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The second day of the installation of „Homecoming“ on Ithakis Street. Thank you dear Polina Kosmadaki for the subtle cur...
24/04/2026

The second day of the installation of „Homecoming“ on Ithakis Street. Thank you dear Polina Kosmadaki for the subtle curation, the poetic narrative of homecoming - elements of folklore, sense of belonging, the local versus the global - establishing a nuanced dialogue between Greek and International voices. Thank you for the exquisite coordination and all artists for their artwork contributions and for your commitment. Today we had , , , , (thank you for flying in from New York for the install, dear Ioanna ), and from , and .papailiakis.studio and .trian over and also installed

I much enjoyed the excellent conversations today, getting to know the artists better and love all works in the exhibition!

Please join us for the opening of “Homecoming” next Wednesday 29 April 6-9 pm at Ithakis 31, in Kypseli.

I saw (and loved) the 1st Athens Biennale in 2007 and since then visited almost each edition. Planning to make Athens ou...
24/04/2026

I saw (and loved) the 1st Athens Biennale in 2007 and since then visited almost each edition. Planning to make Athens our European home and agency headquarters, I am thrilled to see Athens Biennale building more cultural, corporate and philanthropic muscle. Perfect timing for the city’s extraordinary potential! Congratulations to Athens Biennale and its dedicated Board of Trustees!!!

Transforming, expanding, and strengthening, introduces a new governance structure with a 𝗕𝗼𝗮𝗿𝗱 𝗼𝗳 𝗧𝗿𝘂𝘀𝘁𝗲𝗲𝘀, 𝗔𝗱𝘃𝗶𝘀𝗼𝗿𝘆 𝗕𝗼𝗮𝗿𝗱, and 𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗖𝗼𝗺𝗺𝗶𝘁𝘁𝗲𝗲 - bringing together leading figures from art, culture, intellectual life, and entrepreneurship around a shared vision - and continues to redefine what a cultural institution can be: not static, but collective, evolving, and outward-looking.

At the core of this new architecture, the Board of Trustees - chaired by George Economou 𝗚𝗲𝗼𝗿𝗴𝗲 𝗘𝗰𝗼𝗻𝗼𝗺𝗼𝘂, entrepreneur and art collector and Dakis Joannou 𝗗𝗮𝗸𝗶𝘀 𝗝𝗼𝗮𝗻𝗻𝗼𝘂, businessman, collector, founder and president of the DESTE Foundation for Contemporary Art

Founding Members of the Board of Trustees:

𝗔𝗹𝗲𝘅𝗶𝗮 𝗔𝗻𝘁𝘀𝗮𝗸𝗹𝗶 𝗩𝗮𝗿𝗱𝗶𝗻𝗼𝘆𝗮𝗻𝗻𝗶, founder of ARTFLYER
𝗠𝗮𝗴𝗱𝗮 𝗕𝗮𝗹𝘁𝗼𝘆𝗮𝗻𝗻𝗶-𝗞𝗮𝗹𝗹𝗶𝘁𝘀𝗮𝗻𝘁𝘀𝗶, collector
𝗗𝗶𝗺𝗶𝘁𝗿𝗶𝘀 𝗗𝗮𝘀𝗸𝗮𝗹𝗼𝗽𝗼𝘂𝗹𝗼𝘀, collector of contemporary art, custodian of the D.Daskalopoulos Collection, and founder of NEON Organization
𝗛𝗮𝗿𝗿𝘆 𝗗𝗮𝘃𝗶𝗱, collector of Contemporary African and African Diaspora Art (The Harry David Art Collection)
𝗔𝗹𝗲𝘅𝗮𝗻𝗱𝗿𝗼𝘀 𝗗𝗶𝗼𝗴𝗲𝗻𝗼𝘂𝘀, entrepreneur, collector, founder of Pylon Art & Culture

𝗙ü𝘀𝘂𝗻 𝗘𝗰𝘇𝗮𝗰ı𝗯𝗮şı, architect, art collector, and patron of the arts (honorary member)
𝗠𝗮𝗿𝗲𝘃𝗮 𝗚𝗿𝗮𝗯𝗼𝘄𝘀𝗸𝗶-𝗠𝗶𝘁𝘀𝗼𝘁𝗮𝗸𝗶𝘀, creative consultant, entrepreneur

𝗜𝗿𝗲𝗻𝗲 𝗣𝗮𝗻𝗮𝗴𝗼𝗽𝗼𝘂𝗹𝗼𝘀, collector and cultural advocate
𝗡𝗶𝗻𝗲𝘁𝘁𝗮 𝗩𝗮𝗳𝗶𝗮, lawyer and art collector

With one more week to go to the opening of „Homecoming“, I am delighted to introduce and share the work of Greek artist ...
22/04/2026

With one more week to go to the opening of „Homecoming“, I am delighted to introduce and share the work of Greek artist Panayiotis Loukas ( ).

