đź“Ť SPACE52 Residency Program
We are pleased to welcome Dimitris Neveskiotis as part of the Space52 Residency Program for the coming months.
Dimitris Neveskiotis is a visual artist based in Athens, working across sculpture, ceramics, and installation. His practice is deeply rooted in material research, with a particular focus on clay and earth-based processes. Drawing inspiration from ancient art, archaeology, and prehistorical forms, his work explores the relationship between matter, form, and memory, while reactivating historical references through a contemporary lens.
Neveskiotis has participated in numerous group exhibitions in Greece. Recent highlights include Muddy Mood at Zoumboulakis Galleries (2025) and Shaped by Earth at Kalfayan Galleries, where his ceramic-based works emphasized the physicality, fragility, and temporal nature of material. His work has been presented in both private and institutional contexts, contributing to an ongoing dialogue between tradition and contemporary artistic practice.
During his residency at Space52, the artist will develop a new body of work through research, experimentation, and close engagement with the space and its creative community.
đź“… Residency period: upcoming months
đź“Ť Space52, Athens
Stay tuned for open studios, presentations, and public talks.
#Space52 #ResidencyProgram #DimitrisNeveskiotis #ArtistResidency #ContemporaryArt Ceramics MaterialBasedPractice AthensArt @dimitris.neveskiotis
Katerina Zacharopoulou, Orikum, MOMAFAD II / Legacy Landscapes, Albania, 2025
Katerina Zacharopoulou’s video ΙΟΝΙΟΝ projection returns to the formative crossings of her youth — the ferry routes between Greece and Albania that she filmed obsessively as a teenager in her hometown of Corfu. What seemed then like a simple act of recording became, years later, an archive of an era: boats crowded with Albanian migrants, moving back and forth across the strait with a rhythm that felt both mechanical and deeply human. While others on board experienced the journey as part of their holiday routine, Zacharopoulou felt only the tension of the moment — the visible struggle, the silent fear, the weight of uncertainty carried by the people packed on deck. Those repeated journeys etched themselves into her memory, becoming an enduring meditation on passage, vulnerability, and the fragile threshold between two shores.
For MOMAFAD II, the work is projected within the ancient stone theatre of Orikum — a site shaped by countless departures and arrivals across centuries. The amphitheatre, once a place for collective gathering and storytelling, now becomes a vessel for a different kind of testimony: the real, unadorned footage of boats laden with migrants moving toward an unknown future. The lapping of the sea in the video echoes the waters of Orikum’s bay just beyond, collapsing time and geography into a single pulse.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@zacharopoulouk@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@zamanfu@space.52
Ilir Tsouko, Tragjas, MOMAFAD II / Legacy Landscapes, Albania, 2025
Ilir Tsouko’s photograph of a perfectly preserved Albanian village — orderly rooftops, solid stonework, the quiet dignity of a place intact — is placed deliberately within the ruined fountain of Tragjas, a village marked by destruction, displacement, and historical trauma. The contrast between image and site creates a double exposure of memory: what remains, and what was lost.
By installing the photograph inside a decaying spring once central to community life, the work becomes a meditation on restoration and rupture. The clean architectural lines of the depicted village act almost like a mirage, a vision of Albania untouched by war or abandonment. Meanwhile, the crumbling stones of Tragjas frame this idealized view, grounding it in the reality of absence and forced forgetting.
For MOMAFAD II, the gesture speaks to the project’s broader interest in the tension between preservation and erasure across Albanian landscapes. Tsouko’s image becomes both a tribute to continuity and a quiet accusation — a reminder that villages do not simply disappear; they are unmade. Here, in the echo of a fountain that once sustained a community, the photograph offers a fleeting reconstruction, inviting visitors to imagine what stood, what survived elsewhere, and what could still return.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit. @ilirtsouko@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@zamanfu@space.52
Glenda LeĂłn, Sazan Island, MOMAFAD II / Legacy Landscapes, Albania, 2025
Installed deep inside one of Sazan’s abandoned Cold War bunkers, Glenda León’s Dirigir las Nubes becomes an unexpected encounter between confinement and boundlessness. The film — a meditation on the possibility of directing clouds through focus and will — unfolds within a space once devoted to absolute control: surveillance, secrecy, and military discipline. By placing an artwork about atmospheric freedom inside a decaying architecture of repression, MOMAFAD creates a deliberate tension between interior and exterior worlds. On Sazan, where the sky is vast and unobstructed but the ground is shaped by decades of geopolitical isolation, León’s work takes on new resonance. The bunker becomes a paradoxical observatory. Though physically enclosed, viewers are invited to imagine the sky as a malleable, participatory space — one where human attention can shift the shape of reality itself.
