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I S S U E # 5 1 | AT H E N S | W I N T E R 2 0 2 1 - 2 0 2 2

ISSUE #51 | WINTER 2021-2022 TA K E Y O U R F R E E C O P Y

SP ECI A L REP ORT: THE PARTHENO N S CULPTUR ES M ODERN P H I L H EL L EN E: THE US AM B AS SADO R GEO FFR EY PYATT SH OP P I N G GUI DE: GR EEK FAS HIO N & JEW ELR Y

FROM THE BOOK: THE REUNIFICATION OF THE PARTHENON SCULPTURES, EDITED BY THE HELLENIC MINISTRY OF CULTURE AND THE MELINA MERKOURI FOUNDATION; PRODUCTION BY KAPON EDITIONS, ATHENS 2003 (2nd EDITION)

WELCOME

WHAT IS NORMAL?

BY NATASHA BLATSIOU deputy editor

I’M TIRED OF READING ABOUT THE "NEW" NORMAL, about how the pan-

demic is an opportunity to fix humanity and change our way of living, and I don't want to see any more lists on how to adapt to social distancing, either.

Why? Because I think normal isn't about surviving, it's about living. For me, "normal" means doing all the small things that scare us now: exploring new places and traveling without trepidation; having a long, relaxing breakfast in the busy dining room of a city hotel or a country inn; enjoying a meal, out or at home, at a large table packed full of friends; or sitting down in a cozy café or a loud bar with someone we love. For us Greeks, who are known for our intimate exuberance – we hug, kiss, dance, eat from the same plate, walk arm in arm, form large groups of friends – the need to resume physical contact is extremely powerful. As Greeks, we're at our best when we're free to come together.

This issue of Greece Is – Athens is dedicated to this need to get back wholly to our lives, but there is another key aspect to the return to normalcy for the Greek capital that has been missing for more than two centuries: the Parthenon sculptures. Today, only half of the ancient citadel’s sculptural elements are in the Acropolis Museum, looking out at the Sacred Rock – the rest are in the British Museum in London, cut off from what was once an organic whole, a symbol torn asunder long ago and still disjoined today. An in-depth look at the subject, the result of extensive research conducted by the Greece Is team’s archaeologist, Duncan Howitt-Marshall, sums up everything you need to know about this unique monument to human achievement and aspiration, its turbulent history, how intrinsic parts of it were snatched away, and what you can do to support the demand for their return.

In 1983, Greece's Minister of Culture Melina Mercouri petitioned for the return of the Parthenon Sculptures under the rallying cry “I want my Marbles back.”

Since then, many other efforts, Greek and international, have followed. This past November, the Greek Prime Minister Kyriakos Mitsotakis, during his first official visit to 10 Downing Street, repeated the desire of the Greek state and its people, explaining to his counterpart, Boris Johnson, that reuniting the Sculptures was a moral as well as a political necessity. After all, in the end, what’s normal is being back together again.•

©2020 Marriott International, Inc. All Rights Reserved. All names, marks and logos are the trademarks of Marriott International, Inc., or its affiliates.

H O T E L S T H AT D E F I N E T H E D E S T I N AT I O N ™

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CONTENTS

G REECE IS — ISSU E#51 — ATH ENS — WI NTER 2021 -2022

110 10 | N E W A R R I VA L S

The latest Athenian hotspots

24 | LOC A L S

Six Athenians offer tips and share secrets

28 | AGE N DA

There’s always something on

38 | CIT Y R EPORT Athens at the moment

48 | A N A M ER IC A N F R I E N D

A candid interview with the US Ambassador Geoffrey Pyatt

58 | A R DIT TOS HI L L

Ode to a park, anatomy of a culture

68 | N EIGHBOR HOOD New times in Neos Kosmos

78 | IT ’S A W R A P!

Our tried and true guide to the best souvlaki joints in Athens

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87 | SHOPPI NG

Splash out on Greek fashion and jewelry and be pampered in some of the best hair and beauty salons in the city WINTER 2021-2022

CONTENTS

78 110 | A BDUC T ED

A special report on the Parthenon Sculptures and the campaign for their return back home

138 | E VOLU T ION

The surprising modernity of Athens

58

148 | E X PER I E NC E

“Searching for Plato with my 7-year old”

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PUBLIC RELATIONS welcome@greece-is.com

ISSN: 2529-041X 6 — GREECE IS

WINTER 2021-2022

GREECE IS - ATHENS is a biannual publication, distributed free of charge. It is illegal to reproduce any part of this publication without the written permission of the publisher.

ON THE COVER Far from home: marble statue from the West pediment of the Parthenon, identified as the winged goddess Iris © The Trustees of the British Museum

EXPLORE MORE

© PERIKLES MERAKOS

© ACROPOLIS MUSEUM/GEORGE VITSAROPOULOS

SELECTED STO RI ES FRO M OU R WEBSITE

THE TOP 10 DOCUMENTARIES ON ANCIENT GREECE ON YOUTUBE

A guided stroll (with map!) through the most famous neighborhood in Athens, layered with history and full of sights and experiences for the modern travel.

The ultimate crash course in ancient Greece: the Parthenon, Athenians, Spartans, Alexander the Great and more.

These engaging videos cover it all.

REIGN OF COLOR: STREET ART SHINES IN ATHENS

THE KEY ARCHAEOLOGICAL SITES & MUSEUMS IN ATHENS (map included)

The rise of street art in Athens and some of the city's best new wonder walls: concrete canvases transformed by talented artists with an edge.

The most important ancient sites and museums in Athens, handy map included. Bookmark it for your next visit and let your smartphone be your guide!

© PERIKLES MERAKOS

© DIMITRIS TSOUMPLEKAS

WHERE TO GO IN PLAKA: A GUIDE TO THE NEIGHBORHOOD OF THE GODS

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FOU R SEASONS ASTI R PALACE HOTEL ATH ENS MAKES TH E HOLI DAYS EXTRA SPECIAL Leave you r Ch ristmas a nd New Yea r’s celebrations in the ha nds of professiona ls th is yea r, for a luxu rious, stress-free a nd memora ble holiday season .

On a pine-studded peninsula on the Athenian riviera, Four Seasons Astir Palace Hotel Athens is offering a festive escape just south of the buzzling city. This season, the luxury resort in Vouliagmeni will be transformed into a silvery white ”winter palace” by the water, where a program of events will spread joy over the Christmas and New Year holidays.

At the resort’s restaurants, four calling birds told us that the renowned chefs have already planned their special menus. Elevated takes on seasonal classics at Italian trattoria Mercato will warm your heart, while at critically acclaimed Pelagos, inventive and luxurious delicacies will satisfy the holiday cravings of even the most demanding gourmand.

For some last-minute gift shopping, a special pop-up store in the Nafsika lobby is offering signature home items and a mouthwatering selection of deli products

by Pelagos restaurant. Alternatively, a Four Seasons Gift Card, which your loved ones can use to enjoy a tasting menu or perhaps a pampering spa treatment, is a gift that is guaranteed to delight. The spa’s special holiday wellness experiences, in particular, are the perfect way to relax and get into the festive spirit.

Meanwhile, kids will be royally entertained at the hotel’s Kids Club where an array of holiday-inspired activities will include storytelling afternoons and a festive treasure hunt.

➺ FOUR SEASONS

ASTIR PALACE HOTEL ATHENS 40 Apollonos, Vouliagmeni Tel. (+30) 210.890.1000 fourseasons.com/athens

new ARRIVALS

© JEROME GALLAND

WHAT’S H OT I N ATH ENS

DELTA

A food destination that's a leading light ATHENS HAS NEVER LACKED good food or high-level gastronomy. However, Delta, created through the initiative of, and with a grant from, the Stavros Niarchos Foundation and housed within the glass walls of the fifth-floor “Lighthouse” at the Renzo Piano-designed Stavros Niarchos Foundation Cultural Center, isn't just another good restaurant. It’s a gastronomic destination, and the distillation of the international experience brought by two young chefs from the three-star Michelin restaurants in Denmark and Norway where they worked. Thanos Feskos and Giorgos Papazacharias both operate as head chefs; together with three souschefs and a team of cooks, pastry chefs, top sommeliers and bartenders, they make up an exciting hospitality crew equal to the high standards of the SNFCC. With attention to every detail, from the 1 0 — GREECE IS

wrought-metal décor on the bar to the futuristic ceramic underplates and the six amuse-bouches which open the meal, every night here is a celebration of gastronomy. The Delta farm just outside Athens provides all the herbs, salads and edible flowers in an important first step towards sustainability. Together with other select ingredients cooked using a range of pioneering techniques, these are used in all three menus – omnivore, vegetarian and vegan – which are available with wine pairings from Greek and international vineyards. In addition to turning out bright cutting-edge culinary creations, Delta also acts as a virtual lighthouse for all local culinary talent; the achievements of its two chefs have lit the way ahead for others. nena dimitriou 364 Syngrou Avenue, Kallithea deltarestaurant.gr

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A GOAL WITHOUT A PLAN IS JUST A WISH. Antoine de Saint-Exupéry

WineArtEstate.com

NEW ARRIVALS

LI N E

ITS SLOGAN is “The Method of Anarchy.” It seems the next place to be in Athens has an irreverent character. The name “Line” refers to the timeline of fermentation, the central concept behind this new venture

by Nikos Bakoulis and Vasilis Kyritsis, whose cocktail bar The Clumsies is ranked no. 3 in the 50 Best Bars list, and Dimitris Dafopoulos, co-creator of the Three Cents line of artisanal sodas. Line experiments with wine, bread and beer, focusing on unexpected ingredients.

