioannou x Evan Katsounis x Katerina Milesi, Giorgos Ioannou, Georgia Kotretsos x Jason Bonas x Maria-Luisa Dollete x Anna Giakoumakatou x Phoebe Kainourgiou x Fani Koulocheri x Phivi Nicolaou x Vaggi Sekifu x Natalia Zara x Zhiye Zhou, Michael Lekakis , Sigrid McCabe, Irini Miga, Jennifer Nelson x performances by student and faculty volunteers, Emer O’ Brien, The Frances Rich Estate, Oliver Steindecker, Takis
Performances during the opening:
Jennifer Nelson x ACG Choir x Nefeli Beri x Effi Minakoulis x student volunteers
And
Daphne Mourelou x Sabina Andrea Allen
Curatorial Assistants:
Amelia McRae, Katerina Merkouri, Katerina Milesi, Athena Mosenthal, Evangelia Ntampanli, Anthi Stergiou (Αrt History students, Deree – The American College of Greece)
Exhibition production: Ioanna Papapavlou
Graphic Design: Georgios Theodorakakos (Graphic Design student, Deree – The American College of Greece)
Graphic Design supervisor: Melina Constantinides (Graphic Design Instructor)
The exhibition is organized by the Frances Rich School of Fine and Performing Arts in the context of the Arts Festival 2025, in collaboration and with the support of Art History, Visual Arts and Graphic Design programs as well as of the Dance Area of Deree – The American College of Greece.
Special thanks to Dean Helena Maragou, Ms. Niki Kladakis, Dr. Mary Cardaras, Professor Leslie Jones, Katerina Drakopoulou, Dr. Daphne Mourelou of the Dance Area, Dean Vicky Tseroni, Mary Soile and Dr. Demetra Papaconstantinou from John S. Bailey Library, Jasmine Johnson, Amanda Shepp from Special Collections and Archives at the Daniel A. Reed Library, The State University of New York at Fredonia.
Thanks to Marinos Klouras, Nasia Ntinopoulou, George Papastogiannoudis, Alexis Tsironis and Nick Fronimos for the Marketing and PR of the exhibition, Michalis Orontis and the security team, George Kyrodimos, John Fetalidis, Victor Zafeiropoulos, as well as Antonis Kontopoulos, Dimitris Fakinos, Stavros Theofilou, Vasilis Palaiogiannis, Manolis Sideris, Stelios Teloniatis, Giannis Gerakellis, John Poulakis, Stavros Karadimitriou, Alekos Potamianos, Giannis Kontopoulos and Takis Moschidis for the technical assistance.
May
202526May16:0022:00Choral Workshop and Concert16:00 - 22:00

Event Details
Workshop When: Monday, May 26, 16:00-18:30 Where: Irene Bailey Open Air Theater, 6 Gravias Str. Concert When: Monday, May 26, 20:30-22:00 Where: Irene Bailey Open Air Theater, 6
Event Details
Workshop
When: Monday, May 26, 16:00-18:30
Where: Irene Bailey Open Air Theater, 6 Gravias Str.
Concert
When: Monday, May 26, 20:30-22:00
Where: Irene Bailey Open Air Theater, 6 Gravias Str.
Organized by:
Frances Rich School of Fine and Performing Arts
Deree – The American College of Greece
About the event
This Choral Event is part of the celebration of ACG’s 150th year anniversary and annual Arts Festival. The ACG Community Choir, under the direction of Effi Minakoulis, welcomes Ramapo College’s CantaNOVA, under the direction of Lisa Lutter, to a shared choral workshop and an evening performance of choral music.
For more information contact College Events – Office of Public Affairs, [email protected]
Both events are free and open to the public. Parking upon availability.

Event Details
When: May 24, 2025 | 19:00 (estimated duration: 1 hour) Where: Black Box Theatre, The American College of Greece Production by Eutopia Company & Dance Athens in
Event Details
When: May 24, 2025 | 19:00 (estimated duration: 1 hour)
Where: Black Box Theatre, The American College of Greece
Production by
Eutopia Company & Dance Athens
in collaboration with
Theatre Arts Program, Frances Rich School of Fine and Performing Arts,
Deree – The American College of Greece
About the event
Based on the biography, letters, legendary recordings and footage from the interviews and recitals of Callas, the performance oscillates between the Greek and American heritage of the great artist and the cosmopolitan dimension of her art and recounts imagined versions of her life: when the lights go out, the life of the Diva goes on in ways we never expected. On stage, an actress, a musician and a group of eight dancers set in motion the narrative(s) of a woman consumed by the passion of art.