The projection echoes the island’s layered histories: from the Soviet submarine base to the Albanian military outpost, Sazan was once a place where clouds of ideology were manufactured, fixed, and imposed. León’s quiet, poetic proposition gently dismantles this legacy. In her work, freedom arises not from force, but from perception; not from power, but from presence. Within MOMAFAD’s mission to activate forgotten or restricted landscapes, Addressing Clouds becomes a subtle counter-spell — a reminder that even in the most fortified spaces, the imagination remains ungovernable, drifting like the sky above the island.___
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@glenda.leon@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@zamanfu@space.52
Nikomachi Karakostanoglou, Sazan, MOMAFAD II / Legacy Landscapes, Albania, 2025
Carved from Thassos white marble, Sacred Vessel by Nikomachi Karakostanoglou embodies the timeless dialogue between material, memory, and ritual. In the context of MOMAFAD II on Sazan Island, a place layered with histories of conquest, exile, and abandonment, the marble vessel becomes a metaphor for continuity and rebirth — a sculptural offering to the Mediterranean itself.
Its pure, minimal form recalls ancient amphorae and votive objects, yet its presence in a post-military landscape redefines the sacred as something deeply human and universal. The act of submerging the sculpture beneath the waters of Sazan transforms it into a silent underwater monument, a vessel of collective memory suspended between visibility and disappearance.
Resting on the seabed, the work transcends geography and time — a bridge between Greece and Albania, antiquity and the contemporary, permanence and impermanence. Its marble surface, shaped by the artist’s hand and the sea’s currents, continues the Mediterranean tradition of devotion through form.
Through this poetic gesture, Karakostanoglou’s work affirms MOMAFAD’s mission: to transform ephemeral actions into lasting cultural memory, and to reveal how art can reanimate the sacred essence of places long forgotten.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@nikomachi.k_studio_@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@zamanfu@space.52
Kazimir Malevich, Sazan, MOMAFAD II / Legacy Landscapes, Sazan Island, Albania, 2025
As part of MOMAFAD II, and within the charged landscape of Sazan Island, Kazimir Malevich is presented through his work Frontline Soldier in the form of a flag, engaging in a dialogue between Russian avant-garde ideals and the romantic quest for identity within the Mediterranean setting.
Sazan’s history deepens this gesture: during the Cold War, the island was a Soviet naval base, a place of secrecy, surveillance, and control. Decades later, the flag of Malevich — an emblem of the Russian avant-garde and spiritual rebellion — returns not as a mark of power but as a symbol of reflection and peace. The echo of history meets the silence of the sea, and through this moment, the island’s memory is gently reactivated.
The Frontline Soldier is reactivated here as a symbol of peace and remembrance. Installed in a place once defined by war and secrecy, the work turns the act of holding a flag into an offering of reconciliation, merging the aesthetic legacy of modernism with the timeless human need for freedom and expression.
In this performative act, Dionisis Christofilogiannis holds the flag like a wounded soldier — his wrist broken and hand stitched from an accident that occurred on the first day of MOMAFAD II. On his way back to Greece for medical care, he stopped briefly at Sazan to hold Malevich’s Soldier against the sea, transforming pain into a gesture of resilience and continuity. The physical fragility of the artist mirrors the emotional fracture carried by the image itself — a dialogue between body and ideology, endurance and disappearance.
Through photography and video, this fleeting gesture becomes a visual archive of shared memory, a poetic bridge between past and present, between art and the sea that connects rather than divides.