The former industrial building, which until recently housed a gallery, contains a microwinery producing wines from fruit other than grapes. The bakery makes bread with fruit as well, while the wine dregs are used to mature local cheeses, in collaboration with Greek cheesemakers.

The statuette of Aphrodite isn't just decorative; it's also a tap for the fresh beer which the owners produce as contract brewers in a nearby microbrewery. All alcohol, and other ingredients on the menu such as syrups and cordials, are produced with sustainability in mind. This commitment also extends to the allday café bar, which serves quality coffee and tasty food for all hours of the day as well as some great cocktails. In short, Line aspires to turn Petralona into the next hotspot. nena dimitriou 37 Agathodemonos, Kato Petralona 1 2 — GREECE IS

© PERIKLES MERAKOS

Have you ever had grapeless wine?

THE OWNERS From left to right: Vasilis Kyritsis, Dimitris Dafopoulos and Nikos Bakoulis WINTER 2021-2022

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NEW ARRIVALS

NORMANOU STREET

A little shortcut to enjoyment NORMANOU HAS ALWAYS been a special case, a secret little alleyway with shades of old Athens

and beautiful neoclassical buildings, some of which are derelict and graffiti-covered, others well-preserved. In the mornings, the street fills with bric-a-brac stalls: antiques, old bikes, art nouveau mirrors and lampshades, posters and artworks make for an eclectic scene. Passersby nod along to the beats of DJ parties which are frequently organized on the block. When darkness falls, the open-air gallery closes, giving way to the nightlife. At So So So (7 Normanou), warm yourself up with a hot bowl of ramen; at Couleur Local (3 Normanou), sip on a cocktail with a view of the Acropolis; at the newly opened Norman Athens (6 Normanou), sample interesting coffee blends and aperitivos before dark. At TAF (5 Normanou), dining meets art in a multifunctional space full of little corners and curated “ruins” in the courtyard, as well as spaces for exhibitions, performances and even seminars. Athenians have been georgia papastamou, marina petridou loving it for more than a decade.

TAF

Norman Athens

© DIMITRIS VLAIKOS

Couleur Local

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NEW ARRIVALS

Heteroclito

Pnyka traditional bakery

The Bar in Front of the Bar

PETRAKI STREET

H idden in plain sight IT'S LOCATED RIGHT IN THE city center, but it doesn't feel like it. Petraki Street runs parallel

to Ermou, the busiest shopping street in Athens, but manages to keep its own, laid-back rhythm. In just a short block it creates its own little scene, just a stone’s throw away from the hustle and bustle of downtown. Starting at number 1, we find The Bar in Front of the Bar, which serves a different cocktail list every day. On cold evenings, Hanoi (no. 12), is great stop for a steaming hot fragrant bowl of pho. If you need a quick bite, you can try a Japanese-style sandwich at Poke Hawaiian Sushi (no. 7) or try a hot cheese pie or a spinach pie with spicy feta cheese at the Pnyka traditional bakery (no. 23).

Elegant and delicate, the pâtisserie Bon Bon Fait Maison (no. 30) of Kriton Poulis, who served for a decade alongside the famous chef-pâtissier Pierre Hermé, combines French techniques with Greek ingredients. The popular wine bar Heteroclito (2 Fokionos & 30 Petraki) boasts some exceptional labels georgia papastamou and makes for an ideal spot for people-watching.

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© PERIKLES MERAKOS, NICK BOUTSIKOS/NIDIBOU PHOTOGRAPHY, ANGELOS GIOTOPOULOS

Bon Bon Fait Maison

NEW ARRIVALS

T H E C I T Y I S L I V I N G the golden age of gluten. New bakers and pâtissiers with know-how and fresh ideas have reintroduced the public to the joys of natural yeast and the city has been filled with superb sweets and viennoiserie. It began with Kora (44 Anagnostopoulou, Kolonaki), an ultra-modern sustainability-conscious bakery which attracts lines of Athenians every morning for buns, tarts and sturdy sourdough loafs, or croissants made from fresh dough and fine French butter. The hard work of kneading takes 72 hours, but the result pays off every single time.

Croissants are also the specialty of Overoll (27 Praxitelous, Syntagma), a croissanterie offering more than ten different varieties of the item, both sweet and savory.

In the near future, the hottest restaurant in town, Nolan, will acquire a sister establishment, Sweet Nolan, right next door.

Antonis Selekos, the pâtissier and member of the award-winning Funky Gourmet team, has set up a delivery-only kitchen from which he will supply Athens with fine pâtisserie, while two friends with excellent CVs and a history of collaborations with fine dining restaurants across the country, Ioannis Kikiras and Evgenios Vardakastanis, are behind Noble, which will open its doors in time for the holiday season. georgia papastamou

TRY ...the delicious fine pastries and the always fresh sourdough bread.

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© MARCO ANGUELLO/@MARCOANDRES

Indulgent pastries

NEW ARRIVALS

ZOO DOCH OU PIG IS STREET

H ip, stylish , green & tasty OLD RECORD SHOPS, second-hand cloth-

Kopria

Kallidromiou Farmers' Market

The Black Salami

ing spots, coffee shops and the occasional bar were, until recently, the main components of a somewhat colorless scene on Zoodochou Pigis Street, which received its first injection of fresh life when Kopria (30 Eresou & Zoodochou Pigis), the first contemporary plant and garden store in Athens, opened on the corner with Eressou Street. On its shelves, you’ll find all those amazing plants you see in modern interiors and influential Instagram accounts. The knowledgeable team can recommend a plant for your home, or a bouquet; their flower arrangements look like something out of a fairy tale. A few doors down, Giorgos and Iasonas sell their own brand of authentic streetwear at Mohxa (59 Zoodochou Pigis); they started by making shirts with inventive designs as a side project and, in 2013, launched with a stylish shopfront. An on-trend tribe with strong views on music and advanced skating and surfing skills has adopted their wellmade clothes. The latest talk of the street is micro-bakery Black Salami (71 Zoodochou Pigis).

Who doesn’t love sourdough? Here, the cool new crowd and the long-term neighborhood residents pick up wild green pies and sourdough loaves. We recommend either the pastrami sandwich or the eggs Florentine served on a superb brioche. You’ll also find classic Greek ingredients served on bread. Saturday is a great day for a stroll along neighboring Kallidromiou, which hosts the biggest farmers’ market in Athens, and also features street musicians. nena dimitriou, georgia papastamou

© PERIKLES MERAKOS, ANGELOS GIOTOPOULOS

Mohxa

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Vittoria Gati is a modern all-day Italian Brasserie with an inherent New York influence embedded in the décor and food.

On the menu you will find fresh handcrafted pasta and Black Angus tagliatta, while their 5-day fermented pizza is baked in a wood-burning oven. There is also an extensive wine list and a team of mixologists creating unique aperitifs and cocktails.

For your convenience, you are advised to book in advance.

Vittoria Gati Nymfon square 1, Glyfada Athens | Tel.+30 210 89 44 491 Open Daily 13:00pm-00:00am

www.vittoriagati.com

45 Years Masoutis For 45 years now, Masoutis supermarkets have been here for every family.

To celebrate their anniversary, they're bringing a story about the sweetest family in the world to our television screens, a family like the one each of us invented for ourselves when we first felt grown up, which is to say, at the age of five or so.

In the new campaign, our two little protagonists Dionysis and Margarita play at being parents themselves, cooking for their stuffed animals, taking care of their baby (who happens to be a toy dinosaur!) and romping around with their dog, who always manages to gets everything wet.