„Homecoming“ marks the first exhibition and project in the magnificent Art Deco apartment in a prominent building on Kypseli’s Ithakis Street - a space we will restore and transform into a private artspace and salon.

I am grateful to curator Polina Kosmadaki ( ) for accepting the challenge and for adopting this project particularly dear to me and my family. In her curation she emphases on a dialogue between Greek and international artists - making this exhibition a gathering of friends, and a Homecoming on many levels.

Loukas’ painting “23:49” (2025) is a striking and enigmatic presence within the exhibition. His works are characterised by a dense, almost restless pictorial surface - where figuration and abstraction seem to collide, and fragments of reality dissolve into a highly charged, psychological space.

There is a tension in his paintings that I find compelling: a sense of urgency, of time suspended, where narrative remains just out of reach. Images emerge, overlap, and retreat - inviting us to navigate between recognition and uncertainty.

Panayiotis Loukas was born 1975 and lives and works in Athens where he studied at the Athens School of Fine Arts.

Homecoming, curated by Polina Kosmadaki opens on
Wednesday, 29 April

Image captions: Panayiotis Loukas, 23:49, 2025, Oil on canvas, 200.03 × 170.02 cm
Courtesy the artist & Images Ithakis Street 31, Kypseli Athens

Jannis Kounellis: Another homecoming - and “Ithaki moment” I would like to share prior to Homecoming, the inaugural exhi...
20/04/2026

Jannis Kounellis: Another homecoming - and “Ithaki moment” I would like to share prior to Homecoming, the inaugural exhibition in what will become our salon and private art space in Athens. Please swipe for pictures.

I recall finally meeting Jannis Kounellis (1936–2017) in person - only two years before his passing - in Australia, when he came for the opening of the MONA Museum ( ). We spoke across languages, he in Italian, I in French; yet what remained beyond words was a shared sense of gravità. That same gravity unfolds here: quiet, grounded, and deeply human. One of those encounters with centenary figures in contemporary art that keeps resonating for years.

When I first visited this architectural landmark - the listed Art Deco building in Kypseli that will house our future space - I was struck by a feeling that stayed with me: it was as if Kounellis himself had arranged the remnants of the previous owners. Old glass bottles, tables, beds, mattresses, suitcases… the entire ensemble carried the quiet intensity of a Kounellis installation.

I am therefore particularly thrilled that his work will be part of Homecoming. We will present a significant late work by the artist - a contribution that feels deeply meaningful in this context, not least as Kounellis was born in the Athenian port town of Piraeus, before making Rome his lifelong base.

Untitled (2016) exemplifies Kounellis’ distilled visual language: a suspended wooden piece of furniture emerges from a steel plate, bound with black fabric and wire. The work brings together weight and fragility, transforming everyday materials into a quiet, poetic composition that evokes absence, memory, and the trace of the human body.

Homecoming - curated by opens on 29 April. For further information, please DM me or email [email protected]

Image caption: Jannis Kounellis, Untitled, 2016, iron, wood, courtesy the Jannis Kounellis Estate & photo Bernd Borchardt

When the home of an artist is also the home of a collector: W Magazine ( ) visited Ugo Rondinone’s ( ) Harlem Sanctuary,...
19/04/2026

When the home of an artist is also the home of a collector: W Magazine ( ) visited Ugo Rondinone’s ( ) Harlem Sanctuary, invited by the artist who, with his ingenious taste and sense for material and mise en scène, created an architectural Gesamtkunstwerk.

A former Romanesque church in Harlem, the space was meticulously restored and transformed by Rondinone together with architect Alicia Balocco into a live/work environment - at once deeply personal and generously open to others, with guest apartments and studios for visiting artists. Historic elements such as stained glass windows, soaring ceilings, and wood paneling remain, anchoring the building’s past while framing a distinctly contemporary vision.

What unfolds inside is a layered, almost cinematic composition of artworks and objects: a living collection in dialogue with Rondinone’s own practice. A striking stained glass intervention by Urs Fischer introduces a subtle, playful disruption; elsewhere, works by Sarah Lucas, Cady Noland, Peter Halley, Valentin Carron, and Franz West, among others, create a rich and unexpected dialogue across generations and positions.

It is this synthesis - of architecture, collection, and artistic identity - that makes Rondinone’s Harlem Sanctuary so compelling: a place where living, collecting, and creating merge into one coherent, experiential whole. A true Gesamtkunstwerk in the most complete sense.

Source: W Magazine, December 2014

Photographs: Jason Schmidt
Via &

“Light is my medium!” Today Otto Piene (1928-2014) would celebrate his 98 Birthday. Piene, the co-founder of the renowne...
18/04/2026

“Light is my medium!”