Direction, text, music – Υorgos Stefanakidis
Choreography – Ilias Bageorgos
Costume designer – Francesco Infante
Light designer – George Vlachonikolos
Choreographer’s assistant – Anastasia Patelaki
Actress – Evelina Arapidis
Solo dance – Anastasia Patelaki
Ensemble dance – Sophia Giouli, Jenny Deli, Evi Kitrinou, Stefania Skandalou
Graphic designer – Thanos Oikonomou

Event Details
When: May 23, 2025 | 18:00-22:00 (Opening), Duration: 24 May - 28 June, 2025 Opening hours: Monday- Friday: 15:00- 19:00 Saturdays: 12:00-16:00 Where: ACG Art Gallery Organized by: Frances Rich
Event Details
When: May 23, 2025 | 18:00-22:00 (Opening), Duration: 24 May – 28 June, 2025
Opening hours: Monday- Friday: 15:00- 19:00 Saturdays: 12:00-16:00
Where: ACG Art Gallery
Organized by: Frances Rich School of Fine and Performing Arts,
Deree – The American College of Greece
The exhibition is free and open to the public.
About the exhibition
Recast in the mold of a taxonomic ordering of things, chronology becomes the alibi of time, a way of making use of time without reflecting on it. – Michel de Certeau (1986:216)
History can never be reduced to a simple articulation of how things truly were. Any such attempt at interpretation is doomed to submit history’s complexity to a totalizing, relentless positivism. If history were to be understood as absolute knowledge – if we were ever seduced by this possibility – it would be attainable only after its very end, after the falling of dusk. History is nevertheless living.
Walter Benjamin once defined history as remembrance. Remembrance is not a definite science, nor a settled affair: it intervenes, modifies, and redeems. It turns what presents itself with the semblance of completeness into the resoundingly incomplete, opening new territories and futures still to be charted. It transforms the reified image of the past into a dialectical one, what appears to be a closed-off, non-communicative object, into a process of object-formation: a constellation of memory and experience. In this understanding of history, something is irretrievably lost only insofar as it is not recognized by the present as its own concern (On the Concept of History, 1940). What artists perceive as their own concern from this history produces, and is produced by, their self-understanding as social subjects. A link and a break in time explores what members of the artistic community at The American College of Greece consider worth citing and reflecting on from the college’s history in a non-chronological, non-linear configuration. Drawing on their dual roles as artists and educators, as well as on personal and collective memories, participating artists offer a meditation on the past while alluding to the present and future.
This year marks 150 years since the college’s founding. In 1875, Mary West, a missionary from Boston, opened “The American School for Girls” in a restored mansion in Smyrna, driven by the idea of liberating women from illiteracy. From its relocation to Athens following the catastrophe of Smyrna, to its use as a military hospital during the Greek-Italian war, and its transformation during the German occupation, the college has undergone multiple redefinitions. In 1963, it moved to its current campus on the slopes of Hymettus in Agia Paraskevi; in 2012, the School of Fine and Performing Arts was renamed in honor of artist and benefactor Frances Rich (1910-2007). This exhibition reflects on these transitions, not as milestones in a linear progression, but as layered moments that form a constellation of lived, institutional memory.
Rather than imposing order, Eelco Runia proposes that historical understanding emerges through disruption – turning things upside down, pulling them apart, and “making a mess”. This approach involves self-questioning, where historians grapple with what they bring to the subject. In this framework, creating a mess becomes an invitation to open ourselves to the contingencies of history and its openness to the future – a way of fathoming discontinuity and unforeseeable leaps and bounds. As Runia writes, ‘the march of chronicity is interrupted, and past, present, and future start to play hide and seek’ (Moved by the Past, 2014, xiv). A link and a break in time brings together new works in various media by the faculty of the Visual Arts program at Deree – ACG, mostly created in collaboration with academic peers and students, and presented in dialogue with artworks from the ACG Art Collection and archival material. The exhibition explores the college’s long-lasting educational mission and its ongoing capacity to adapt. It interrogates how the college has redefined its core activities and values, particularly the evolving role of art education, while foregrounding notions of diversity, access, equality, freedom of speech, ecological consciousness, and connection to both the built and natural environments.
The exhibition is conceived as a collaged roadmap, visualizing the shifting field of arts education at the college. Centered on the development of student practices under the mentorship of experienced artists, the exhibition fosters collaboration, co-creation, and mutual learning, offering an alternative to the prevailing emphasis on individualism and competition that characterizes the current educational climate. What do aspiring artists need to learn, and how do faculty members’ practices and experiences shape their growth? How do educational legacies inform current pedagogies, and what values endure in today’s turbulent world?
