CAN Christina Androulidaki gallery

25/10/2026

The ideas of ritual and passage emerge
in Manolis D. Lemos’ How Long for the Other
World to Come (Speluncar Offering) and
Untitled (Offering 2). Lemos combines UV
printing with painting, creating images that
evoke ancient frescoes and scenes of
offering, while incorporating artificial
intelligence into their production as a further
stage of transformation between the initial
image and the final work.

What appears to
originate in a distant, archaic past is therefore
the product of a process rooted entirely in
the technological present. The word offering
itself recalls one of humanity’s oldest
gestures: the act of giving something to that
which lies beyond us. The archaic and the
digital, the past and a possible future, begin
to overlap, while the question posed by the
title — How Long for the Other World to Come
— leaves the nature of this “other world”.

24/10/2026

In his practice, Socrates Fatouros frequently employs
industrial materials such as bituminous membrane and
gunpowder, activating their physical properties
through painting and sculpture. Fire becomes a means
of inscription on bitumin, while gunpowder — used as
a sculptural material — retains the permanent
potential for explosion.

DESIRE (2024) belongs to this
body of work: the façade of the Hellenic Parliament is
reconstructed in miniature. An architectural symbol of
institutional permanence and power is thus given
physical form through a material that simultaneously
carries the possibility of its destruction. The
contradiction is embedded in the material itself: what
appears stable is potentially fragile. Fatouros expands
the exhibition’s enquiry beyond the individual,
towards the social and political structures through
which collective life is organised.



Photo by Stathis Mamalakis

23/10/2026

In his Memorabilia series, wanders through the city, collecting fleeting images of everyday life and transforming them into layered painterly compositions.

Graffiti, reflections, parked cars and fragments of signage coexist and overlap, like fragments of a city in constant transformation.

These paintings inhabit the space between observation and recollection.

Rather than depicting the city as a fixed place, Panousakis evokes the way it lingers in memory: through disconnected fragments, fleeting impressions and seemingly insignificant details that, for reasons we cannot quite explain, stay with us.

18/10/2026

SAVE THE DATE //
The 365 Project: Nikos Markou – Animal print

Opening: Saturday, October 24, 2026 at 12:30pm the Vorres Museum presents Nikos Markou Nikos Markou In The 365 Project curated by Olga Daniylopoulou

Landscape has been a constant and central axis in Nikos Markou’s photographic practice. Whether natural or man-made, place functions as a field onto which traces of a presence are inscribed. In the Animal Print series, this long-standing relationship is maintained, but its method undergoes a fundamental shift.

For the first time, Markou moves beyond the search for and documentation of an existing condition. He intervenes and creates the event that he is about to photograph. Paper replicas of wild animals are placed in different locations across the Greek landscape and temporarily integrated into them. Elephants, lions, rhinoceroses, giraffes and other animals appear in places where they could not naturally exist. The landscape shifts in relation to the constructed object and assumes the role of the photographic event. It becomes an unreal condition in which the relationship between the real and the invented, the familiar and the foreign, is put to the test. The intervention does not seek to create an illusion. The materiality of the forms remains visible, and the paper bodies do not attempt to convincingly impersonate real animals. Their artificiality is an integral part of the image itself.

The choice of wild animals, however, acquires a clear allegorical dimension. Wildness is not attributed literally to the animal world. The forms function as carriers of an idea that is transferred into the social realm. The period in which these images are produced is marked by violence, conflict, social tensions, insecurity, and a gradual desensitisation to forms of brutality that return daily to the public image. Within this context, the wild does not necessarily lie outside civilisation, but can be found within it.

The forms associated with power, threat, or the untamed are made of paper. They are fragile, temporary, and exposed to the conditions of the places in which they are positioned. They carry the image of the wild without poss

17/10/2026

Maro Fasouli
Untitled (The Sun), 2026
Wool yarn, cord, and acrylic spray paint
110 × 100 cm (43.3 × 39.4 in)

In Maro Fasouli’s Untitled (The Sun) (2026) the
image of the sun takes on a dark, almost
corporeal presence. Fasouli’s practice draws on
traditional, predominantly female practices of
weaving and craft, which she translates into
sculpture, using her own body as a unit of
measurement, a tool and a point of reference.
Threads are wound around her elbow, tied and
twisted together, then affixed to the surface to
form a dense relief. The sun, one of the oldest
symbols of life, acquires a materiality
associated with regeneration and cyclicality,
but also with something less reassuring: the
inevitability of continuity. Rising again and
again, regardless of what has preceded it or
been lost, it evokes the end not as a definitive
cessation, but as part of an ongoing cycle of
change and renewal.

13/10/2026

GR
Φως, χρώμα, υφή και χειρονομία. Τέσσερις διαφορετικές καλλιτεχνικές φωνές συναντιούνται στην Αγάπη και δίνουν μορφή σε όσα μας συνδέουν.

Έργα των Αλέξανδρου Λάιου, Μάρως Φασουλή, Κωνσταντίνου Λαδιάνου και Εμμανουήλ Μπιτσάκη.

Με την ευγενική παραχώρηση των καλλιτεχνών και της CAN Christina Androulidaki Gallery , Αθήνα.

EN
Light, colour, texture and gesture. Four distinct artistic voices come together in Agapi, giving form to the connections between us.

Works by Alexandros Laios, Maro Fasouli, Konstantinos Ladianos and Emmanouil Bitsakis.

Courtesy of the artists and CAN Christina Androulidaki Gallery, Athens.