Of course, Masoutis is always there to provide real solutions, even for this made-up family.

w w w. m a s o u t i s . g r

From the very first family to the one you will have for a lifetime.

Here for every family. Here for you.

LOCALS SI X AT H E N I A NS OFFER T IPS A N D SH A R E SECR ETS T E X T : V L AS S I S KO S TO U R O S I L L U S T R AT I O N S : P H I L I P P O S AV R A M I D E S

1. It’s a date: 2. Guilty pleasure 3. Shopping therapy 4. My secret is…

5. Outdoor fun MICHAIL TABAKAKIS Actor

PANOS GIANNIKOPOULOS Art Curator

1. Oinoscent (45 Voulis) is the best wine bar in Athens. A meeting point for wine lovers, it’s a great spot even if you don’t like wine at all because the food menu is adorable.

1. Squeeze in and get closer at the bar Santarosa (69 Asklipiou), a gothicstyle space with a tangerine mood: great music and great drinks. Nothing can go wrong.

2. The Birdman Smash. It's the ultimate burger and mypersonal favorite as an official burger addict. Just what you want for your cheat day. Birdman (35 Voulis).

2. Pleasure knows no guilt. The ’nduja sourdough pizza and the burnt cheesecake at Proveleggios (11 Paramithias) are both irresistible.

3. Minu (50 Sarri). A concept store where you can buy everything in the place: the chair you're sitting on, the cup holding your coffee, the mirror you're taking selfies in, even the plants.

4. Ioanna Liberta (4 Ipatias). In the heart of the city, there's a tiny street where a real artist works. Greek designer Ioanna Eleftheriou creates amazing jewelry for all fans of aesthetics and unique fashion.

5. Padel. A different kind of athletic fun.

What’s better than Sunday morning with friends? Call three of them (you need four to play) and set a time to meet at Athens Padel Club in Glyfada (86 Andrea Papandreou Avenue).

NADIA GERAZOUNI Director at The Breeder Gallery 1. At Au Revoir (136 28is Oktovriou), the oldest bar in Athens (designed by renowned architect Aristomenis Provelegios), you’ll feels as if you’ve traveled back in time!

2. Late night dinners at Arta (52 Iasonos), a small place across from The Breeder Gallery. It serves delicious traditional keftedes (meatballs) and french fries.

3. A Future Perfect + Friends (23 Praxitelous), a design store with a selection of wonderful homeware, clothes and fashion accessories.

4. Witzwort (15 Fan Vaik) is a fabulous old-style bar hidden in the residential area of Alimos.

5. A walk around Lycabettus Hill followed by an Aperol spritz at Prasini Tenta, perfect for panoramic city views.

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3. Yiorgos Eleftheriades is my first – and most reliable – stop when in the mood to shop. His clothes are consistently great (29 Tsakalof) 4. The upper floors of Martinos Antiques (50 Pandrossou) that exhibit international contemporary artists, curated by Andreas Melas. A secret within what's almost a secret, in a great location.

5. The city itself is one big arena for outdoor fun; its alleys, architecture, hills and gardens. I love Eleftherias Park, home to the Athens Municipality Arts Center. You can combine a vist to an exhibition with a drink in the park.

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LOCALS

1. It’s a date: 2. Guilty pleasure 3. Shopping therapy 4. My secret is…

5. Outdoor fun IRENE SKYLAKAKI Singer-Songwriter

DAPHNE KARAVOKYRI Journalist

1. I always take my friends from abroad to warm and cozy Yiasemi (23 Mnisikleous, Plaka) for delicious homemade pies and tarts on a rooftop with beautiful plants tended by Mariza (the owner).

1. Kivotos (32 Dios, Kifissia) is a top taverna with good food served in large portions. It has the best meat dishes you'll find in the city, and a Sunday feel every day.

2. For those days when you crave chocolate, head to Tzanetis (24 Iroon Politechniou, Nea Erythrea) and immerse yourself in the sweet hell of bitter profiteroles.

2. I’m not a fan of guilt, but I am a huge fan of Italian food and, for me, there’s only one Italian restaurant that always hits the spot: L’osteria da Claudio (26 Kosta Varnali, Halandri), where the wonderful waiter Stelios presents the ever-changing menu.

YIORGOS MESIMERIS Fashion stylist /Founder HardClo

3. I hardly ever indulge in shopping therapy, but I do remember discovering the magical clothing market of Egaleo a few years ago. I’d happily go back to Casualito (27 Nikolaou Plastira, Egaleo) for their beautiful Italian fabrics and the even more wonderful people who work at this shop.

1. Heteroclito (2 Fokionos) is the most beautiful meeting place in Athens, ideal for good wine and relaxing with friends after work.

4. Down a hidden alley and safe from the bustling Kypseli crowds, Kick (26 Sporadon), is a super cool spot with delicious coffee, vegan delicacies and small fashion brands.

2. Undoubtedly the fresh croissants with cheese and jam that Dimitris makes at Le Petit Village (2 Fokionos).

And don't forget to try the refreshing homemade lemonade!

5. A dog-walk at Pedion tou Areos Park, especially during office hours when it’s quieter. Green spaces, breathing room, and a lady who feeds the birds Mary Poppins-style.

3. I'm in love with Mov Skiouros (3 Aghiou Georgiou Karytsi Square).

Let your thoughts travel and your imagination run wild as you look through the rare books you'll find in this, the most beautiful bookstore in the city.

4. Diporto (9 Sokratous & Theatrou) is a traditional Greek taverna near the central market of Athens. Dimitris awaits you there, always ready to serve you his chickpeas and his best smile.

5. At sunset, I like to walk around near the Acropolis. There's nothing better than watching the city lights go on as night falls.

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3. For vintage clothes that remind me of Paris, I go to the Kilo-Shop (120 Ermou). At The Scent in Kolonaki (10 Skoufa), there are scented candles, perfumes and creams that will bring you ease and inner peace.

4. Safe House (1 Vakchon & Leoforos Dionysou, Dionysos). Hidden in a forest outside the city, this is a place where it feels like time has stopped and you’re free from the troubles of everyday life.

Another secret? Elvit in Kifissia (68 Dionysou), the butcher shop that you'll want to frequent every day.

5. Alsos Syngrou (2 Mykalis, Maroussi). is an urban oasis where you can revel in the magic of nature and the sense of freedom that such greenery gives.

AGENDA ALWAYS SOM ETH I NG ON OUTSTAN DI NG EXH I BITIONS AN D EXCITI NG PERFORMANCES FI LL TH E CITY'S CU LTU RAL CALEN DAR

© IRINI KARAYANNOPOULOU

BY X E N I A G E O R G I A D O U

To 20/01/2022

REWRITING IDENTITY WOMEN POSING SEDUCTIVELY in erot-

ic French postcards from the 1950s, Las Vegas dancers swaying gracefully as the lens captures them for adverts, fashion models gazing sensually at the camera: all these women are present in Irini Karayannopoulou’s work. She draws on the pages of vintage magazines and adverts, and then prints the images, enlarges

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them, combines them using collage and draws on their faces again, until they acquire a new identity of sorts. “The Greek artist negotiates the manipulation of women in her own non-apologetic way,” comments curator Efi Falida. * “Irini Karayannopoulou / Hotberg,” Antonopoulou Gallery, 20 Aristofanous, Psyrri, aaart.gr

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1 0/02 To 05/06/2022

G REEK SU RREALISM 1 6/12/2021 To 13/02/2022

“I DO NOT BELIEVE in the school of Surre-

alism. But it suits me. What I have tried to do is update it with Greek elements, add a hint of Greek metaphysics, and elevate it from the simple grimace [Western Europeans] have stopped at. I think Surrealism today means anything that people view with passion.” On the occasion of the 37th anniversary of the death of the great Surrealist painter and poet Nikos Engonopoulos, the Theocharakis Foundation is organizing a major exhibition of his works. * “Nikos Engonopoulos: Orpheus of Surrealism,” B & M Theocharakis Foundation for the Fine Arts and Music, 9 Vasilissis Sofias & 1 Merlin, thf.gr

MASTER OF ABSTRACTION SEAN SCULLY , perhaps the most important representative of abstract painting today, returns to Athens ten years after his last exhibition.