The gallery becomes a testing ground and a platform for open dialogue, where multiple temporalities and perspectives converge. The creative and critical thinking skills embedded in art and broader educational practice foster a sense of hopeful transformation — our ability to act in the present and shape the future: after all, students have long been at the forefront of change. Through experimental and imaginative propositions, participating artists explore the vital role of art-making in shaping cultural imaginaries in response to entangled climate, political, technological, and humanitarian crises. Under a collaborative framework, this exhibition positions the art school as a responsive learning community that inspires solidarity, shared responsibility, and collective action.
Participating Artists:
Dionisis Christofilogiannis x Elen Demiryan x Christos Dielas x Carolina Gadia x Theodora Hareras x Aristi Kouri x Giorgos Papazoglou x Giannis Sarris x Ainsley Silberhorn x George Theodorakakos x Preston Tsouanatos x Nikos Vagias x Alexandra Yaneva x Zhou Zhiye, Effie Halivopoulou x Nikos Falagas x Tim Ward x Konstantina Chatzouli x Natalia Zara, Zoe Hatziyannaki, Dimitris Ioannou x Evan Katsounis x Katerina Milesi, Giorgos Ioannou, Georgia Kotretsos x Jason Bonas x Maria-Luisa Dollete x Anna Giakoumakatou x Phoebe Kainourgiou x Fani Koulocheri x Phivi Nicolaou x Vaggi Sekifu x Natalia Zara x Zhiye Zhou, Michael Lekakis , Sigrid McCabe, Irini Miga, Jennifer Nelson x performances by student and faculty volunteers, Emer O’ Brien, The Frances Rich Estate, Oliver Steindecker, Takis
Performances during the opening:
Jennifer Nelson x ACG Choir x Nefeli Beri x Effi Minakoulis x student volunteers
And
Daphne Mourelou x Sabina Andrea Allen
Curatorial Assistants:
Amelia McRae, Katerina Merkouri, Katerina Milesi, Athena Mosenthal, Evangelia Ntampanli, Anthi Stergiou (Αrt History students, Deree – The American College of Greece)
Exhibition production: Ioanna Papapavlou
Graphic Design: Georgios Theodorakakos (Graphic Design student, Deree – The American College of Greece)
Graphic Design supervisor: Melina Constantinides (Graphic Design Instructor)
The exhibition is organized by the Frances Rich School of Fine and Performing Arts in the context of the Arts Festival 2025, in collaboration and with the support of Art History, Visual Arts and Graphic Design programs as well as of the Dance Area of Deree – The American College of Greece.
Special thanks to Dean Helena Maragou, Ms. Niki Kladakis, Dr. Mary Cardaras, Professor Leslie Jones, Katerina Drakopoulou, Dr. Daphne Mourelou of the Dance Area, Dean Vicky Tseroni, Mary Soile and Dr. Demetra Papaconstantinou from John S. Bailey Library, Jasmine Johnson, Amanda Shepp from Special Collections and Archives at the Daniel A. Reed Library, The State University of New York at Fredonia.
Thanks to Marinos Klouras, Nasia Ntinopoulou, George Papastogiannoudis, Alexis Tsironis and Nick Fronimos for the Marketing and PR of the exhibition, Michalis Orontis and the security team, George Kyrodimos, John Fetalidis, Victor Zafeiropoulos, as well as Antonis Kontopoulos, Dimitris Fakinos, Stavros Theofilou, Vasilis Palaiogiannis, Manolis Sideris, Stelios Teloniatis, Giannis Gerakellis, John Poulakis, Stavros Karadimitriou, Alekos Potamianos, Giannis Kontopoulos and Takis Moschidis for the technical assistance.
April
202511Apr18:0022:00Are we there yet?Visual Arts Senior Exhibition Opening18:00 - 22:00

Event Details
When: April 11 | 18:00 - 22:00 Exhibition duration: April 11-May 3, 2025 Opening Hours: Monday-Saturday, 14:00-17:00 | April 23-26, visits upon request Where: ACG Gallery, The American College of Greece, 6,
Event Details
When:
April 11 | 18:00 – 22:00
Exhibition duration: April 11-May 3, 2025
Opening Hours: Monday-Saturday, 14:00-17:00 | April 23-26, visits upon request
Where:
ACG Gallery, The American College of Greece, 6, Gravias Str., Aghia Paraskevi
Organized by:
Visual Arts Program, Frances Rich School of Fine and Performing Arts
Deree – The American College of Greece
About the event
The exhibition Are we there yet? presents us with an impatience, a yearning to arrive, and a knowledge that we are still and always in a state of transformation. Students completing the Visual Arts program have spent a full academic year to research and realize a project related to their specific interests as emerging visual artists.
