Momo Athens

Momo Athens Art Gallery
Thaleia Kavvada - Jason Simpson
in association with ArteKunstArt MOMO Athens is a contemporary Art Gallery run by artists.

It focuses on exhibiting emerging Greek and international artists across all media, aiming to provide a platform for innovative new work and ideas.

Grigoria VryttiaArt is my Favourite Drug I (2025)Embroidery on underwear50 x 50 cmIn recent years, the theme of “good gi...
19/07/2026

Grigoria Vryttia

Art is my Favourite Drug I (2025)
Embroidery on underwear
50 x 50 cm

In recent years, the theme of “good girl/child” or “good daughter” has often arisen as a starting point for my works. Women are expected/required to remain invisible during most stages of their lives. In the same way little girls must remain quiet, women are expected to (told to) do the same in the rest of their lives. There is a sense that we are only visible during our reproductive years, and this visibility feels more like an exposure, than an existence. In “Art is my Favourite Drug I”, an old woman’s underwear is embroidered with a representation of female internal genitalia, that embraces symbolic absurdity. The entire structure
resembles plant patterns, while a fish swims inside the uterus and the ovaries are represented by cracked eggs, addressing the issue of visibility and objectification of the female body. As X-Ray Spex have beautifully said: “Some people think little girls should be seen but not heard, but I think ‘Oh, bo***ge, up yours!’”

Danae Tsolaki ._ Stretched Thin III (2026)Monotype ink and ecoline on paper50 x 35 cmMy work explores the social and emo...
18/07/2026

Danae Tsolaki ._

Stretched Thin III (2026)
Monotype ink and ecoline on paper
50 x 35 cm

My work explores the social and emotional pressures that exist in everyday expressions of femininity, focusing on situations of fragility, exposure, and tension. I aim to examine how soft surfaces can record force, preserving traces of compression, repetition, and strain. I am interested in the relationship between fragility and pressure: materials that appear light or transparent are subjected to processes that stretch, deform or stabilise them. I am also interested in the contradiction between the function of clothing as a means of protection and the decay of this promise: thin, transparent materials that, instead of covering or warming, expose and leave the body vulnerable. This failure to function shifts the emphasis from the protection to the appearance.

Marina Tsironi Wishbone (2025)Photograph, cardboard, twine, copper foil185 x 55 cmThe artist develops a multi-layered p...
17/07/2026

Marina Tsironi

Wishbone (2025)
Photograph, cardboard, twine, copper foil
185 x 55 cm

The artist develops a multi-layered practice that focuses on commenting on issues of identity, gender experience and traumatic experiences, from a psychoanalytic perspective. Her work explores the relationship between personal and collective trauma, transferring experiential narratives from the private to the public sphere. Through performance, installations and the creation of wearable objects, she activates the body as a vehicle of memory and as a field for negotiating social records. As a central element of her methodology, she uses cheap and everyday raw materials, which she transforms into masks or objects with a strongly symbolic character. Through this process, the familiar takes on new meaning, while the individual experience crystallises into a collective narrative. Humour and exaggeration coexist with vulnerability, creating an in-between space where trauma can be shared and reinterpreted.

Maritina Tselepi Such a Good GirlPerformanceIn my visual practice, I combine sculptural installations with video art and...
16/07/2026

Maritina Tselepi

Such a Good Girl
Performance

In my visual practice, I combine sculptural installations with video art and the use of texts, as well as elements of experiential action and role playing (Live Action Role Playing-LARP), creating environments where body, image, sound and collective experience coexist in constant displacement. My research interests focus mainly on urban subculture, the music scene, cinema and industrial, raw aesthetics. In “Such a Good Girl”, I intend to raise issues around the female figure and its ideal appearance through standards that society sets for women.

Georgia Theologou L’ Impératrice II (2026)Oil on canvas80 x 70 cmComing from Perama, an industrial area on the outskirt...
15/07/2026

Georgia Theologou

L’ Impératrice II (2026)
Oil on canvas
80 x 70 cm

Coming from Perama, an industrial area on the outskirts of Piraeus, the artist draws strong influences from the intermediate space between decay and transformation. Her work develops mainly through oil painting, with an emphasis on transparency and colour. Her visual vocabulary combines the realistic and the narrative, inspired by fairy tales and symbolism under a feminist gaze, often through images that seem to acrobat between light and darkness, the imaginary and the experiential.