Special thanks to MOMus – Museum of Modern Art – Costakis Collection for the loan of the artwork.
And @charalampos.papadopoulos for his invaluable support and the click!
@momus_museums@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@space52@zamanfu
Pedro Gramaxo, Tragjas, MOMAFAD II / Legacy Landscapes, Albania, 2025
Site specific construction, part of the “LANDSCAPE Series”, built in the layered landscape of the Bay of Vlora, in Albania, and more specifically in the vicinity of Old Tragjas village, overlooking Orikum, Karaburun, and Sazan island in the horizon. This work was made specifically for the second edition of MOMAFAD, with Pedro exploring the mythical landscapes, histories and chronology of the ruins.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@pedrogramaxo@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@space.52@zamanfu
@iasonas_kampanis
Iasonas Kampanis, Sazan, MOMAFAD II / Legacy Landscapes, Albania, 2025
The ongoing series 100 Protectresses extends Iasonas Kampanis’s exploration of non-human presences within Mediterranean culture and their deep connection to collectivity. Inspired by an ancient mosaic from Delos depicting Dionysus riding a leopard, each portrait becomes a fragment of a broader spiritual ecosystem — a meditation on the shared vitality that binds human, animal, and landscape.
On Sazan Island, the work is installed beside a Cold War bunker and a former military building, facing the open sea. In this setting, the Protectresses transform into guardians of transition: from the individual to the collective, from isolation to re-connection. The ecstatic leopard becomes a vessel of transformation, channeling ancient myth into a contemporary call for unity and empathy across species.
As the waves echo against the concrete ruins, the work invokes protection not through power, but through presence — a quiet, apotropaic force watching over a site once defined by division, now reclaimed by art and memory.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, turns historic and memory charged sites and stories into one day museums. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@iasonas_kampanis@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@space.52@zamanfu
Sead Kazanxhiu, Sazan, MOMAFAD II / Legacy Landscapes, Albania, 2025
In Sead Kazanxhiu’s language, Romani, there is no word for “border.” The concept itself is absent. When Roma people refer to a border, they must borrow the term from surrounding languages, for their own has never contained it, neither as a word nor as an idea. This phrase, rendered in golden balloons, has been installed in multiple iterations as an ironic celebration of the future of borders. In this particular version, the installation was site-specific, placed on the façade of an Italian-built structure that once also housed the Party Committee Headquarters on the island of Sazan during the communist regime. The island, once a proud avant-post fortress towards the western threat, now lies awaiting a different kind of invasion.
MOMAFAD (The Museum of Modern Art for A Day) is a project initiated by the contemporary Greek artist Dionisis Christofilogiannis, reclaiming spaces and transforming them into museums for the duration of one day. In this second edition, Christofilogiannis is teaming up with Elian Stefa, the Albanian curator and director of Galeria e Bregdetit in Radhima (Vlora), Albania, to explore and reactivate three important locations in the Bay of Vlora. Production space52 and Galeria e Bregdetit.
@seadkazanxhiu@momafad@elian.stefa@galeria.e.bregdetit@dionisis_christofilogiannis_@space.52@zamanfu
HOME IS ME
In an age marked by migration, displacement, and constant flux, the notion of
"home" has evolved into a deeply personal and multifaceted experience. HOME IS
ME is a contemporary art exhibition that challenges conventional ideas of home,
positioning it not merely as a physical structure or geographic location, but as an
extension of the self—a shifting landscape of memory, identity, belonging, and
emotional resonance.
This exhibition brings together eight artists whose practices explore domesticity,
personal space, cultural heritage, and the search for sanctuary.
The exhibition acts as a mirror to the emotional, psychological, and societal
forces that shape our concepts of home. It raises critical questions: Is home a
place, a feeling, a set of rituals, or something we carry inside us? How do
migration, cultural identity, and collective memory inform the spaces we inhabit?
Participating artists:
Katerina Botsari, Dionisis Christofilogiannis, Ilias Christopoulos, Georgia Kotretsos, The Krank,
Giorgos Tserionis, Ilir Tsouko, Pantelis Vitaliotis Stella Christofi
Curated by: Dionisis Christofilogiannis