In this unformed moment between what might be and what is… we find ourselves at sea, swept along by circumstance and unconscious forces. What skills, what magic can keep us of sound body and mind? Students, on the verge of graduating, are marked by the exhaustion of the journey and a restlessness for the new. Their energy, their search for the beautiful amidst the uncertainty and betrayals of the moment, offer the viewer direction and renewal.
Graduating students: Jason Bonas, Ioanna Bounazou, Elsa Eustergerling, Mengda Hu, Fani Koulocheri, Phivi Nicolaou, and Vaggi Sekifu.
Join the opening to see the work and to meet the artists!
About the projects
Jason Bonas, Alter Ego
What should you wear to go sailing? In this installation, Bonas suggests a new uniform for sailing by presenting a series of outerwear, crafted out of sails and other materials sourced from “Alter Ego”, his grandfather’s sailing yacht. Inspired by the mise-en-scène of a sailboat, the work appears as a series of hybrids between space, sculpture and garment that negotiate form, materiality, utility, and status. What kind of self is stitched into these materials?
Ioanna Bounazou, Lines of Liberation
In a series of paintings, Bounazou transforms constraint into freedom. Through expressive colors and dynamic gestures, she traces the journey from structure to spontaneity, inspired by her habit of doodling circles when feeling free and squares when feeling restricted. The paintings reflect the tension between control and release.
Elsa Eustergerling, Pink Funk
Eustergerling creates an immersive installation of personal notes, lists, reminders, and journal entries. Expanding beyond the wall into an abstract sculptural work, the work makes visible her experience with ADHD through its chaotic accumulation of notes, recognizing notetaking as both a coping mechanism and a mark of unseen private labor. By publicizing intimate thoughts, yet concealing some of its contents, Elsa explores the tension between public and private selves, offering a reflection on visibility and control.
Mengda Hu, To see eye to eye
Hu’s shadow installation is inspired by his myopic correction surgery. Using elaborate paper-cuts and light, the feast of shadows and reflections conveys a new way of viewing. Beyond the traditional visual boundaries and surface forms, and beyond the audience’s own metaphorical or physical limitations, Hu invites us to embrace what lies behind in the hidden dimension and to share in the beauty he sees.
Fani Koulocheri, And Now We Wait
Fani Koulocheri examines health and physical healing through anatomical drawings and sculptural invocations of the body. Based on Greek Orthodox tradition, she refers to votive offerings known as “tamata”, while creating a dialogue with contemporary developments in medicine. FK shines a light on health issues considered taboo in modern societies, adorning their “grotesque” qualities. Her collection of artifacts confronts the viewer with the perspective of the patient who strives to cure their condition.
Phivi Nicolaou, Morpheus’ Bed
Mapping the invisible traces of sleep, Nicolaou preserves the fading impressions of the body at rest, revealing sleep as a site of transformation. Morpheus’ bed is a sculptural installation, a visual archive of subconscious movement and unconscious activity; where the mind has been, what remains in the folds, and how sleep marks the body’s presence in absence.
Vaggi Sekifu, Multiple – Single – Use
In the video installation Multiple – Single – Use, we are confronted with the gap between what should happen for the environment and our confidence about whether it will. Multi-year negotiations for a Global Plastics Treaty (INC) are set to conclude this August in Geneva. Though not confirmed, the Galapagos Islands have been proposed to host the signing of the treaty due to their unique biodiversity and vulnerability to plastic pollution. Sekifu’s work highlights single-use consumer culture and places responsibility on those with legislative power through its portrayal of a fictional scenario – one that seems highly unrealistic – in which the “Galapagos Treaty” global ban on the production and use of single-use plastics has been ratified.
For more information, please contact Ms Kladakis at 2106009800 Ext. 1456 or [email protected]
For visit requests please contact Fani Koulocheri at [email protected]
January

Event Details
Opening: Friday, November 15, 18:00-21:00 Where: The Demos Center, 17 Ipitou Str., Plaka, Athens Exhibition duration: November 16, 2024 - January 31, 2025 Opening hours: Wednesday - Friday: 15:00-19:00, Saturday: 12:00 - 16:00 Curated
Event Details
Opening: Friday, November 15, 18:00-21:00
Where: The Demos Center, 17 Ipitou Str., Plaka, Athens
Exhibition duration: November 16, 2024 – January 31, 2025
Opening hours: Wednesday – Friday: 15:00-19:00, Saturday: 12:00 – 16:00
Curated by: Ioanna Papapavlou, Pati Vardhami
If you would like to register to attend the opening of the event, please click below:
Please Note: The exhibition will be closed during Thanksgiving break on Thursday, November 28, and Friday, November 29. It will reopen on Saturday, November 30. Additionally, the last day of operation before the Christmas break will be Saturday, December 21, and the exhibition will reopen on Wednesday, January 8.
