Gramma Epsilon Gallery, Athens

Gramma Epsilon Gallery, Athens We are a Female Art Gallery based in Athens.

MIRELLA BENTIVOGLIOMirella Bentivoglio was a member of the concrete and visual poetry movement, which explored the relat...
12/08/2026

MIRELLA BENTIVOGLIO

Mirella Bentivoglio was a member of the concrete and visual poetry movement, which explored the relationship between words and images. Throughout her career, she created roughly 20 pieces of art focused on “E,” Italian for “is” and “and”.

“For nearly three decades I went on composing a large number of graphic and three-dimensional structures containing E-combinations, experimenting as well through open-air performances in which the audience took part. Therefore, the groups of E’s, which are later repeated in the project for the square surrounding the monument to Emperor Augustus in Rome, were born from a dynamic process. Four of about twenty E-combinations are exhibited here.”

Works:
Dalle E l’architettura (from E’s to Architecture), 1973, Photo on six aluminum sheets
E=congiunzione (And=Conjunction), 1973-2003, Travertine

Summer break:
4-24 August

Current exhibition:
Grammars of the Possible: Between Word and Sign
Curated by Paolo Cortese

18.06 - 26.09.2026

Agathonos 6, 10551 Athens
Tue-Sat 11.00-19.00

+30 210 3231867

Visit our website, link in bio


ELISABETTA GUT“Someone once said that even the smallest things can become centres of meditation in the world, places whe...
05/08/2026

ELISABETTA GUT

“Someone once said that even the smallest things can become centres of meditation in the world, places where the gaze reveals to itself infinite possibilities of existence.!

Elisabetta Gut’s works hold this delicate but boundless power, drawing us into a world that is both abstract and tangible, filled with impulses that fold back onto themselves, revealing something beyond mere materiality.

Nothing is left to chance. The metaphorical charge of her titles enhances the perception of the artwork, by proposing progressive shifts within and beyond the image. It is not a stretch to compare this way of unfolding the process of thought, starting from an ordinary thing, an object, or a reference and giving life to a chain of ideas, the writing mechanism developed by Marcel Proust, whom the artist deeply admired. Likewise, it resonates with the process of jazz improvisation, another approach that Elisabetta Gut did not merely appreciate but actively embraced”’

_Rosanna Ruscio

Video:
Video from the 8th Ferrara Women’s Biennial, “Scarlet Letters - Women Artists in Italy
Work:
Musica Impazzita (Crazy Music), 1984
Between Language and Image in the 1960s and 1970s”

Summer break:
4-24 August

Current exhibition:
Grammars of the Possible: Between Word and Sign
Curated by Paolo Cortese

18.06-26.09.2026
Agathonos 6, 10551 Athens
Tue-Sat 11.00-19.00
+30 210 3231867

Visit our website, link in bio

01/08/2026

OFFLINE MODE: ON. 🌊

After a full and exciting season, we are taking our summer break from 4 to 24 August, to recharge, slow down and soak up some sunshine.

See you after the break. Have a beautiful summer.

Current exhibition:
Grammars of the Possible: Between Word and Sign
Curated by

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue-Sat 11.00-19.00

+30 210 3231867
Visit our website, link in bio

VISUAL POEMS“Amelia Etlinger enwraps words like love, flower, butterfly, rose into new contexts, creating assemblages th...
29/07/2026

VISUAL POEMS

“Amelia Etlinger enwraps words like love, flower, butterfly, rose into new contexts, creating assemblages that juxtapose pieces of netting, brocades, leaves, seeds, cellophane, gauze, ribbons, silk, satin and lace together with common and uncommon papers.

In Amelia’s world, her words and those of her correspondent are metamorphosed. These correspondence poems are improvisations woven on selected materials in a creative process Amelia described as “no time for peeing”. It was a staggering experience to receive a stream of Amelia’s one-of-a-kind visual poems.

Over time, the poem you receive from Amelia becomes as much about you as it is a work created by Amelia. You, her correspondent, can keep your poem unopened, or choose to open and thereby in stages rearrange, destroy, or discard it.”

