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  • Two Afghan boys wearing Real Madrid t-shirts proud that made the journey to Greece posing minutes after their boat landed on the beach of Skala Sykaminias, Lesbos island, Greece.Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150516_080.jpg
  • A barbed wired gate that separates the different communities of migrants and refugees into sections at the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    33_160826_004.jpg
  • Abdulbaki Yunis, a Syrian Kurd refugee from Damascus in the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    21_160826_044.jpg
  • A barbed wired gate that separates the different communities of migrants and refugees into sections at the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    20_160826_004.jpg
  • The noticeboard in the  First Reception Centre (Hot-Spot) of Leros, Greece, advertising, in Arabic and English, the distribution of hygiene kits. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    39_160826_084.jpg
  • Laminated A4 notices in the  First Reception Centre (Hot-Spot) of Leros, Greece.<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    40_160826_085.jpg
  • Pre-fab housing in the First Reception Centre (Hot-Spot) of Leros, Greece.<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    37_160826_071.jpg
  • A typical prefabricated house in the First Reception Centre (Hot-Spot) of Leros, Greece.<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    38_160826_082.jpg
  • Abdulbaki Yunis, a Syrian Kurd refugee from Damascus in the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    36_160826_044.jpg
  • Shirin, Levent, Jamila, Wafa, Aya, Rania (L-R) refugees from Aleppo and Al Hasakah outside their hut in the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    34_160826_016.jpg
  • A typical prefabricated house in the First Reception Centre (Hot-Spot) of Leros, Greece.<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    22_160826_082.jpg
  • Shirin, Levent, Jamila, Wafa, Aya, Rania (L-R) refugees from Aleppo and Al Hasakah outside their hut in the First Reception Centre (Hot-Spot) of Leros, Greece. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    19_160826_016.jpg
  • General view of the First Reception Centre (Hot-Spot) of Leros, Greece. Since there are no trees or other natural cover, the refugees and migrants use olive harvest nets create shade.<br />
<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    18_160826_007.jpg
  • The double barbed wire fence surrounding the First Reception Centre (Hot-Spot) of Leros, Greece.<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    35_160826_075.jpg
  • General view of the First Reception Centre (Hot-Spot) of Leros, Greece. Since there are no trees or other natural cover, the refugees and migrants use olive harvest nets create shade.<br />
<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    32_160826_007.jpg
  • View of the sea and the mountains of Epirus in mainland Greece from Manadendri beach, Paxoi late in the afternoon Manadendri beach, Paxoi, Greece
    110706_199.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    40110121_388.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    39110121_369.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    28110121_291.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    23110121_241.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    36110121_341.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    13110121_142.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    08110121_016.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    06110121_273.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    41110121_391.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    44110121_418.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    43110121_442.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    37110121_360.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    38110121_367.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    35110121_334.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    34110121_305.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    29110121_294.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    31110121_300.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    27110121_276.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    25110121_246.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    26110121_260.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    24110121_245.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    18110121_189.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    19110121_179-2.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    21110121_205.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    20110121_201.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    16110121_080.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    14110121_028.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    11110121_098.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    05110121_023.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    10110121_067.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    09110121_066.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    07110121_056.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    04110121_013.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    42110121_422.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    33110121_304.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    30110121_296.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    32110121_476.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    22110121_216.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    15110121_149.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    12110121_112.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    02110121_003.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    03110121_012.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    01110121_001.jpg
  • The Temptation of Saint Anthony: A performance for the nation <br />
theatre group Nova Melancholía<br />
Greek National Theatre 21 January 2011<br />
<br />
<br />
A work in progress for the sacred of today, for the darkness that surrounds us and for the deification of the Greek people of today.<br />
What is considered as sacred in Greece, today? Is there a possibility to re-use it? Is there space for resistance? And resistance against what? What is left to us out of the "ancient greek" heritage? Is it possible that this love for the antiquity is one of the most basic temptations of contemporary Greece? Do we still remember that the national anthem is, before anything else, a hymn to freedom? What is the mechanism that transforms a revolutionary song into a sacred symbol, hence making it impervious, it distances it and emprisons its always up-to-date message?<br />
 <br />
Why do we build a fence at Evros?<br />
<br />
Composition: Manolis Tsipos,  Live sound: Tasos Stamou, Light design: Thodoris Mihopoulos, <br />
Performers: Emi Kitsali, Vicky Kyriakoulakou, Vassilis Noulas, Nikos Sambalis, Ioanna Toumpakari, Manolis Tsipos
    17110121_171.jpg
  • A refugee mother feeds her child onboard the Lesbos to Piraues boat. The boat was full of refugees heading to mainland Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece.