This retrospective includes 103 works – oils, aquarelles, acrylics, sketches and an imposing sculpture – from throughout his 60-year career. * “Sean Scully: Passenger. A Retrospective,” Benaki Museum–Pireos 138, 138 Pireos & Andronikou, benaki.org

20/12/2021

M ELODIC M I N I MALISM

© RYUHEI SHINDO

T H E P H I L I P G L A S S E N S E M B L E , the experimental orchestra the composer created in 1968 to perform his works, is coming to Athens to present “Music in Eight Parts” (1970), among others. Glass was forced to sell this particular work due to debts, and it had since been considered lost. * “Music in Eight Parts & Other Works,” Greek National Opera–Stavros Niarchos Hall, Stavros Niarchos Foundation Cultural Center, 364 Syngrou, Kallithea, snfcc.org

AT H E N S

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AGENDA

17, 1 9, 24, 26, 29, 31/12/2020 & 02/01/2022

A N EW N UTCRACKER To 27/02/2022

A TASTE OF CH I LDHOOD LEAVING BEHIND Constantinople and the family bakery, and arriving in Piraeus in 1922, Evangelos Papadopoulos quickly realized that biscuits were not really well known in Greece.

The history of a company that many Greeks associate with their childhood unfolds in this great anniversary exhibition. * “Papadopoulou 100: The Story of the Company, 1922-2022,” Benaki Museum–Pireos 138, 138 Pireos & Andronikou, benaki.org

1 6/12/2021 To 29/01/2022

DARK DAYS

© ANDREAS SIMOPOULOS

IN 1939 , just before the world entered one of the darkest periods in modern history, filmmaker Jean Renoir depicted in his “The Rules of the Game ” the moral degradation of the bourgeoisie as a harbinger of a new, painful era. Ten artists comment on this film through ten artworks, engaging in a dialogue with one of the greatest masterpieces of the Seventh Art. * “The Rules of the Game,” The Project Gallery, 3 Normanou, Monastiraki

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© PAPADOPOULOU COMPANY HISTORICAL ARCHIVE

“DREAMS AND REALITY are sweetly entangled in Klara’s fragile childhood universe. She’ll see the most wonderful dreams in the embrace of the Nutcracker, but also the most frightening nightmares,” says the director of the Greek National Opera, Konstantinos Rigos. Just as in other classic works such as “Swan Lake” and “Don Quixote,” the Greek choreographer finds fertile ground in this Christmas tale to showcase the darker – and less often explored – aspects while also connecting it to the present day.

Costumes are designed by Greek fashion house Deux Hommes. * “The Nutcracker,” Greek National Opera–Stavros Niarchos Hall, Stavros Niarchos Foundation Cultural Center, 364 Syngrou, Kallithea, nationalopera.gr

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Pendant olive branch, Museum of the Olive and Greek Olive Oil

TAKE A PI ECE OF CU LTU RE HOM E ...

Paper cut-out game, Environment Museum of Stymphalia

In the heart of Athens, at City Link, you’ll find the MUSEUMSHOP of the Piraeus Bank Group Cultural Foundation, where there are unique gift ideas for you and your loved ones, all inspired by the Foundation’s nine Museums across Greece. You'll discover jewelry, decorative objects, office accessories, children’s games, and other amazing creations.

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Cufflinks, Silversmithing Museum

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➺ PIOP MUSEUMSHOP 21 Spyromiliou Arcade, Ground Floor Tel.(+30) 210.322.4923 www.piop.gr Opening Hours: Mon - Wed: 10:00-18:00 Tue - Thu - Fri: 10:00-21:00 Sat: 10:00-16:00

AGENDA To 1 6/01/2022

From 17/12/2021 To 27/02/2022

PHOTO: PARIS TAVITIAN, © MUSEUM OF CYCLADIC ART

TH E VISITOR RENA PAPASPYROU , hailed as one of Greece's

greatest postwar artists, continues to be fascinated by the wear of time on matter. On the ground floor of the Onassis Cultural Center, on a corner wall she designed especially for this show, she presents an installation made up of pieces detached from the wall of a derelict house in the Athens neighborhood of Pangrati. The building’s exterior walls reveal traces of graffiti, and otherwise unseen wall layers show stratification and other marks accumulated over time, as well as evidence of the process used to detach the sections. The result is an arbitrary new wall invading a “normal,” carefully designed space. * “Vryaxidos 11 and Aspasias: Images Behind Matter,” Onassis Cultural Center – Stegi, 107 Syngrou Avenue, www.onassis.org

TH E U LTI MATE BEAUTY “IN THE JOURNEY OF WORDS , some still shine

faintly while others have taken on another identity – and so in modern Greek the word ‘kallos’ has been mistakenly replaced with beauty,” notes Professor Nicholas C. Stampolidis on an exhibition that presents all aspects of ancient Greek kallos, a notion that includes inner beauty as well as our outer appearance. Featuring 300 antiquities from Greece, Italy and the Vatican, it examines what we consider beautiful through this particular prism. * “Kallos: The Ultimate Beauty,” Museum of Cycladic Art, 4 Neofytou Douka / Vasilissis Sofias & 1 Irodotou, cycladic.gr © THEOFILOS MUSEUM COLLECTION, MUNICIPALITY OF MYTILENE

To 03/02/2022

A PEOPLE’S TRADITION “THEOFILOS IS THE TRADITION of a country

and of a people,” states Takis Mavrotas, curator of a high-profile exhibition on the Greek folk artist Theophilos Hatzimichail. Approximately 95 precious artworks (on cloth, wood, pieces from wall paintings and metallic surfaces) reveal the visionary world of an artist who would have remained unknown had his work not been championed by publisher Stratis Eleftheriadis (Tériade). * “Theofilos: The Evzone of Painting,” B & M Theocharakis Foundation for the Fine Arts and Music, 9 Vasilissis Sofias & 1 Merlin, thf.gr

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© DIMITRIS TAIRIS

FOR TH REE DECADES, TRITON ACT HAS BEEN A BYWORD FOR SUCCESS I N TH E CONSTRUCTION I N DUSTRY.

“OUR WHOLE LIFE CAN BASICALLY be summed up in these three decades in the industry. We have evolved not only on a professional, but also on a personal level.

We have many clients that have remained at our side for more than 25 years. Employees, as well. Our team is our most important asset. Reading history books turned me into a admirer of Theodoros Karaiskakis. He knew everything about his team, and was able to inspire them and achieve the best possible outcome. That's what I aspire to do. This is what the company’s great legacy to the next generation will be.”

Emmanouil Chatzimanolakis, founder of TRITON ACT, adheres to the company's founding values: reliability, consistency and honesty.

“We take pride in completing every project - no matter big or small - on time and on budget. Other aspects of our work we take pride in are introducing new products and innovative services, equal working conditions, presenting a team that consists of both sexes and various ages and ethnicities, being a reliable partner to client-vendors and banks, andrealizing the importance of

our social footprint and the environmental responsibility we carry as a company,” says the founder.

TRITON ACT specialises in the study and construction of special-purpose buildings, mostly hospitals, clinics, rehabilitation centres, and hotels. They have worked on some of the country’s largest hospitals.

“It is an honour for our company to have been able to work with almost the entirety of the Health sector of the country,” Chatzimanolakis says. “It is a great challenge to deliver practical, functional yet aesthetically pleasing spaces that are to be used by both patients and the medical staff. We have incorporated various international trends in our constructions, emphasising not only ergonomics but also aesthetics.”

Looking forward to many more decades ahead, the founder is resolute in steering TRITON ACT in the same direction, honoring the same vision. “Our company values have remained the same ever since we first started,” he explains, “but we‘ve also quickly adjusted to the technological developments and environmental issues of our time.”

Info: Tritonact.gr

AGENDA To 20/01/2022

STREET ART

COURTESY: PHILIP A. ZIMMERMANN & BERNIER/ELIADES GALLERY

THE BERNIER-ELIADES Gallery in Athens presents a new solo exhibition by the German photographer and painter Philip A. Zimmermann.

With clear influences from urban art and graffiti, Zimmermann conveys our rapidly changing world through his artworks. For many years graffiti and tagging were considered vandalism, though today it has become more accepted as an honest reflection of social trends. “Street art is a significant criticism of the system and the status quo. This struggle must be guided by the younger generation, instead of having them waste their years away in front of a screen.” * Bernier-Eliades Gallery, 11 Eptachalkou, bernier-eliades.com

22/12/2021 To 1 6/01/2022

H UMAN MOTHS A CHOREOGRAPHER who's not really

© JULIAN MOMMERT

sure what he wants to say when he arrives for rehearsals begins with an idea, and the performance begins to deviate from that initial concept. “I reserve the right to change everything at the last minute. If I speak to you, I will most definitely mislead you or give away spoilers. What can we really say about intentions? Art is doing,” says Dimitris Papaioannou, one of the most visionary storytellers in the performing arts. The new performance is inspired by the way in which moths use a distant source of light for orientation. * “Transverse Orientation,” Onassis Stegi, 107 Syngrou, onassis.org

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H EL L E N I C R EPU B L I C M I N I S T RY O F D E V E LO PM E N T A N D I N V E S T M E N T S S PE C I A L S E C R E TA R I AT FO R E R D F & C F PRO G R A M M E S M A N AG I N G AU T H O R I T Y O F EPA n EK

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HAVE YOU EVER EXPLORED TH E H ISTORY OF TELECOMM U N ICATIONS VIA AR AN D VR TECH NOLOGY? Visit the OteG roup telecom munications museum !