_ Ellen Marie Helinka

Works:
Butterfly, 1977
What holds up the tree, 1978
Untitled,1976

Ph. by Thanassis Gatos

Summer break:
4-25 August

Grammars of the Possible: Between Word and Sign
Curated by Paolo Cortese

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue–Sat 11.00–19.00

+30 210 3231867
Visit our website, link in bio

FROM SARDINIA TO ATHENSAs we prepare for our summer break, we are also busy behind the scenes, getting ready for our fir...
25/07/2026

FROM SARDINIA TO ATHENS

As we prepare for our summer break, we are also busy behind the scenes, getting ready for our first project of the new season. Opening at the end of September, the solo exhibition of one of our youngest artists, Maria Jole Serreli, curated by Paolo Cortese and Panos Giannikopoulos, marks the beginning of an exciting new chapter.

Like every exhibition that starts long before the opening, from the artist’s studio and gradually becomes a collective process, shaped by dialogue, collaboration and many hands, before finding its way into the gallery.

Here’s a small glimpse into that journey. We can’t wait to share more with you soon.

Summer break:
4-25 August

Current exhibition:
Grammars of the Possible: Between Word and Sign
Curated by Paolo Cortese

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue-Sat 11.00-19.00

+30 210 3231867
Visit our website, link in bio

GRETA SCHÖDL“​​In her work, Schödl has been applying a very precise methodology for over 50 years, which is demonstrated...
22/07/2026

GRETA SCHÖDL

“​​In her work, Schödl has been applying a very precise methodology for over 50 years, which
is demonstrated by repeating the movement of writing a word that is usually the very subject of the work or the elements that compose it.

The language is predominantly German, her mother tongue, and the font is the Gothic one that she learnt as a child at school. But the importance of the written word is only relative because the protagonist of Greta Schödl’s work is the vibration that the artist emphasises and creates by placing small golden markings, usually in the blanks of vowels, as if they were accents. These gold leaf marks originate from the relationship the artist establishes with the named object and add a vertical rhythm to the composition.

“The word that identifies an object,” explains Schödl, “potentially contains all its characteristics, and by constantly repeating the act of writing it, a relationship is established with the essence of the object itself, a rhythm is acquired from which a vibration then emanates.”

_Paolo Cortese

Work:
Greta Schödl, Untitled (Scriptures series), 1980s

Image:
Greta Schödl during her performance “Il Tubo”, Piazza Maggiore, Bologna, 1978

Ph. by

Access and download the full artist catalogue from the Publications section of our website

Grammars of the Possible: Between Word and Sign
Curated by

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue-Sat 11.00-19.00

+30 210 3231867
Visit our website, link in bio

ON VIEW AT MAXXIIf you’re in Rome this summer, don’t miss Tragicomica at MAXXI, featuring, for the first time, works by ...
18/07/2026

ON VIEW AT MAXXI

If you’re in Rome this summer, don’t miss Tragicomica at MAXXI, featuring, for the first time, works by Mirella Bentivoglio and Elisabetta Gut, among many others.

We are delighted to have contributed to the exhibition by lending four iconic works by Bentivoglio and Gut from our collection.

On view until 20 September 2026, Tragicomica spans more than eighty years of Italian artistic production, from the post-war period to the present. The exhibition explores the tension between the tragic and the comic as a defining poetic and conceptual force, offering an alternative reading of the history of Italian art while extending its dialogue to cinema, theatre, architecture, literature, and philosophy.

Works:
Elisabetta Gut, Libro ingabbiato, 1981
Elisabetta Gut, 14 Chiodi (l’impronta di Man Ray), 1991
Elisabetta Gut, La natura incorreggibile, 1990
Mirella Bentivoglio, Cuscino per divano (Diva/no), 1973

Rome:
Tragicomica
2 April-20 September 2026
Curated by Andrea Bellini and Francesco Stocchi


Athens:
Grammars of the Possible: Between Word and Sign
Curated by
18 June-26 September 2026

Agathonos 6, 10551 Athens
Tue–Sat | 11:00–19:00

+30 210 3231867
Visit our website (link in bio).

TAPESTRY POEM“Amelia Etlinger although she was influenced by the ideas of Concrete Poetry, Poesia Visiva, correspondence...
15/07/2026

TAPESTRY POEM

“Amelia Etlinger although she was influenced by the ideas of Concrete Poetry, Poesia Visiva, correspondence art and Fluxus, her work did not fit into these categories at the time of creation.