    150520_059.jpg
  • A small inflatable boat with more than 40 Afghan refugees,minutes before landing on the beach of Skala Sykaminias, Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150517_003.jpg
  • Afghan refugees discard their life jackets after they landed on the beach near Skala Sykaminias in Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150516_059.jpg
  • A small inflatable boat with more than 40 Afghan refugees,minutes before landing on the beach of Skala Sykaminias, Lesbos island, Greece. The people onboard singing with joy before their arrival to Europe. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150516_031.jpg
  • A group of Syrian refugees celebrating their rescue after their have been given temporary traveling documents onboard the Lesbos to Piraeus boat. The boat was full of refugees heading to mainland Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece.
    150520_207.jpg
  • Discarded lifejackets on the on the beach near Skala Sykaminias in Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150518_101.jpg
  • A small inflatable boat with more than 40 Afghan refugees,minutes before landing on the beach of Skala Sykaminias, Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150517_020.jpg
  • A small inflatable boat with more than 40 Afghan refugees,minutes before landing on the beach of Skala Sykaminias, Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150517_009.jpg
  • An Afghan refugee prays minutes after landing on the beach near Skala Sykaminias in Lesbos island, Greece. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150516_065.jpg
  • A small inflatable boat with more than 40 Afghan refugees,minutes before landing on the beach of Skala Sykaminias, Lesbos island, Greece. The people onboard singing with joy before their arrival to Europe. Everyday hundreds of refugees, mainly from Syria and Afghanistan, are crossing in small overcrowded inflatable boats the 6 mile channel from the Turkish coast to the island of Lesbos in Greece. Many spend their life savings, over $1000, to buy a space on those boats.
    150516_032.jpg
  • Afghan men queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Moria camp, Lesvos, Greece. Usually women and children wait at the tents while men are waiting under the sun to receive their documents.
    151007_498.jpg
  • Afghan men queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Moria camp, Lesvos, Greece. Usually women and children wait at the tents while men are waiting under the sun to receive their documents.
    151007_007.jpg
  • Three refugee children, Youssef, 14, Rebas, 9, and Diar, 13, looking over the Leros 'Hotspot', an EU-run migrant's reception centre opened in the grounds of the former Lepida psychiatric hospital. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    17_160601_277.jpg
  • The remains of the abandoned Lepida psychiatric hospital, in whose grounds the Leros ‘Hot spot’ (an EU-run migrant’s reception centre) has been built. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    16_160826_010.jpg
  • The remains of the abandoned Lepida psychiatric hospital, in whose grounds the Leros ‘Hot spot’ (an EU-run migrant’s reception centre) has been built. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    31_160826_010.jpg
  • Three refugee children, Youssef, 14, Rebas, 9, and Diar, 13, looking over the Leros 'Hotspot', an EU-run migrant's reception centre opened in the grounds of the former Lepida psychiatric hospital. <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    30_160601_277.jpg
  • Yazidi Hazim Elias Khadeda, 22, looking at the Leros 'Hotspot', an EU-run migrant's reception centre opened in the grounds of the former Lepida psychiatric hospital (from which the view is taken).<br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    29_160825_459.jpg
  • The First Reception Centre (Hot-Spot) of Leros, seen through a window the former Psychiatric Hospital. There are around 600 people living there. Since the July riots the camp has been split into different zones for the different ethnicities.  <br />
<br />
The Hot Spot in Lepida opened on the 26th of February 2016 in the grounds of the former Lepida psychiatric hospital.  At the beginning it served as a registration camp for refugees and migrants who were travelling to Europe through Greece but since the closure of the borders in March 2016 it serves as a permanent camp. People are allowed to go out, they have three meals a day, the prefabricated huts have a bathroom and are air-conditioned and compering to other refugee camps in Greece the conditions are bearable.
