#lefteristapas Les Amandiers, aluminium, graphite and natural pigments on cut paper presented @vima.artfair booth A10
Στη σειρά Les Amandiers, ο Λευτέρης Τάπας αντλεί έμπνευση από τις αμυγδαλιές του Albert Camus — και ιδιαίτερα από τη σκέψη του γύρω από το φως, τη Μεσόγειο και την αντίσταση της ζωής απέναντι στην καταστροφή.
Τα έργα προέρχονται από έναν τόπο τον οποίο ο καλλιτέχνης επισκέπτεται καθημερινά εδώ και πολλά χρόνια, παρακολουθώντας τις εποχές μέσα από τις διαρκείς μεταβολές του τοπίου.
Ο Καμύ γράφει στο Καλοκαίρι ότι ακόμη και μέσα στον πιο βαρύ χειμώνα, οι αμυγδαλιές ανθίζουν πρώτες — σαν μια μορφή σιωπηλής επιμονής και αναγέννησης. Η άνθιση δεν είναι θριαμβευτική· είναι εύθραυστη αλλά αναπόφευκτη.
Μέσα στην κρίση ή την ιστορική αστάθεια η σειρά έργων του Λευτέρη Τάπα Les Amandiers μεταφέρει ένα μήνυμα ελπίδας και μιλά για τη δυνατότητα φωτός και συνέχειας ακόμη και στις πιο σκοτεινές στιγμές.
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In the series Les Amandiers, Lefteris Tapas draws inspiration from the almond trees of Albert Camus — and particularly from his reflections on light, the Mediterranean, and life’s resistance against destruction.
The works originate from a place the artist has visited daily for many years, observing the seasons through the landscape’s constant transformations.
In The Summer, Camus writes that even in the harshest winter, almond trees are the first to bloom — as a form of silent persistence and renewal. Their blossoming is not triumphant; it is fragile yet inevitable.
Amid crisis or historical instability, Lefteris Tapas’ series Les Amandiers conveys a message of hope and speaks of the possibility of light and continuity even in the darkest of times.
Manolis D. Lemos at @vima.artfair in the Curatorial Project ‘The Waves Crashing’ by Kostas Stasinopoulos (@kostasstas )
Supported by Natalia Kaygorodova (@kaygorodova_empathy )
Silent Hysteria 4, 2026, bitumen, polymethylmethacrylate, dimensions variable
Silent Hysteria 4 is a sculptural installation of an abstract wave sketch made of bitumen modules, expanding along four walls, composed both intimately and algorithmically using personally-trained, custom AI models Manolis Daskalakis Lemos has been developing over the last eight years. Made of oil, it is simultaneously a wave, an explosion, and an organic rhizomatic arrangement. Silent Hysteria 4 also continues a series of petroleum works Daskalakis Lemos has been developing since 2013, in a new iteration, with renewed relevance and context within the current global geopolitical condition.
Το Silent Hysteria 4 είναι μια γλυπτική εγκατάσταση ενός αφηρημένου κυματικού σχεδίου, αποτελούμενου από αρθρωτές μονάδες πίσσας που εκτείνονται κατά μήκος τεσσάρων τοίχων. Το έργο συντίθεται τόσο διαισθητικά όσο και αλγοριθμικά, μέσω προσωπικά εκπαιδευμένων, εξατομικευμένων μοντέλων τεχνητής νοημοσύνης που ο Μανώλης Δασκαλάκης Λέμος αναπτύσσει τα τελευταία οκτώ χρόνια. Κατασκευασμένο από πετρέλαιο, το έργο είναι ταυτόχρονα ένα κύμα, μια έκρηξη και μια οργανική ριζωματική διάταξη. Το Silent Hysteria 4 συνεχίζει επίσης μια σειρά έργων γύρω από το πετρέλαιο που ο Δασκαλάκης Λέμος αναπτύσσει από το 2013, σε μια νέα εκδοχή, με ανανεωμένη σημασία και πλαίσιο μέσα στις σημερινές παγκόσμιες γεωπολιτικές συνθήκες.