The OTE G rou p Telecom m u n ications M useu m was fou nded i n 1 990 as a m useu m of tech nology with the a i m of rescu i ng , preservi ng , docu menti ng , resea rch i ng a nd d ig itizi ng materia l concern i ng the h istorica l evolution of G reek com m u n ications , a nd of presenti ng them to the pu blic. O ne of the most i m porta nt u nderta ki ngs of the m useu m is the com plete docu mentation a nd d ig itization of its collections , creati ng a legacy for futu re generations i n the form of a scientific record of the h istory of telecom m u n ications i n the cou ntry.

Its collections a re consta ntly bei ng en riched a nd i nclude over 4000 a rtifacts a nd a vast a rch ive of more tha n 33 ,000 docu ments , ma ps , telephotog ra phs , photog ra phs a nd a ud iovisua l items.

For museum visitors, this journey through time begins on the first floor with exhibits on the preelectrical and electrical eras, narrating the history of communication from ancient times to the era satellite telecommunications through objects such as telephones and Morse telegraph machines, as well as via interactive applications of new technology (Augmented and Virtual Reality), with audiovisual material that brings the experience to life. The trip through the museum and through the ages finishes on the second floor with an exhibit on the development of networks (analog to digital), the history of the internet, the evolution of cell phone technology and Greece's first television studio, dating from 1967.

Looking outward as always, the museum has filed and digitized 70% of its collections so that they are easily accessible to the public and to members of the research and scientific community; the website, too, is readily accessible, allowing for virtual tours of five different sections of the permanent exhibition, among other virtual capabilities. At the same time, the museum remains open to the community through events, innovative educational programs and initiatives involving more than 13,000 visitors a year.

As for educational programs, the Telecommunications Museum has planned, for the first time this year, two different virtual art workshops for schools in remote areas of Greece, on topical issues that included recycling and other forms of environmental protection. In the first workshop, for students in kindergarten, 1st and 2nd grade (6-9 years old) and entitled “Musical Instruments From Recycled Materials,” children will create musical instruments (small

drums, maracas, bells, etc.) using recycled materials to learn about the importance of recycling and reusing objects in our everyday lives. The second workshop, “The Museum In Our Suitcase,” for students in third, fourth, fifth and six grade (10-12 years old) is inspired by the work “Suitcases” by Alexis Akrithakis, one of the most important representatives of European Modernism. Children will select recycled materials from their “suitcase” to shape their own model of the telecommunication cable-laying ship, Thales of Miletus, and the iconic Tamura telephone on display at the museum.

Participation in both workshops is free —online booking at www.otegroupmuseum.gr is required.

“Musical Instruments From Recycled Materials” will take place on Sunday, December 12th, 10:30-11:30 and “The Museum In Our Suitcase” will take place a half-hour later on the same day at 12:00-13:00.

Stay updated on all the activities of the museum via the website www.otegroupmuseum.gr and on Instagram: @otegroupmuseum

➺

INFO 25 Proteos, Nea Kifissia, Tel. (+30)210.611.0299, www.otegroupmuseum.gr

City Report

ATHENS AT THE MOMENT

On the Comeback Trail

The Greek capital got a nice dose of normalcy over the summer but the shadow of the pandemic lingers, keeping all optimism guarded, at least for now.

BY D I M I T R I S R I G O P O U LO S WINTER 2021-2022

© NICOLAS ECONOMOU/NURPHOTO VIA GETTY IMAGES

CITY REPORT

LET’S FACE IT: this past summer was bittersweet

for most Athenians. With vaccination coverage at around 65% of the capital’s population, it was like a wistful hint of what life might be after the pandemic, as Athens slowly returned to the lively urban pace that suits it so well.

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W T HI NE T2E0R2 22 0E2D1 -I T2 I0O2N2

C

CARS JAMMED CITY thoroughfares once more,

the lanes of ever-popular Plaka were flooded with tourists again, occupancy rates for short-term Airbnb-style rentals shot back up, restaurants and bars welcomed back patrons thirsting for to being among people again, and some long-delayed cultural events finally got the go-ahead. After the end of the spring lockdown, only the masks at supermarkets and other indoor businesses continued to remind us that we were still in the middle of a global health crisis.

These positive developments had an equally positive impact on gross domestic product figures for the second quarter of 2021. Unfortunately, it wasn't a good summer overall. An unusually long and harsh heatwave was followed by dozens of wildfires that razed almost one-third of Attica’s woodlands. Urban forests with an inestimable environmental and historical significance, like the Forest of Tatoi on the foothills on Mount Parnitha, went up in smoke, depriving the city not only of valuable oxygen but also of outdoor leisure space held dear by generations of its residents. The area around Lake Marathon was also hit for the umpteenth time.

FUTURE PERFECT A very different Athenian shoreline graces the photorealistic rendering of what Aghios Kosmas will look like when the redevelopment of the old Athens airport is completed.

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© VANGELIS ZAVOS

CITY REPORT

TIME TRAVEL A virtual tour of the monuments of Ancient Olympia is brought to life with the help of AI devices.

G lobal energy

NEVERTHELESS, the first “proper”

autumn 18 months after the pandemic erupted seemed sufficient to heal some of those summer wounds. At least we were getting our lives back, we told ourselves, and this was true to a significant degree: theaters and cinemas filled up with people again, as did museums and art galleries. But an increase in new infections started showing up in mid-October in Attica, theoretically the most well-buttressed part of the country in terms of vaccination. Now the unvaccinated are banned from almost all indoor public venues, with the exception of pharmacies, supermarkets and churches. The clouds, meanwhile, continue to gather and the prospect of a holiday season without tough restrictions has emerged as the greatest challenge right now.

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MONOCLE MAGAZI N E’S AN N UAL QUALITY OF LI FE CON FERENCE TOOK PLACE I N ATH ENS AN D CON FI RM ED TH E SENSE THAT TH E G REEK CAPITAL WAS LIVI NG ITS “MOM ENT.” WINTER 2021-2022

The new season kicked off in a climate of euphoria, however. Monocle magazine’s annual Quality of Life conference took place in Athens and confirmed the sense that the Greek capital was living its “moment,” at least in terms of the healthy curiosity being expressed from many different parts of the planet. “There’s an energy, you can feel it, you can see that something is happening in Athens,” Tyler Brûlé, Monocle’s founder and editor-in-chief, told Kathimerini newspaper’s K magazine. It wasn't just the data from the airlines, he noted, that show just how well Greece – and Athens in particular – did this summer. International interest in a city is not expressed exclusively by arrivals and by glowing spreads in travel magazines. There are other signs of this “curiosity,” like the still small but

MORE ART, PLEASE

© KOSTAS TSIRONIS/AMNA.GR

The former state-owned tobacco factory (above) is home to contemporary artworks, while there are 19th and 20th-century treasures on view at the Basil & Elise Goulandris Foundation museum (below).

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CITY REPORT

ever-increasing number of international film productions using Athens as a location, or the theaters introducing English surtitles to increasingly ambitious productions. Greece’s National Theater and Opera, the Onassis Stegi Cultural Center and the Poreia Theater are but some of the organizations that are taking the city’s new global outlook seriously.

“You feel the energy because people are talking about it. It’s as if half of Paris has bought an apartment in Athens. It’s exciting to see where it will go,” said Brûlé.

“Where it will go” became very apparent to university students looking for accommodation in downtown Athens at the start of the academic year, as rental rates skyrocketed. According to Themistoklis Bakas, president of the E-Real Estates nationwide network, the biggest increases in the metropolitan area have been recorded in the city center, with rates going up by 20% and even 30%, as opposed to an average of 15% in other areas. The impressive comeback of Airbnb has also played a part.