About the Event
Mama Klorin began in 2015 as the emotional space that Doreida Xhogu created in response to her need to process thoughts and memories of herself and her mother as migrant cleaning workers. A space that would allow her to stretch the physical limits of manual labor and reflect upon her personal trauma through the corrosive effect of cleaning products. Thereafter, she invited other female cleaners to join and share their own stories.
A variety of materials—clay, liquid glass, kitchen towels, bathroom tiles, moving image and photography—are the working ground for a collective workshop. Hard surfaces come in contrast to the fragility of these materials. Unrefined clay sculptures are placed on DIY pallets made out of wood collected from the street. A roll of kitchen towel becomes the artist’s personal diary, a record of thoughts, plans, aspirations. Bathroom tiles provide the basis to paint still life compositions depicting cleaning tools. Their rigid facets are coated with liquid glass, creating a gloss finish. It reminds us of the daily need for shine and sterilization demanded of domestic and maintenance workers.
The affinity amongst the women fostered while folding sheets, ironing or disinfecting hotel rooms, is eventually conveyed to the artist’s studio. Their coming together gradually evolves into a performative attempt to determine their own stories by shaping the artistic form. Does the act of cleaning define them or do they define it? Do they leave a deeper trace on visual matter than the ones bleach leaves on their hands? Hands are pivotal in Doreida’s work. They are featured in the moments of sharing that unfold in her video work and also appear imprinted onto the sculptures created by the women.
In October 1969, Mierle Laderman Ukeles wrote the Manifesto for Maintenance Art, a raging piece of writing that turns our attention to the undervalued labor of domestic sanitation, the maintenance of public spaces, and the women working behind the scenes in our everyday life. The Manifesto tests the limits of manual labor and art making, as well as of the social production around them. Doreida, in turn, contributes to its discourse by delivering a figurative visual output that places cleaning products as an aesthetic starting point. At the same time, she creates the ground for sharing experiences and care that is based on historic gender relations and communal practices.
These women come together with the need to coexist within the limitations and possibilities of their working and migratory condition. Stories of suffering and uprooting, laughter and joy, odors and flavors, evoke a scenery and sense of distant places that feel familiar. The affect of the collective artwork emerges via these rudiments as a possible women’s survival strategy or an open form of aesthetic kinship.
Doreida Xhogu was born in Selenica, Albania, and studied sculpture at the Athens School of Fine Arts in the class of Afroditi Liti. She held her first solo exhibition entitled Miniera during the Geranis Festival at Romantso, Athens, in 2020; and Qengjat e Vegjël, her second solo exhibition, at ERGO Collective in 2022. Participations in group exhibitions include: The Archaeological Museum of Delphi (2017), the Italian Embassy in Athens in collaboration with the Italian Cultural Institute (2017 and 2019), the Numismatic Museum of Athens (2019), and MOMus – Experimental Center for the Arts in Thessaloniki (2020). She also participated in the exhibition of the 62nd Thessaloniki Film Festival based on the satire The Rules of the Game by Jean Renoir (2021), and in the exhibition of the Chamber of Fine Arts of Greece at the Former Public Tobacco Factory (2023). She was recently part of the exhibition That which was is now no more at Ileana Tounta Contemporary Art Center (2023) and presented her project Mama Klorin at New York College with the support of the Albanian Embassy in Athens (2024).
The exhibition is supported by the Rosa-Luxemburg-Stiftung – Office in Greece, with funds from the German Federal Ministry of Economic Cooperation and Development. It is held under the auspices of the Embassy of Albania in Greece and is organized by the Frances Rich School of Fine and Performing Arts in collaboration with The Demos Center of The American College of Greece.