Today Otto Piene (1928-2014) would celebrate his 98 Birthday.

Piene, the co-founder of the renowned ZERO group, was a visionary artist of the twentieth century avant-garde who reinvented his multidisciplinary practice over a career spanning five decades.

Thinking of Otto with fond memories of the many meetings with Otto at his studio in Groton (Massachusetts) and in Berlin for the preparation of our exhibition at my Berlin gallery.

I will never forget the opening night of „More Sky“ Otto Piene’s spectacular exhibition at the Neue Nationalgalerie ( ) in Berlin on July 16, 2014, when he passed peacefully the morning after, July 17, 2014. Otto must have felt that all was accomplished and that after this huge accolade he could rest and leave for his beloved sky.

“Light is my medium. I hate objects that just stand there demanding interpretation. Previously, paintings and sculptures seemed to glow. Today they do glow; they are active. They don’t merely express something; they are something.”

Otto Piene

Image Captions: Otto Piene, „More Sky“ at the Neue Nationalgalerie, Berlin, July 2014 Exhibition at ARNDT Berlin, March 2015, portrait Otto Piene

An exhibition high on my list for my upcoming visit to Berlin is “Als ich dachte, es sei Luft (As I Thought It Was Air)”...
17/04/2026

An exhibition high on my list for my upcoming visit to Berlin is “Als ich dachte, es sei Luft (As I Thought It Was Air)” by Nadine Schemman ( ) that just opened at Stiftung St. Matthäus, (.matthaeus ) yesterday.

Conceived for St. Matthew’s Church, the exhibition takes air - the invisible volume of space - as its point of departure. Suspended linen lengths traverse the architecture, forming a continuous, living pictorial field. Color moves like a current, connecting space, body, and structure - unfolding a quiet, almost spiritual resonance within the church.

The exhibition (on view through August 2026) is curated by Lisa Botti, Curator Neue Nationalgalerie and Hannes Langbein, Director St. Matthäus.

I adore Nadine Schemmann’s practice, moving between painting, textile, and object. Her treated linen surfaces - dyed, sewn, and chemically altered—feel alive: pigments shift and dissolve, while seams and traces remain visible. These are not images, but sensitive, breathing presences.

And Kudos to Stiftung St. Matthäus and Hannes Langbein for shaping such a distinctive program - thoughtfully activating its unconventional space in its unique setting - nestled between Neue Nationalgalerie, Philharmonic Orchestra, New Museum of Modern Art and Kulturforum - with exhibitions that balance emerging and established voices, often at the intersection of art and spirituality.

I look very much forward to seeing this in situ - heartfelt congratulations to Nadine and the Curators!

.matthaeus

Bringing cats to Greece might sound like „bringing owls to Athens“ - yet „Here comes Jason“ marks a particularly special...
16/04/2026

Bringing cats to Greece might sound like „bringing owls to Athens“ - yet „Here comes Jason“ marks a particularly special homecoming story by Berlin- and Kiparissia-based painter Jean-Yves Klein (.klein )

In preparation of the first exhibition at our future private artspace and salon in Athens, I continue introducing artists participating in the opening exhibition, highlighting selected works.

The artist rescued a kitten he found - or that found him - near his Peloponnes studio. The kitten, growing into a companion, was given the mythical Greek name Jason. And now, through Jean-Yves’ invitation by curator Polina Kosmadaki, Jason returns to Greece - proudly captured on canvas.

Jean-Yves Klein (b. 1982, Strasbourg) works across painting, drawing, and installation, exploring gesture, surface, and materiality. His compositions balance control and spontaneity, where repetition, erasure, and accumulation become integral to the act of painting.

In Here comes Jason (2025–2026), the animal emerges through bold, gestural brushwork and fragmented colour - oscillating between figuration and abstraction. The raw surface and dynamic energy reflect Klein’s ongoing investigation into the physicality of painting.

Homecoming opens 29 April in Athens.
For further information, please DM or email [email protected].

Image caption:
Jean-Yves Klein, Here comes Jason, 2025–2026, oil on canvas, 175 x 135 cm. Courtesy the artist.

The magic of Australian First Nations Bark-Painting: I am a fan of Djakanu Yunupingu and (please swipe) this is a gem of...
15/04/2026

The magic of Australian First Nations Bark-Painting: I am a fan of Djakanu Yunupingu and (please swipe) this is a gem of a work of hers painted on stringy bark: „Tears of the Djulpan“ (2023)

Djakangu Yunupingu (born 1945, Arnhem Land, Northern Territory, Australia) is a Yolngu elder and distinguished contemporary Australian artist based in Yirrkala in the Northern Territory, whose celestial paintings depict the story of the Djulpan, the story of the Pleiades constellation known as the Seven Sisters.