Danai Simou Danai Simou Womanhood (2020)Photographic print60 x 90 cmI work as an interdisciplinary artist, photographer ...
14/07/2026

Danai Simou Danai Simou

Womanhood (2020)
Photographic print
60 x 90 cm

I work as an interdisciplinary artist, photographer and performer, whilst encountering poetic and sound art schemes. My research interests ponder on the subjects of auto-ethnography, sexuality and identity to speak about traumatic constructions, disorderly schemes and acts of pleasure, without either mystifying or demonising their uncanny or ecstatic qualities. My practice follows and embodies the rhythms of experiences, loves, failures and agonies lived; yet, it also lingers on alternative futures, and otherworldly ways of existing within social contracts, interpersonal dynamics and psychopolitical hierarchies. By using the photographic medium as its main narrative or main portal, my practice focuses on reinventing the ethics, poethics and canonical aesthetics of how the female body and psyche are represented; and along with them, the symbolic connotations that notions such as motherhood, affect, labour and power, have in the public discourse, amongst others.

Lydia Simon Exclamation Mark I (2026)Blanket fragment, thread, plexiglass15 x 21 cmThe textile fragment of a duvet in p...
13/07/2026

Lydia Simon

Exclamation Mark I (2026)
Blanket fragment, thread, plexiglass
15 x 21 cm

The textile fragment of a duvet in postcard format evokes a space in which expectations of comfort, intimacy and privacy collide with the structural invisibility of domestic violence. The duvet functions as a surface on which intimacy is presumed and consent is often imagined rather than negotiated. The cut-out word “Nein” (“No”) appears not as an additive mark, but through the absence of material. This negative form can be read simultaneously as an opening, an incision and a boundary. Compressed between two acrylic glass plates, the textile fragment is condensed, conserved and transferred into a mode of evidentiary display. The work points to the political dimension of the private sphere.

Vasiliki Siatara Under Construction (2025)Acrylics on white sheet110 x 80 cmMy main subject remains the human, the child...
12/07/2026

Vasiliki Siatara

Under Construction (2025)
Acrylics on white sheet
110 x 80 cm

My main subject remains the human, the child and small, daily moments that tangle the present with the past and are usually transformed on a white sheet into symbols and images, with multiple interpretations. I set up pictures, usually with figures from my close family environment, narrating a story that each individual viewer may read according to their own personal experiences. Memory, diversity, inclusion, identity and belonging, attempt to be reflected on my work. I use representationalism, ”cancelling” it at the same time in various ways.

Ariane Severin Mildred (2026)Mixed media collage, embroidery30 x 20 cmMildred is a good girl. She put on her mask and do...
11/07/2026

Ariane Severin

Mildred (2026)
Mixed media collage, embroidery
30 x 20 cm

Mildred is a good girl. She put on her mask and does the dance, the one on her knees. The mask is stitched on her face, otherwise it could slip and reveal her true self. Because then people could think she is not a good girl. She used to be called Lo**ta, but that was when she was much younger. Men really liked her then. Now they are different kind of men. But she keeps on dancing. Maybe one day she will take off her mask.

Sara Rosenthal Parthenope Sunday in her Room (2023-2026)Mixed media installationDimensions variableThe title is drawn f...
10/07/2026

Sara Rosenthal

Parthenope Sunday in her Room (2023-2026)
Mixed media installation
Dimensions variable

The title is drawn from an evolving multidisciplinary series exploring mythological archetypes of femininity in the Mediterranean. The images and objects assembled in this piece relate to research into the character of Parthenope, the siren who fails to seduce Odysseus with her song and ultimately drowns herself in sorrow (an inverse Little Mermaid story; she sings and is not silent, but dies at the end).

She’s a good girl,
she collects her shells,
never causes trouble
for anybody else

she’s a good girl,
never makes a sound,
except for the wildness,
kicking out of bounds

she’s a good girl,
in her silent cave,
witnessing the animal
in her that craves

she’s a good girl,
and yet f**k this noise:
she’s going to the party,
she’s licking all her toys.

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Kallergi 4
Athens
10437

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Friday 12:00 - 17:00
Saturday 12:00 - 17:00
Sunday 12:00 - 17:00

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