Launches, plans, construction works

the wing showcasing the permanent collection of Western European art – including Picasso’s “Head of a Woman,” which had been stolen and was recovered in June – is expected to open fully by the end of this year. The National Museum of Contemporary Art (Metro: Syngrou-Fix) is also open and boasts a permanent collection with a few real treasures, as does the Collection of the Basil and Elise Goulandris Foundation (Metro: Evangelismos), close to the Panathenaic Stadium. The collection includes pieces by Cézanne, Van Gogh, Gauguin, Monet, Degas, Rodin, Toulouse-Lautrec, Bonnard, Picasso, Braque, Léger, Miró, Klee, Bacon, Pollock, Chagall and Botero, among many others, and should not be missed. Further afield (Metro: Sepolia) is the former Public Tobacco Factory, an important industrial structure that, under the initiative of the cultural

Old scars, new protagonists

The return of the Apollon Cinema on downtown Stadiou Street is regarded as a very important step in the healing of an old scar. One of Athens’ most

FROM PARIS WITH LOVE "The Death of Marat," on loan from the Louvre Museum, is one of the works in the second temporary exhibition at the renovated National Gallery, which reopened last March.

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All this information may seem superfluous to a person visiting the city for just a few days but, without it, we cannot really predict what kind of Athens might emerge from the pandemic.

On a more practical level, the city has welcomed a lot of new projects in the past few months and has plans for even more. It’s important to note that many of these are bolstering Athens’ profile as a cultural destination beyond its ancient legacy. The partial launch of the expanded and radically revamped National Gallery (Metro: Evangelismos) was the most well publicized of the season. If you’re in the city these days, you’ll be among those lucky enough to see it fresh out of the box; the impressive new temporary 2000-sq.m. exhibition hall was inaugurated on December 1st with “Seeking Immortality: The Art of the Portrait in the Louvre Collections,” a joint production with the famed Parisian museum. Moreover, 4 4 — GREECE IS

organiztion NEON, has started hosting artistic projects, such as the contemporary art exhibit "Portals," this year. A new addition on the culture map, the Athens Olympic Museum (Metro: Nerantziotissa) is a pleasant contemporary space where you'll find, among other things, a cool virtual exhibition on Ancient Olympia. Organized in partnership between Microsoft and the Greek Ministry of Culture, it employs artificial intelligence to take visitors back through time to the birthplace of the Games. If you can't make it there in person, you can always download the app (olympiacommongrounds.gr/explore).

WINTER 2021-2022

CITY REPORT

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DOWNTOWN Kypseli, a traditional inner-city neighborhood, is making a resurgence; the historic Apollon Cinema is back in business; the EMST (National Museum of Contemporary Art) has fianally opened to the public; the brand new Dave Red Athens, a member of the Brown Hotels chain, has opened in Omonia.

Kypseli

Apollon Cinema EMST Dave Red Athens

TH E COM M ERCIAL TRIANG LE THAT EXTEN DS FROM SYNTAG MA TO MONASTI RAKI AN D OMON IA SQUARES IS STI LL ATTRACTI NG COOL N EW RESTAU RANTS, BARS, SHOPS AN D HOTELS. WINTER 2021-2022

© PERIKLES MERAKOS, VANGELIS ZAVOS, KATERINA PARASKEVA

beautiful post-war edifices and home to two very popular movie theaters, the building was almost destroyed when it was firebombed by rioting protesters during an anti-austerity rally in February 2012. The fire spared the theater halls, but caused serious damage to the façade and the first floor. After many years of red tape, the road to this iconic building’s rebirth is finally open.

A few meters further north, an initiative to revamp the bottom end of Syntagma Square is coming to an end. The municipality hopes to have part of the renovation done in time to unveil it to the public before Christmas. Once that’s finished, work will start on the much more demanding project to overhaul Panepistimiou Street, while other worksites will be popping up all over the city in the months ahead, as construction on the new line of the Athens metro gets fully under way.

Down south on the coast, meanwhile, work continues on what's hailed as the biggest urban revamp now taking place in Europe: the redevelopment of the former airport at Elliniko into a model metropolitan park and a mixed zone with condos, villas, shops, businesses and entertainment and leisure venues. The project, which aspires to give Athens its first real skyscrapers, should be completed within a decade.

As for the moneymaker of downtown Athens, the commercial triangle extending from Syntagma to Monastiraki and Omonia squares continues to attract cool new restaurants, bars, shops and, of course, hotels. The pandemic tapped the brakes, but only temporarily, on the frenetic development of hotel space in the Greek capital, which has picked up pace again, especially in the area of Omonia Square. Good times also appear to lie ahead for two erstwhile Athenian outsiders: the districts of Kypseli and Neos Kosmos (which has a metro stop). Kypseli in particular appears poised to become a star once more, thanks to the fact that it has retained much of the character of an authentic Athenian post-war neighborhood.•

An American 4 8 — GREECE IS

WINTER 2021-2022

The US ambassador has now completed more than five years’ service in Athens, breaking records in the history of American diplomacy in Greece. His passion for the city and country makes him an exceptional host for anyone seeking an introduction to the many different aspects of the Athens experience.

T E X T : D I M I T R I S R I G O P O U LO S P O RT R A I T : VA N G E L I S Z AVO S

friend

GEOFFR EY PYATT AT H E N S

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INTERVIEW

I

IT WAS, I THINK , the first month

of Geoffrey Pyatt’s term in Athens when I met the then new US envoy at a cultural event. The ground was “neutral” but people were eager to meet him. I observed him from a distance, trying to form a first impression. Essentially, I wanted to see what category of diplomat he belonged to: those who did their job well but were not particularly interested in learning about the local culture, or those who did a good job and were keen to immerse themselves in the life of the country and the city where destiny had decided they should spend the next three or four years of their life.

On that pleasant evening, I was unable to reach a final conclusion.

The new ambassador certainly appeared to be pleasant, very polite and approachable. He also seemed to be enjoying his mission and socializing; not the sort of diplomat who constantly glances at his watch and would clearly prefer to be elsewhere. What I did not expect was the side which he soon began to reveal: that of a moderate, open-minded man who had arrived one year after the signing of Greece’s third successive bailout program, with the difficult task of contributing to the country’s return to normalcy after six years of painful recession. And not only has he done just that, but he has also overseen one of the best ever periods for Greek-US relations. Above all, I could never have imagined a diplomat who frequently takes a two-hour bike ride 5 0 — GREECE IS

to enjoy the fabulous sunset at Cape Sounion, who travels around his beloved Peloponnese with the enthusiasm of a teenage explorer, the kind of person who, even after a serious accident, focuses solely on the solution rather than the problem. This is the man who, in September, completed a five-year term in Athens, at a time when ambassadorial postings rarely exceed three-and-a-half years.

And Geoffrey Pyatt is still here, which in itself is a good reason to seek insights into his unexpectedly long Greek experience.

If I’m not mistaken, you’re the longest-serving US ambassador to Athens. Instead of the usual three years or so, your term has already exceeded five years.

Personal choice, or another consequence of the pandemic?

I'm happy to share that it has nothing to do with the pandemic.

It's a personal choice. When Secretary Pompeo came here, he asked me what I would like to do next.

And I said I'd be happy to stay. At that point, they were still going back and forth over who my successor might be. There are also personnel system reasons, and then, of course, the election and the transition. But my wife and I were delighted to stay here. It's been a wonderful five years, and I'm very proud of what the whole team has accomplished.

Given the strict security measures, is there any opportunity for a US ambassador to explore the city in which he’s living? Can you wake up one day and say to your wife, “Let’s take a look at this new place everyone’s talking about” That's a really good question. I think it was my first weekend in Athens, I woke up with the desire to explore Athens and decided to walk to the top of Lycabettus Hill. But I WINTER 2021-2022

soon had this whole parade with me.

I think it was the last time I walked to the top of Lycabettus. So, security does create limits, but I worked very hard to explore new things. If you talk to my bodyguards, they will tell you that they have seen more of Greece over the past five years than they ever imagined and have enjoyed the places they've gotten to know. I remember one year, my wife and I were visiting Metsovo for American Thanksgiving, and there’s a running trail that goes up through the ski pistes and then around the mountains.

It was a beautiful time of year. The leaves were changing. Bear paw prints were everywhere, in the mud and at higher elevations in the snow. And my bodyguards were like, "Wow, this is really amazing; I never knew Greece had places like this." One thing that helps me explore an area even further is going out on my bike.

You get a different perspective when you get off the main roads.

Your passion for cycling is well known. In the five years you have been here, has there been any improvement in the way Greek drivers treat cyclists on the road?