09/10/2026

Yorgos Yatromanolakis
From the series Farewell to the Night, 2025
Fine art inkjet print
Edition of 4
55 × 36 cm (21.7 × 14.2 in) and 90 × 64 cm (35.4 × 25.2 in)

Στο Farewell to the Night (2025), ο Γιώργος Γιατρομανωλάκης προσεγγίζει την πατρότητα ως μια βαθιά αλλαγή στον τρόπο με τον οποίο αντιλαμβάνεται κανείς τον εαυτό του και τον κόσμο γύρω του. Η ευθύνη συνυπάρχει με την ανησυχία, η ευαλωτότητα με την τρυφερότητα και την άνευ όρων αγάπη. Ο ίδιος ο τίτλος εμπεριέχει έναν αποχαιρετισμό: η γέννηση ενός παιδιού σηματοδοτεί την αρχή μιας νέας σχέσης, αλλά και την απομάκρυνση από έναν προηγούμενο τρόπο ζωής. Οι εικόνες του πατέρα και του παιδιού εναλλάσσονται με λουλούδια, ψάρια και βλάστηση, συγκροτώντας αυτό που ο ίδιος ο καλλιτέχνης περιγράφει ως μια «συναισθηματική τοπογραφία». Η φύση εδώ δεν λειτουργεί απλώς ως φόντο· εισάγει στη σειρά έναν διαφορετικό χρόνο, εκείνον της ανάπτυξης, της άνθησης και της φθοράς, όπου κάθε νέα ζωή εμπεριέχει ήδη τη γνώση της παροδικότητάς της. Παράλληλα, η σειρά τοποθετεί την εμπειρία της πατρότητας μέσα σε έναν εύθραυστο και αβέβαιο κόσμο. Απέναντι σε αυτή την αστάθεια, οι εικόνες δημιουργούν έναν φαντασιακό ασφαλή τόπο για τον πατέρα και το παιδί — ένα καταφύγιο που δεν υπόσχεται ότι ο κόσμος θα παραμείνει ίδιος, αλλά έναν χώρο μέσα στον οποίο μπορούν να συνεχίσουν μαζί.

08/10/2026

Kleopatra Tsali
Cucumis Melo Lamp, 2023
Clay, metal
170 × 30 × 30 cm (66.9 × 11.8 × 11.8 in)

approaches memory not as something static, but as a relationship capable of continuing after loss. Working primarily with ceramics and natural clays, she uses moulds taken from fruits, vegetables and other organic forms. Their ephemeral, perishable bodies are transferred into a material capable of preserving them, like imprints of a previous life. Her work also enters into dialogue with that of her grandmother, the sculptor Rosa Iliou (1928–2018), who lived in Kamakura, Japan, during the 1960s and studied, among other practices, ceramics, ink painting, origami and Ikebana. After Iliou’s death, Tsali discovered an archive of drawings and black-and-white photographs documenting her studies — a previously unknown aspect of her practice. The discovery became the starting point for a dialogue that continues beyond her grandmother’s death. In Ikebana, the empty space between branches and flowers forms an active part of the composition, while transience, asymmetry and the natural cycle of growth and decay are not concealed but incorporated into it. These principles reappear in Tsali’s sculptures, where natural and ceramic forms, metal and glass coexist in fragile equilibria. Decay, memory and preservation meet within the material itself: something ephemeral disappears, yet its trace can assume another form and continue to exist.

07/10/2026

Το Yesterday I Was προσκαλεί τους επισκέπτες και τις επισκέπτριες να αφηγηθούν με λεπτομέρεια τη χθεσινή τους ημέρα — από τη στιγμή που ξύπνησαν μέχρι τη στιγμή που έπεσαν για ύπνο.

Με αφετηρία το απλό ερώτημα «Τι έκανες χτες;», η αφήγηση μπορεί να γίνει εξομολόγηση, παραληρηματικός λόγος ή επιτελεστική πράξη. Η πρόσφατη μνήμη, οι σκέψεις και οι εσωτερικοί μονόλογοι αποκτούν φωνή.
«Είδα ένα παγώνι χτες και νομίζω πως μου χαμογέλασε.»
«Χτες αγόρασα έναν κινέζικο μεταφραστή που μεταφράζει τα νιαουρίσματα της γάτας στα αγγλικά. Τον δοκίμασα και μου είπε “I love you”. Cringe.»

Το Σάββατο 17 Οκτωβρίου 2026 άνθρωποι από διαφορετικά κοινωνικά και πολιτισμικά υπόβαθρα συναντιούνται για να αφηγηθούν την προηγούμενη μέρα τους σε ένα άγνωστο ακροατήριο, μέσω ακουστικών.

Η εγκατάσταση είναι συμμετοχική: μπορείς να επιλέξεις αν θα γίνεις αφηγητής/αφηγήτρια ή ακροατής/ακροάτρια. Τα τέσσερα κανάλια λειτουργούν ταυτόχρονα, επιτρέποντας στους επισκέπτες να επιλέγουν, μέσω ασύρματων πολυκάναλων ακουστικών, ποια αφήγηση θέλουν να ακούσουν.

Καλλιτέχνις: Ελίζα Σόρογκα
Poster design: Marlon Tate [Νίκος Γεωργόπουλος]
Σε συνεργασία με: CAN Christina Androulidaki Gallery
Παραγωγή: Unclassified Actions
Beverage partner: Saxzi – Mediterranean Dry Gin
Με την οικονομική υποστήριξη του Υπουργείου Πολιτισμού

Είσοδος ελεύθερη — απαραίτητη κράτηση θέσης ➡️ link in bio

05/10/2026