Exhibition Assistants: Evangelia Ntampanli, Anthi Stergiou (Αrt History students, Deree – The American College of Greece)
Graphic Design: Georgios Theodorakakos (Graphic Design student Deree – The American College of Greece)
Graphic Design Supervisor: Melina Constantinides (Graphic Design Instructor)
Mama Klorin, 2024
Video still
Courtesy the artist
Dust collector, 2018-2024
Acrylics on ceramic tile
32 x 32 cm
Courtesy the artist
Photography by Thodoris Tempos
Magic liquid, 2018-2024
Acrylics and resin on found ceramic bathroom tile
20 x 15 cm
Courtesy the artist
Photography by Thodoris Tempos
Bucket, 2018-2024
Acrylics and resin on found ceramic bathroom tile
30 x 30 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Kitchen towel, thread, fabric, pen, graphite, charcoal, cardboard, acrylics, oil paints, bin bags
Dimensions variable
Courtesy the artist
Photography by Thodoris Tempos
Dy Çufot, 2018-2024
Acrylics and resin on found ceramic bathroom tile
34 x 34 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Clay
Dimensions Variable
Courtesy the artist
Photography by Thodoris Tempos
December

Event Details
Opening: Friday, November 15, 18:00-21:00 Where: The Demos Center, 17 Ipitou Str., Plaka, Athens Exhibition duration: November 16, 2024 - January 31, 2025 Opening hours: Wednesday - Friday: 15:00-19:00, Saturday: 12:00 - 16:00 Curated
Event Details
Opening: Friday, November 15, 18:00-21:00
Where: The Demos Center, 17 Ipitou Str., Plaka, Athens
Exhibition duration: November 16, 2024 – January 31, 2025
Opening hours: Wednesday – Friday: 15:00-19:00, Saturday: 12:00 – 16:00
Curated by: Ioanna Papapavlou, Pati Vardhami
If you would like to register to attend the opening of the event, please click below:
Please Note: The exhibition will be closed during Thanksgiving break on Thursday, November 28, and Friday, November 29. It will reopen on Saturday, November 30. Additionally, the last day of operation before the Christmas break will be Saturday, December 21, and the exhibition will reopen on Wednesday, January 8.
About the Event
Mama Klorin began in 2015 as the emotional space that Doreida Xhogu created in response to her need to process thoughts and memories of herself and her mother as migrant cleaning workers. A space that would allow her to stretch the physical limits of manual labor and reflect upon her personal trauma through the corrosive effect of cleaning products. Thereafter, she invited other female cleaners to join and share their own stories.
A variety of materials—clay, liquid glass, kitchen towels, bathroom tiles, moving image and photography—are the working ground for a collective workshop. Hard surfaces come in contrast to the fragility of these materials. Unrefined clay sculptures are placed on DIY pallets made out of wood collected from the street. A roll of kitchen towel becomes the artist’s personal diary, a record of thoughts, plans, aspirations. Bathroom tiles provide the basis to paint still life compositions depicting cleaning tools. Their rigid facets are coated with liquid glass, creating a gloss finish. It reminds us of the daily need for shine and sterilization demanded of domestic and maintenance workers.
The affinity amongst the women fostered while folding sheets, ironing or disinfecting hotel rooms, is eventually conveyed to the artist’s studio. Their coming together gradually evolves into a performative attempt to determine their own stories by shaping the artistic form. Does the act of cleaning define them or do they define it? Do they leave a deeper trace on visual matter than the ones bleach leaves on their hands? Hands are pivotal in Doreida’s work. They are featured in the moments of sharing that unfold in her video work and also appear imprinted onto the sculptures created by the women.
In October 1969, Mierle Laderman Ukeles wrote the Manifesto for Maintenance Art, a raging piece of writing that turns our attention to the undervalued labor of domestic sanitation, the maintenance of public spaces, and the women working behind the scenes in our everyday life. The Manifesto tests the limits of manual labor and art making, as well as of the social production around them. Doreida, in turn, contributes to its discourse by delivering a figurative visual output that places cleaning products as an aesthetic starting point. At the same time, she creates the ground for sharing experiences and care that is based on historic gender relations and communal practices.
These women come together with the need to coexist within the limitations and possibilities of their working and migratory condition. Stories of suffering and uprooting, laughter and joy, odors and flavors, evoke a scenery and sense of distant places that feel familiar. The affect of the collective artwork emerges via these rudiments as a possible women’s survival strategy or an open form of aesthetic kinship.
Doreida Xhogu was born in Selenica, Albania, and studied sculpture at the Athens School of Fine Arts in the class of Afroditi Liti. She held her first solo exhibition entitled Miniera during the Geranis Festival at Romantso, Athens, in 2020; and Qengjat e Vegjël, her second solo exhibition, at ERGO Collective in 2022. Participations in group exhibitions include: The Archaeological Museum of Delphi (2017), the Italian Embassy in Athens in collaboration with the Italian Cultural Institute (2017 and 2019), the Numismatic Museum of Athens (2019), and MOMus – Experimental Center for the Arts in Thessaloniki (2020). She also participated in the exhibition of the 62nd Thessaloniki Film Festival based on the satire The Rules of the Game by Jean Renoir (2021), and in the exhibition of the Chamber of Fine Arts of Greece at the Former Public Tobacco Factory (2023). She was recently part of the exhibition That which was is now no more at Ileana Tounta Contemporary Art Center (2023) and presented her project Mama Klorin at New York College with the support of the Albanian Embassy in Athens (2024).