Well, first of all, there are a lot more people out cycling. In Greece, just like the rest of the world during the pandemic, bicycles took off. I give Mayor Kostas Bakoyannis a lot of credit for his efforts to create new bike routes around the city. I'm also very excited about the route announced by the prime minister, along the Athenian Riviera all the way from the Niarchos Park to Vouliagmeni.

And Greece in general has amazing potential for cycling. There is a guy called Mark Cavendish who is considered one of the best cyclists in the world and whose coach is Greek. He came to Greece twice this year for training, including just before the Tour de France, where he had an incredibly successful performance. And

he went everywhere. He trained on Mount Parnitha, along the coast to Sounion, as well as at a tiny village called Strava on the Corinthian Gulf.

So definitely, Athens has a lot of potential, as too does the Peloponnese, which has also been attracting international attention.

Is Athens considered a suitable city for the development of a bicycle culture?

Athens is like Los Angeles. The outskirts have fantastic cycling potential. The city itself needs work, but I know that Mayor Bakoyannis is committed to doing whatever he can.

And I think that the government has recognized that the use of micromobility devices, such as scooters and ebikes, is all part of building a sustainable transportation infrastructure.

You come from California, which shares certain similarities with Attica. But unfortunately, both areas suffer from catastrophic fires. Could you briefly enlighten us on the common points and differences of the two regions?

Ambassador Pyatt on one of his innumerable visits to the Acropolis.

The nation's classical legacy, he believes, is a vital part of the attraction that Greece holds for Amercians.

" I REM EM BER ON E YEAR, MY WI FE AN D I WERE VISITI NG M ETSOVO FOR AM ERICAN THAN KSG IVI NG . IT WAS A BEAUTI FU L TI M E OF YEAR. TH E LEAVES WERE CHANG I NG . MY BODYGUARDS WERE LI KE, "WOW, TH IS IS REALLY AMAZI NG ; I N EVER KN EW G REECE HAD PLACES LI KE TH IS." AT H E N S

There's a lot more in common in the sense that both regions are very vulnerable to the climate crisis in terms of wildfires, but also all of the other things that come with climate change: heavy rains, flooding, mudslides, the changing temperature of the sea and how that affects fisheries and animal life. So they are very similar in that regard. Also, we're seeing in both places some of the biggest fires ever. So big, in the case of California, that they actually produce their own weather effects, because they suck so much air out of the atmosphere.

In addition, in both places the fire seasons are getting longer, the rain comes later and the dry season is longer, which is exactly why these fires in August were so terrible. I was in Ancient Olympia the other day, and the mayor there said that the last rain fell on March 28th. We saw that also in Mati, and in the northern part of Athens this year. The regions that are most vulnerable are the ones where residential areas meet the forests.

And that's very much the case in California too.

It's exactly the same. So there's a lot that we can learn. We've already had some exchanges between experts from the California state fire agency and the Hellenic Fire Service. And we expect to do more because this problem is sadly not going away.

What lessons could Greece learn from California in this matter?

I think we both take lessons from each other, both in operational terms, that is, the tactics of fire-fighting, but also what you do afterwards, the recovery. We have a team right now here in Greece from the US Forest Service, which has visited Evia, north Athens and Olympia, and is focusing on burnt area recovery. How to restore the land quickly in order to protect the soil, protect agriculture, and hopefully avoid future fires. And another area where I hope we can GREECE IS — 5 1

INTERVIEW

do more is the preventative action that you can take, such as thinning out forest to reduce the risk of catastrophic fires.

What was the first thing that struck you when you arrived in Athens, in either a positive or a negative way? Were you at all familiar with the city before you came?

We arrived on a Friday and I think on Sunday we went down to the Niarchos Park and then walked along the water. It was late September and it still felt like summertime.

And I remember saying to my wife, “This is going to be really good.”

I had no idea we'd be here for five years...

You came to Greece at a particularly difficult time for the country. How much has your perception of Athens changed

in these past five years?

The most important change I've witnessed is the dramatic improvement in US-Greece relations, but also Greece’s emergence from the economic crisis. Its transformation from being a problem for the European Union to being a real model of success, successful governance, smart management of the pandemic, the whole digital rollout. You know, I frequently refer to the vaccination certificate on my phone and I've had Greeks tell me how miraculous they find it, that they're able to have their digital certificate on their phone, that the vaccination system works so efficiently. So this is a fantastically positive narrative. It's valuable to Greece, and it's certainly helped to explain the massive increase in US and foreign investment interest; major projects like the Microsoft cloud computing center, the new Amazon web services office here in Athens, the whole

startup scene, and then the growth of the tourism market, all the new hotels, new restaurants, with a lot of foreign capital – including American – coming into that sector too. So, it's nice to be part of something that feels like a success story.

American visitors are perceived as being more lenient towards Athens than Europeans. Do you have an explanation for this?

I think I’d offer two explanations. One is that the United States isn’t part of the European Union.

For Europeans and for the EU institutionally, Greece for many years was just a problem, a headache. The Americans didn't view it that way because we weren't at risk. And I think this is also connected with what we're celebrating this year, the bicentennial of the Greek War of Independence, and the fact that Americans have a good understanding

With British professional cyclist Mark Cavendish at Sounion, with the Temple of Poseidon in the background.

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Ierax Ana lytix is cha ng i ng ma rket resea rch i n Athens.

“I HAD A CONVERSATION with my father concerning the creation of the company,” said Haris Lalatsis, who founded Ierax Analytix in 2017, “and what I‘d like to achieve through it, and the company name just spontaneously came to us both. He taught Greek so, naturally, he put the finishing touch to the company name. ‘Ierax’ is the Ancient Greek word for ‘hawk’, which is what he used to call me.” This company, which was first established in Thessaloniki but has since opened in Athens as well, is a boutique research agency dedicated to understanding consumer behaviour and the decision-making process.

“Athens came up as we were discussing the many clients who'd been asking us to be closer to them,” Haris explains. “We observed two important differences in relation to our Thessaloniki-based work: There are more companies in Athens, so you can have a wider and a scalable promotion plan. Also, collaborations with clients are easier and quicker to book. In Thessaloniki, you need a lot of meetings before you can proceed with a project”.

Ierax Analytix can proudly claim collaborations and projects with some of the country’s top brands, while the company also actively supports many social groups.

The company has just launched its first tool, which its partners can use. “Hawk-i is our first product,” Lalatsis says. “The tool works by asking consumers a few simple questions in order to predict their behaviour and desires without using third-party cookies. Understanding the criteria for the choices consumers make is a top priority for every business. Younger consumers rarely forgive mistakes.”

His focus is on the younger generations. “Young people rarely took part in research projects in the past. This meant that companies usually spoke to older people and adapted their strategies accordingly. But how can we not look towards the future? At Ierax, we want the new generation of consumers to show us the way and let us know what they expect from brands. We want them to create the products and services they need and pressure companies into using best possible practices.”

Info: Ierax.gr

INTERVIEW

of the history of Classical Greece and the connection between Classical Athenian democracy and American democracy. Every American, even if you're not deeply educated, knows that we have neoclassical buildings. There are examples in all our state capitals, such as the Lincoln Memorial, and everybody knows where that architectural style comes from. And they come to Athens, look at the Acropolis, and say, “Hey, it looks just like the Lincoln Memorial.” Well, it's really the other way around, but I think Americans understand that. My wife is an elementary school teacher and she always makes that point with her schoolkids. Their favorite unit of education has always been Greek mythology and Classical Greek history.

So, I think it's a combination of all these things which gives Americans a positive feeling towards Greece.

Then you also have the success of the Greek diaspora in the United States.

Greece's brand is a positive one and it has endured despite the crisis. I know everybody in Greece hates “My Big Fat Greek Wedding,” but even this captures the positive American cultural feeling towards Greece.

Did Athens and Greece teach you something about yourself that you didn't know?

I've been a diplomat for 33 years now and you leave a little bit of yourself in every place that you serve, but every place that you serve also teaches you things, both about yourself and about the role of the United States. Being here in Greece has taught me, first of all, about the resilience of Greece and the Greek people for 2,500 years, since the time of the incredible building program on the Acropolis. And you know, this idea of inventing democracy and the endurance of that idea is really something incredibly powerful. One experience that shaped me significantly was that bike accident I had in the Mani in 2019. It was a powerful sort of personal experience. First of all because I benefited from spectacular medical care here in Greece, not to mention my rehabilitation and everything else. But it also taught me I was getting older, that I was not unbreakable, and that I needed to remember I was no longer 23 years old.

Do you think there’s been a change in the last five years

Family moments on Santorini; a trip down the slopes at one of Greece's many ski resorts.

