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  • Wrinkled euro notes(50, 20, 5)  in front of the Greek flag
    GMK120518_261.jpg
  • Old Greek drachma notes replaced in 2002 by the euro in front of the Greek flag
    GMK120518_268.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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
    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
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_774.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_759.jpg
  • Wrinkled 50 euro notes in front of the Greek flag
    GMK120518_278.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_831.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_805.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_801.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_798.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_795.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_794.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_791.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_789.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_784.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_780.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_779.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_778.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_777.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_775.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_773.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_772.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_766.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_753.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_751.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120914_053.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120914_051.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_815.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_808.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_797.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_786.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_781.jpg
  • The Galata Rum School - officially Ozel Karakoy Rum Ana ve Ilkogretim Okulu -  in 25, Kemeralti Caddesi, Karakoy, Istanbul,  was build in 1903 with the financial support of Andreas Eliadis from Epirus to serve the Greek - "Rum" community in the Galata neighborhood of Istanbul. The school was working until 1985 when it closed because of the lack of pupils. Currently the Galata Greek school is used for the Istanbul Design Biennial. ..Those pictures where made in September 2012 a month before the opening of the Istanbul Design Biennial as a visual illustration of the research made by Katerina Polychroniadi, Kalliopi Dimou and Spyros Nasainas - ?Spatial Organisation of Rum Communities in Istanbul: Urban, Architectural and Photographic Documentation? National Technical University of Athens Research Programme ..The pictures appear in Galata Rum School video http://vimeo.com/50469804
    120915_769.jpg
  • Wrinkled 50 euro notes in front of the Greek flag
    GMK120518_276.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    u071001_037.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    s071001_170.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    r071001_135.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    q071001_121.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    n071001_068.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    i071005_029.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    a071001_018.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    z071001_002.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    y071001_130.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    x071005_062.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    w071005_039.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    v071001_028.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    t071005_034.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    p071005_080.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    o071001_085.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    m071001_190.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    l071001_044.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    j071005_050.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    k071005_049.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    f071001_083.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    g071001_143.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    h071001_126.jpg
  • Bats' by ASIPKA theatre group based on the award-winning story of a new greek writer Lena Kitsopoulou<br />
 <br />
The director D. Bitos placed five actresses among the spectators in an oval table for fifty people without costumes or lighting. The performance was played at BIOS/ Athens <br />
 <br />
Direction : Dimitris Bitos<br />
Actors : Athina Vamvaka, Io Voulgaraki, Irini Drakou, Alexandra Kazazou, Maria Livadarou,  Eugenia Svarna<br />
<br />
bios exploring urban culture / october  2007
    d071001_071.jpg
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