    28_160602_328.jpg
  • Syrian refugees queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Kara Tepe camp in Lesvos, Greece
    151007_858.jpg
  • Syrian refugees queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Kara Tepe camp in Lesvos, Greece
    151007_777.jpg
  • Afghan men queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Moria camp, Lesvos, Greece. Usually women and children wait at the tents while men are waiting under the sun to receive their documents.
    151007_512.jpg
  • Afghan men queuing to be registered and receive a temporary document that allows them to travel to mainland Greece at Moria camp, Lesvos, Greece. Usually women and children wait at the tents while men are waiting under the sun to receive their documents.
    151007_492.jpg
  • Syrians jumping off the dinghy that brought them to Greece and celebrate their safe arrival at a beach near Skala Sikamineas, Lesvos , Greece
    150910_240.jpg
  • A closed down leather shop in Aristofanous Str, Psyrri, Athens, Greece
    TAON_078.jpg
  • A coffee grinder's shop that opens only few days every week  in Sokratous Str,   Omonia, Athens, Greece.
    TAON_079.jpg
  • A electrical equipment shop that moved next door in Areopolis, Mani, Greece
    TAON_66F.jpg
  • A family of refugees trying to cross the muddy field at the transit camp of Idomeni, Greece. <br />
<br />
Thousands of refugees are stranded in Idomeni unable to cross the border. The facilities are stretched to the limit and the conditions are appalling.
    160310_116.jpg
  • Italian tourists play beach volley in Manadendri bach at 19:00 Manadendri beach, Paxoi, Greece
    110706_134.jpg
  • An elderly Kurdish couple sitting by a green field near Idomeni, Greece. In front of them is the border. <br />
<br />
Thousands of refugees are stranded in Idomeni unable to cross the border. The facilities are stretched to the limit and the conditions are appalling.
    160317_085.jpg
  • Tents in a flooded trench between the border and the  transit camp of Idomeni, Greece. <br />
<br />
Thousands of refugees are stranded in Idomeni unable to cross the border. The facilities here are stretched to the limit and the conditions are appalling. It's raining, it's cold there is mud everywhere and there is no hope that the border will open anytime soon.
    160312_185.jpg
  • Clothes are hanging by the wall of the old railway station of Idomeni, Greece. <br />
<br />
Thousands of refugees are stranded in Idomeni unable to cross the border. The facilities here are stretched to the limit and the conditions are appalling. It's raining, it's cold there is mud everywhere and there is no hope that the border will open anytime soon.
    160312_034.jpg
  • A group of refugee children plain football in the platform of Idomeni Railway Station, Greece. <br />
<br />
Thousands of refugees are stranded in Idomeni unable to cross the border. The facilities here are stretched to the limit and the conditions are appalling. It's raining, it's cold there is mud everywhere and there is no hope that the border will open anytime soon.
    160312_026.jpg
  • The beach of Manadendri at around 20:00 when most of the beach goers have gone. Manadendri beach, Paxoi, Greece
    110706_223.jpg
  • The empty swimming pool in Bastas family beach- bar and taverna in Manadendri beach, Paxoi late in the afternoon Manadendri beach, Paxoi, Greece
    110706_262.jpg
  • The empty swimming pool in Bastas family beach- bar and taverna in Manadendri beach, Paxoi late in the afternoon Manadendri beach, Paxoi, Greece
    110706_260.jpg
  • Michalis Bastas taking down the wind shields late in the afternoon. Manadendri beach, Paxoi, Greece
    110706_247.jpg
  • Wave in Manadendri beach, Paxoi Manadendri beach, Paxoi, Greece
    110706_194.jpg
  • Pebbles of Manadendri beach, Paxoi Manadendri beach, Paxoi, Greece
    110706_204.jpg
  • The beach of Manadendri at around 19:00 when most of the beach goers have gone. Manadendri beach, Paxoi, Greece
    110706_140.jpg
  • The beach of Manadendri at around 17:00 Manadendri beach, Paxoi, Greece
    110706_017.jpg
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