Tickets on @more.com_cyprus
61st Venice Biennale di Arte
•Lorna Simpson @lornasimpson at the Pinault Collection, Punta della Dogana
•Turandot: To the Daughters of the East at Palazzo Cavalli-Franchetti curated by @parasolunit
•Zanele Muholi @muholizanele ‘Faces and Phases’
•StillJoy by @pinchukfoundation at Palazzo Contarini Polignac
•Pavlina Vagioni @pavlinavagioni OIKEIOSIS @hellenicdiasporafoundation@hekatestudios
•Jan Fabre ‘The Quiet Source’ at Scuola Grande Di San Rocco curated by @koskina.katerina
•Andreas Angelidakis @angelidakis ‘Escape Room’ at the Greek Pavilion, Giardini curated by @g.bekirakis
•Florentina Holzinger at the Austrian Pavilion, Giardini curated by @noralmes
•Kambui Olujimi @kambuiolujimi In Minor Keys by Koyo Kouoh @madamekoyo
•Oriol Villanova @oriolvilanova at the Spanish Pavilion, Giardini Curated by @carlesguerra
•Ei Arakawa-Nash @ei.arakawa.nash at the Japan Pavilion, Giardini Curated by Lisa Horikawa, Mizuki Takahashi @mizukit0730
•Courtauld in Venice hosted by The Lord Browne of Madingley and Professor Mark Hallett at Palazzo da Mula Morosini
•Senzeni Maresela @senzenimarasela In Minor Keys by Koyo Kouoh @madamekoyo
•Gajendra Singh Shekhawat in the Pavilion of India curated by Amin Jaffer @aminjaffer_curator
•Dana Awartani @danaawartanistudio ’May your tears never dry, you who weep over stones’ in the National Pavilion of Saudi Arabia, Arsenale
•Michael Armitage @michael_armitage_studio at the Pinault Collection, Palazzo Grassi Curated by Jean-Marie Gallais @jmg.jmg with Hans-Ulrich Obrist @hansulrichobrist and Caroline Bourgeois @bourgeois0490 and Michelle Mlati
Chrysanthi Koumianaki (@koumi_goes ) at VIMA Art Fair’s (@vima.artfair ) ‘The Waves Crashing’ Exhibition
Chrysanthi Koumianaki (b. 1985, Heraklion) is an Athens-based artist working across installation, sculpture, sound, and performance. Her practice explores systems of translation - developing non-verbal languages through codes, gestures, and material processes, often in collaboration with performers and artisans.
For ‘The Waves Crashing’, she presents ‘Antennas’
(2025-ongoing) and ‘Hide or Disguise’ (2025-ongoing).
‘Antennas’ reimagines elements of urban architecture as ephemeral public sculptures. Straw forms, activated through performance, move between object and body, creating a shifting dialogue between built environment and human presence.
In ‘Hide or Disguise, woven textile structures draw from industrial coverings used on buildings in transition.
Through collaboration with traditional workshops, the work transforms these materials into reconfigurable surfaces that echo landscape and movement — unfolding in space with a rhythmic, wave-like motion.
Part of the Curatorial Project by Kostas Stasinopoulos (@kostasstas )
Supported by Natalia Kaygorodova (@kaygorodova_empathy )
Tickets on @more.com_cyprus
When @m.arndt decided to make Athens his third home a few years ago — open and gentle as he is, he visited me at @cangallery with a handful of catalogues from his collection, simply to introduce himself. A generous gesture I have never forgotten.
It makes me especially happy to see him now opening his collection and space with Homecoming, a project curated by @polina_kosmadaki that feels both personal and expansive, bringing artists and ideas into dialogue around the notion of return and home.
Thank you for including our talented @maro_fasouli at this thoughtful inaugural show and contributing so meaningfully to the creative dialogue of the city.
#matthiasarndt #homecoming #polinakosmadaki #marofasouli #canchristinaandroulidakigallery
Exhibition dates at Ithakis 31: 29 April–27 June 2026
Opening times: Thursday–Saturday, 12–8pm
For further information contact @alisamichail[email protected]
📸 @elenubi
I’m delighted to be part of @taoxichuangallery second exhibition, curated by @_craft_rj bringing together works that approach fibre as a carrier of connection and memory.
The exhibition unfolds through textile surfaces, folds, and layered gestures, tracing subtle relationships between bodies, spaces, and lived experience.
I’m presenting:
Untitled, 2020
fabric, thread, pastel, spray
700 × 300 cm
Opening as part of the Taoxichuan Spring Art Fair, the exhibition extends across multiple venues in Jingdezhen.
📍 Jingdezhen
📅 April 11 – November 25
#IntertwinedBreath #FiberArt #TextileArt #ContemporaryArt #Jingdezhen Materiality MaroFasouli