Working from the Buku-Larrŋgay Mulka Centre ( ) in Yirrkala, Yunupingu first exhibited her paintings in 2021 at the age of seventy-two, after caring for her late sister Mrs N Yunupiŋu for many years. She had previously participated in printmaking workshops with her sisters when in 2011 they collectively made the renowned, Seven Sisters suite of prints.

Yunupingu paints on stringy bark using earth pigments and gapan (clay) applied with a small brush called a Marwat, which is a small brush made by hand using fine, straight, human hair. She methodically applies the paint onto the surface of the bark using a technique called rarrk (cross-hatching). Through dedicated practice she has honed and refined this technique.

Image Caption: Djakanu Yunupingu, Tears of the Djulpan, 2023, Natural earth pigments on bark, 84 × 46 cm and portrait of the artist, courtesy the artist, Buku Larnggay Mulka Art Center and

With the opening of „Homecoming“ - the first exhibition at what will become our private artspace and salon in Athens - a...
14/04/2026

With the opening of „Homecoming“ - the first exhibition at what will become our private artspace and salon in Athens - approaching, I continue to introduce participating artists and highlight works we will be showing. Please swipe for images.

Today, I am thrilled to present the work of Desire Moheb-Zandi (), an artist whose practice I have been following closely and whom I had the pleasure of visiting at her Melbourne studio residency earlier this year.

Seeing Desire’s intricate weaving process in the making was incredibly insightful - a slow, meditative unfolding of material, where rhythm, repetition, and intuition guide each composition. Her work crosses borders, both literally and metaphorically, weaving together cultural memory, identity, and material experimentation into a distinct and deeply contemporary language.

Desire Moheb-Zandi (b. 1990, Berlin; lives and works in Paris and Melbourne) works across textile, sculpture, and installation. Rooted in her German, Iranian, and Uzbek-Turkish background, she approaches weaving as both process and conceptual framework - creating tactile, abstract compositions that move between tapestry, painting, and sculpture.

“Pulse” (2026) is a sculptural textile work composed of cotton, rope, cord, hand-dyed wool, and upcycled synthetic threads. Defined by its vivid red and pink palette, the piece conveys a sense of movement and vitality, its layered fibres forming a dynamic, rhythmic surface that balances softness and structure.

Thank you, Desi, and Wentrup Gallery for contributing a new work for the Athens show - it means a lot to us!

Homecoming, curated by Polina Kosmadaki ( ) opens on Wednesday 29 April on Ithakis Street 31, Kypseli, Athens

For further information, please DM me or email to [email protected]

Image captions: Desire Moheb-Zandi, Melbourne, February 2026; Desire Moheb-Zandi, „Pulse“, 2026, Courtesy the artist and Wentrup Gallery; Private Artspace on Ithakis Street, Kypseli - Athens.

Looking forward to the first show at what will become our private art space and Salon in Athens, I am thrilled for this ...
12/04/2026

Looking forward to the first show at what will become our private art space and Salon in Athens, I am thrilled for this exquisite piece by Tammy Kanat ( ) included in „Homecoming“, an exhibition curated by Polina Kosmadaki ( ).

“Ruth” (2024) is a significant work by textile artist Tammy Kanat and reflects her intuitive practice, with hand-worked wool delicately held within a copper frame. The work draws on the biblical figure of Ruth, whose story embodies loyalty, resilience, and belonging. Through its soft, organic form and quiet material presence, the sculpture evokes a sense of care and continuity, where meaning is embedded in gesture and the rhythms of making.

Excerpt from „Women, Weaving, Wisdom“, capturing Tammy Kanat’s „Circle of Her“ - the exhibition at the Jewish Museum of Australia (where we filmed the video material earlier this year in Melbourne) - curator Esther Gyorki ( ) describes: “Kanat’s Ruth is soft and welcoming, intriguing yet inclusive. Thousands of threads dangle from Ruth, knotted and looped, connected yet individual, as though they have grown directly from this anthropomorphic creature, reminding us of the generations following Ruth and the impact that she has had and continues to have on Jewish life.”

Tammy Kanat (b. 1970, Australia) is a contemporary artist working with textiles, whose practice explores materiality, gesture, and the meditative potential of repetition. Working primarily with wool, Kanat creates hand-formed, tactile compositions that sit between painting and sculpture, expanding the language of fibre-based art through an intuitive and process-driven approach.

Homecoming opens on Wednesday, 29 April. For further information about this work or the exhibition, please DM me or email [email protected].

Image caption: Tammy Kanat, Ruth, 2024, wool, copper frame — courtesy the artist, , Sydney, and
Portrait: Mark Lobo

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