The exhibition is supported by the Rosa-Luxemburg-Stiftung – Office in Greece, with funds from the German Federal Ministry of Economic Cooperation and Development. It is held under the auspices of the Embassy of Albania in Greece and is organized by the Frances Rich School of Fine and Performing Arts in collaboration with The Demos Center of The American College of Greece.
Exhibition Assistants: Evangelia Ntampanli, Anthi Stergiou (Αrt History students, Deree – The American College of Greece)
Graphic Design: Georgios Theodorakakos (Graphic Design student Deree – The American College of Greece)
Graphic Design Supervisor: Melina Constantinides (Graphic Design Instructor)
Mama Klorin, 2024
Video still
Courtesy the artist
Dust collector, 2018-2024
Acrylics on ceramic tile
32 x 32 cm
Courtesy the artist
Photography by Thodoris Tempos
Magic liquid, 2018-2024
Acrylics and resin on found ceramic bathroom tile
20 x 15 cm
Courtesy the artist
Photography by Thodoris Tempos
Bucket, 2018-2024
Acrylics and resin on found ceramic bathroom tile
30 x 30 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Kitchen towel, thread, fabric, pen, graphite, charcoal, cardboard, acrylics, oil paints, bin bags
Dimensions variable
Courtesy the artist
Photography by Thodoris Tempos
Dy Çufot, 2018-2024
Acrylics and resin on found ceramic bathroom tile
34 x 34 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Clay
Dimensions Variable
Courtesy the artist
Photography by Thodoris Tempos
November

Event Details
Opening: Friday, November 15, 18:00-21:00 Where: The Demos Center, 17 Ipitou Str., Plaka, Athens Exhibition duration: November 16, 2024 - January 31, 2025 Opening hours: Wednesday - Friday: 15:00-19:00, Saturday: 12:00 - 16:00 Curated
Event Details
Opening: Friday, November 15, 18:00-21:00
Where: The Demos Center, 17 Ipitou Str., Plaka, Athens
Exhibition duration: November 16, 2024 – January 31, 2025
Opening hours: Wednesday – Friday: 15:00-19:00, Saturday: 12:00 – 16:00
Curated by: Ioanna Papapavlou, Pati Vardhami
If you would like to register to attend the opening of the event, please click below:
Please Note: The exhibition will be closed during Thanksgiving break on Thursday, November 28, and Friday, November 29. It will reopen on Saturday, November 30. Additionally, the last day of operation before the Christmas break will be Saturday, December 21, and the exhibition will reopen on Wednesday, January 8.
About the Event
Mama Klorin began in 2015 as the emotional space that Doreida Xhogu created in response to her need to process thoughts and memories of herself and her mother as migrant cleaning workers. A space that would allow her to stretch the physical limits of manual labor and reflect upon her personal trauma through the corrosive effect of cleaning products. Thereafter, she invited other female cleaners to join and share their own stories.
A variety of materials—clay, liquid glass, kitchen towels, bathroom tiles, moving image and photography—are the working ground for a collective workshop. Hard surfaces come in contrast to the fragility of these materials. Unrefined clay sculptures are placed on DIY pallets made out of wood collected from the street. A roll of kitchen towel becomes the artist’s personal diary, a record of thoughts, plans, aspirations. Bathroom tiles provide the basis to paint still life compositions depicting cleaning tools. Their rigid facets are coated with liquid glass, creating a gloss finish. It reminds us of the daily need for shine and sterilization demanded of domestic and maintenance workers.
The affinity amongst the women fostered while folding sheets, ironing or disinfecting hotel rooms, is eventually conveyed to the artist’s studio. Their coming together gradually evolves into a performative attempt to determine their own stories by shaping the artistic form. Does the act of cleaning define them or do they define it? Do they leave a deeper trace on visual matter than the ones bleach leaves on their hands? Hands are pivotal in Doreida’s work. They are featured in the moments of sharing that unfold in her video work and also appear imprinted onto the sculptures created by the women.
In October 1969, Mierle Laderman Ukeles wrote the Manifesto for Maintenance Art, a raging piece of writing that turns our attention to the undervalued labor of domestic sanitation, the maintenance of public spaces, and the women working behind the scenes in our everyday life. The Manifesto tests the limits of manual labor and art making, as well as of the social production around them. Doreida, in turn, contributes to its discourse by delivering a figurative visual output that places cleaning products as an aesthetic starting point. At the same time, she creates the ground for sharing experiences and care that is based on historic gender relations and communal practices.
These women come together with the need to coexist within the limitations and possibilities of their working and migratory condition. Stories of suffering and uprooting, laughter and joy, odors and flavors, evoke a scenery and sense of distant places that feel familiar. The affect of the collective artwork emerges via these rudiments as a possible women’s survival strategy or an open form of aesthetic kinship.