Similarly, her work done during the second wave of American feminism, it cannot be easily classified as feminist art as understood in the early 1970s. Nonetheless, her work incorporated and pushed through the boundaries of all. Mirella Bentivoglio, artist, historian, critic and curator supported and promoted Amelia’s distinctive poetry. In her language of threads, Amelia created wall hangings, fabric assemblages, book art, collages, and packet correspondence poems. Amelia’s intricate sewing with silk threads is often what holds these constructions together.”

_Ellen Marie Helinka

Work:
Amelia Etlinger, Tapestry Poem, 1970s

Ph. by

Grammars of the Possible: Between Word and Sign
Curated by

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue–Sat 11.00–19.00

+30 210 3231867
Visit our website, link in bio

MIRELLA BENTIVOGLIOThroughout the artistic trajectory of Mirella Bentivoglio, a key development is her multi-faceted pra...
11/07/2026

MIRELLA BENTIVOGLIO

Throughout the artistic trajectory of Mirella Bentivoglio, a key development is her multi-faceted practice as a poet, artist and art critic, operating dynamically within the international logo-iconic neo-avant-garde from the 1960s onward.

Beginning with a deep involvement in concrete, visual and object poetry, she progressively expanded her medium into territorial interventions of a linguistic matrix and phonetic performances. She distinguished herself particularly in the production of book-objects, becoming a leading specialist and cultural promoter in the intermediate area of multiple codes of expression. Her structural and curated projects operate through displacement and fragmentation, where language is liberated to assume three-dimensional form, as seen in her landmark public structures.

From the late 1960s, she connected leading figures of international visual poetry and exhibited extensively worldwide. She played a definitive critical role by conceiving and curating the historic Materialization of Language exhibition at the 1978 Venice Biennale. Her work was included ten times in the Venice Biennale up to 2022, alongside major collective appearances at Documenta, the Pompidou Center and the São Paulo Biennial. Recognized globally with institutional retrospectives from Rome to Washington, her legacy is preserved in premier collections including MoMA, the Getty Institute, and the National Central Library of Rome. She died in 2017.

Images:
Im.1: The artist during the installation of “Materialisation of Language”, Venice Biennale, 1978
Im. 2 The artist during the opening of “Mirella Bentivoglio: simbolo come struttura”, Sala 1, Rome, 1984
Im. 3 The artist during the opening if “I silenzi di Anna Torelli”, Cortese & Lisanti Gallery, Rome,2008.

Grammars of the Possible: Between Word and Sign
Curated by

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue–Sat 11.00–19.00

+30 210 3231867
Visit our website, link in bio

PALLET-LIVRE“Elisabetta Gut’s cultural motives were certainly aligned with the artistic dynamics of the times-particular...
08/07/2026

PALLET-LIVRE

“Elisabetta Gut’s cultural motives were certainly aligned with the artistic dynamics of the times-particularly the practices of verbo-visual art, but also, they were deeply filtered through a strong sense of disillusionment toward some of the ambitions that captivated her generation. Her participation in the 1978 Biennale, specifically in the collateral event Materialization of Language curated by Mirella Bentivoglio, was not a moment of exaltation but rather a reasonable acknowledgment of the work she had carried out over the years.(...)
It can be said that during this phase, the artist was deeply committed to strengthening the idea of artistic practice as both a craft and a mental process. The works she has created from the 1980s onward reflect this exact dedication, materialising the construction of poetic objects that feature openings, folds, and intersections”

_ .ru

Work:
Elisabetta Gut, Pallet-livre, 1988-1992

Grammars of the Possible: Between Word and Sign
Curated by

18.06-26.09.2026

Agathonos 6, 10551 Athens
Tue–Sat 11.00–19.00

+30 210 3231867
Visit our website, link in bio

Address

Agathonos, 6
Athens
10551

Opening Hours

Tuesday 11:00 - 19:00
Wednesday 11:00 - 19:00
Thursday 11:00 - 19:00
Friday 11:00 - 19:00
Saturday 11:00 - 19:00

Telephone

+302103231867

Website

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