Doreida Xhogu was born in Selenica, Albania, and studied sculpture at the Athens School of Fine Arts in the class of Afroditi Liti. She held her first solo exhibition entitled Miniera during the Geranis Festival at Romantso, Athens, in 2020; and Qengjat e Vegjël, her second solo exhibition, at ERGO Collective in 2022. Participations in group exhibitions include: The Archaeological Museum of Delphi (2017), the Italian Embassy in Athens in collaboration with the Italian Cultural Institute (2017 and 2019), the Numismatic Museum of Athens (2019), and MOMus – Experimental Center for the Arts in Thessaloniki (2020). She also participated in the exhibition of the 62nd Thessaloniki Film Festival based on the satire The Rules of the Game by Jean Renoir (2021), and in the exhibition of the Chamber of Fine Arts of Greece at the Former Public Tobacco Factory (2023). She was recently part of the exhibition That which was is now no more at Ileana Tounta Contemporary Art Center (2023) and presented her project Mama Klorin at New York College with the support of the Albanian Embassy in Athens (2024).
The exhibition is supported by the Rosa-Luxemburg-Stiftung – Office in Greece, with funds from the German Federal Ministry of Economic Cooperation and Development. It is held under the auspices of the Embassy of Albania in Greece and is organized by the Frances Rich School of Fine and Performing Arts in collaboration with The Demos Center of The American College of Greece.
Exhibition Assistants: Evangelia Ntampanli, Anthi Stergiou (Αrt History students, Deree – The American College of Greece)
Graphic Design: Georgios Theodorakakos (Graphic Design student Deree – The American College of Greece)
Graphic Design Supervisor: Melina Constantinides (Graphic Design Instructor)
Mama Klorin, 2024
Video still
Courtesy the artist
Dust collector, 2018-2024
Acrylics on ceramic tile
32 x 32 cm
Courtesy the artist
Photography by Thodoris Tempos
Magic liquid, 2018-2024
Acrylics and resin on found ceramic bathroom tile
20 x 15 cm
Courtesy the artist
Photography by Thodoris Tempos
Bucket, 2018-2024
Acrylics and resin on found ceramic bathroom tile
30 x 30 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Kitchen towel, thread, fabric, pen, graphite, charcoal, cardboard, acrylics, oil paints, bin bags
Dimensions variable
Courtesy the artist
Photography by Thodoris Tempos
Dy Çufot, 2018-2024
Acrylics and resin on found ceramic bathroom tile
34 x 34 cm
Courtesy the artist
Photography by Thodoris Tempos
Mama Klorin, 2018-2024
Clay
Dimensions Variable
Courtesy the artist
Photography by Thodoris Tempos
June
202405Jun19:00After the End19:00

Event Details
Join Us for an Exciting Art Exhibition at Moxy Athens City! We invite you to the "After the End" exhibition, a remarkable collaboration between Moxy Athens Art Affair
Event Details
Join Us for an Exciting Art Exhibition at Moxy Athens City!
We invite you to the “After the End” exhibition, a remarkable collaboration between Moxy Athens Art Affair and the Visual Arts program of the Frances Rich School of Fine and Performing Arts.
When: Wednesday, June 5th, 19:00
Where: Moxy Athens City, Stadiou 65
Curated by
Aliki Tsirliagkou and Lenio Papantonopoulou
About the exhibition
After the End” showcases the innovative works of nine talented visual artists, all recent graduates of Deree – ACG. This exhibition features a diverse array of mediums including painting, photography, and mixed media, highlighting the fresh perspectives and artistic evolution of these emerging artists.
For more information, contact: Moxy Athens City Stadiou 65, +302144082020
202423MayAll Day01JunDeree Arts Festival 2024(All Day)

Event Details
When: May 23-June 1, 2024 Where: all around campus About the event Don’t miss the 2024 Arts Festival, taking place at Deree – The American College of Greece, which is free and open
Event Details
When: May 23-June 1, 2024
Where: all around campus
About the event
Don’t miss the 2024 Arts Festival, taking place at Deree – The American College of Greece, which is free and open to the public and will feature exciting cultural events – such as concerts, art exhibitions, dance and theatre performances – by artists from around the world!
From May 23-June 1, the Frances Rich School of Fine and Performing Arts at Deree, presents this year’s Arts Festival! Following the successful first Arts Festival in 2012, the festival is expected to be rich in various cultural events that will take place on campus. Faculty and students from the departments of Music, Theatre Arts and Dance, and Visual Arts and Art History have collaborated with established artists to create an exciting program that combines lectures, master classes, performances, and workshops for a true celebration of the arts!
See the program here.