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in how the US views Greece?

I'm very proud of the fact that we've continued to build support for US-Greece relations across the political spectrum and anti-Americanism is no longer a strong card to be played in domestic politics in Greece. Plus the fact that all the political forces in the country share the view that the relationship with the United States is a positive thing that should be cultivated. And I think that's very good for both of our countries.

On the topic of cultivating Greek-American relations, I know you’re a big basketball fan. Have you ever seen Giannis Antetokounmpo play?

One of my really fun memories from Greece was watching Giannis Antetokounmpo play here in Athens just before the World Cup in China. They had their warmup matches here at the Olympic Stadium and it was fantastic to watch for two reasons. One was that he was just such an incredibly gifted athlete, and you could see how every time he came onto the court, it lifted everyone else. I think it was Greece versus Italy. And, you know, both teams

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“WHEN WE TALK ABOUT RENOVATION AND CREATIVITY,” says Maria Chatzimanolaki, founder of Restauro, “there are very few cases where ’character‘ is not involved. It’s not a matter of whether we like that character or not, what matters is that all spaces have their own special character. The biggest challenge we face at Restauro is that we‘re being asked to shape spaces and, at the same time, respect their and their owners’ characters.”

Chatzimanolaki started Restauro, a reconstruction, renovation and real estate company, with the premise of adding value, working project by project. What, to her, is the most important part of a renovation?

“It’s always about light and perspective. A renovation to me symbolises a reform, a renewal and even a change in the various stages of life. When we feel like shaking things up, the first thing that comes to mind is changing the space we live in, and that doesn’t happen by accident.”

Restauro works on projects across all regions and countries; the company is capable of doing so because one of their basic advantages is their use of BIM software - enabling real-time monitoring of projects during each and every stage.

“Our next step is to invest in our spaces’ sustainability and to take on the ‘green’ challenges of our time”, she says. “Construction and environment are two words that must exist in the same context.”

Info: Restaurosa.gr

RESTAU RO WISH ES TO BRI NG OUT TH E CHARACTER OF YOU R HOM E FRO M DESIG N I N G TO REN OVATI N G , RESTAU RO RESPECTS AN D H IG H LIG HTS TH E CHARACTER O F EACH SPACE TH EY RESHAPE .

INTERVIEW

were basically Euro-league players, but then Giannis would come out and it's just, you know, he's at a different level. But also, to see the reaction he got from all the Greek kids was just fantastic. I look forward to having the opportunity to watch him play in an NBA game in the United States. I remember the first time I watched a game from courtside; you suddenly realize these people are giants, but they're also so athletic, being able to move so fast and jump so high despite weighing 150 kilos or something. It really is incredible.

Then it's the fact that he's very proud of his Greek identity and that's part of his identity in the United States.

He's currently the biggest NBA star, but he still talks about coming back to Greece.

Let's say a friend of yours was visiting Athens but only for 24 hours. What three things would you recommend, beyond the must-see attractions?

This is easy. Visiting Americans often ask me for “insider” tips. So, the things on my list are, first of all, the Niarchos Center, which is a real treasure. I don't understand why it's not more on the tourist map… the gardens, the views over the Saronic Gulf and the islands, but also to the Acropolis... it’s all quite amazing.

The other one that's always on my list is a drive out to Cape Sounion and the Temple of Poseidon for sunset. I've been there hundreds of times over the past five years because it's on one of my cycling routes. There was one time we went with some friends and it had been raining all day, but the clouds parted just before sunset. And the light was shining down through the clouds. It was like magic.

Another one I recommend, in terms of restaurants, is Varoulko down in Mikrolimano. I always recommend it because the food is superb. People are always surprised because it's very sophisticated for a fish taverna.• 5 6 — GREECE IS

TIPS Five islands you recom mend

One is Syros, I had visited Syros before the shipyard was revived. It's an island in which the US has taken a special interest because an American company now runs the shipyard.

And it's been amazing to see how the island has come back to life. Though I do worry a little because it's now very much on the tourist map. Also in the Cyclades, I love Sifnos. It's not overly touristy and feels very authentic. We went to Amorgos for the first time, a spectacular island; the main town – Hora – is amazing, with really good food, and the monastery is perhaps the most spectacular after Meteora. I’d also include Crete, though I always say to Americans that Crete is the Texas of Greece.

You know, everything is a little bigger, a little louder. Then you have that combination of mountains and sea and food and people and spirit and independence, and, you know, El Greco. I mean, you've got the whole thing. I’ll save my fifth island for one I haven’t been to yet, because I'm not finished. I don't want to rule out anything because I'm still discovering.

An unexpected find in the city

that I've enjoyed for the past five years. I certainly don't know how I’ll ever go back to buying fish in a plastic wrapper in a grocery store, because there’s nothing like fresh seafood.

Kifissia or Vouliagmeni?

Vouliagmeni, definitely. The greatest gift of Athens is the sea. There's no question about it. Athens, like Los Angeles, is a city where you can be in the center and not even realize you're actually very close to the water. You forget about it and have to remind yourself by driving down and saying to yourself, “Yes, this is where I want to be.”

Favorite bike route

One of my weekend routes starts here. If I ride really fast, I can get to Sounion in two hours. It’s about 70 kilometers. But you know, once you’ve struggled through the traffic to get to Vouliagmeni, as soon as you turn left there, you’ve got 40 kilometers of world-class cycling ahead. I know every turn, every hill, and the best part is that the farther you go, the less traffic there is, especially this time of year, when the highways tend to be less congested.

One real big surprise for me was Mt Parnitha. I can't remember the name of the little taverna past the casino, but the forests up there… it's like being in Austria or somewhere.

It was a huge surprise for me. And the fact that you get enough snow in the wintertime for people to go snowboarding. It's a small piece of the Alps right here… quite amazing.

Favorite G reek dish

Fish, without a doubt. Whatever is fresh. Greece has spoiled me. I will never again have the kind of seafood WINTER 2021-2022

With a medal around his neck after yet another cycling race.

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the

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Ardittos Hill

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EXPERIENCE Left: Along the way you’ll encounter pine, olive, cypress, eucalyptus, carob, almond, and pepper trees, all planted since the 19th century. Right: Tourists climbing to the upper tiers of the Panathenaic Stadium.

The rocky terrain of this Athenian oasis embodies the history of Western civilization – from pagan rituals and Roman gladiator contests to the modern Olympic Games and World War II – but most of all it encapsulates the infinite now of the present.

T E X T : CAT H R Y N D R A K E P H OTO S : VA N G E L I S Z AVO S 6 0 — GREECE IS

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Scattered with ancient ruins, the hill is home to drought-resistant agaves and boasts breathtaking views of the surrounding city. Above right: A plaque bears the names of the Greek medalists from the 1996 Atlanta Olympics.

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F

FOR THE PAST DECADE, I have clambered around the craggy tracks of Ardittos Hill, slowly discovering its half-buried secrets. An aerie far above the sirens of the city where centuries-old tortoises roam within view of the Acropolis, the verdant park here has become a neighborhood refuge during the pandemic. As the world contracted during lockdown, I spent more time taking in the scent of pines on the breeze, listening to the chatter of magpies darting among the trees, and observing the white and purple irises that bloom one day only to wilt the next. From the top of the hill, I've watched the Olympic torch being handed over to the Japanese, and seen Athens Marathon runners trickling into the stadium below, elated and exhausted as they crossed the finish line to the sound of pop music blasting from loudspeakers.

One morning, while stalking the vivid blur of a Eurasian hoopoe through the woods, I heard an oddly melodious voice wafting on the breeze and followed it to the overlook above the Panathenaic Stadium, where I found tattooed Texan tenor Michael Wade Lee, dressed in shorts and a tank top, singing a Verdi aria to a selfie stick.

When I asked him how on earth he'd got there, he explained that he had come to Athens to perform in "Carmen" and fell in love with a Greek musicologist.

At the spot where we stood, it is possible to imagine centuries compressed into a single moment, and that every past event has led, quite specifically, to the present – that essentially everything that has happened is still

happening now. The Panathenaic Stadium’s pristine geometry reflects the human desire for perfection and for recording the passage of time, as if it could be carved in stone. The rumble of traffic is a distant hum; the city’s modern apartment blocks, arrayed from the sea to the curvaceous embrace of the mountains, sparkle mutely in the sunlight. Mount Lycabettus hovers on the horizon, as if the fantastic concoction of a fairytale.

Just opposite, atop Agras Hill, still lies the stone platform that supported a life-size ship on wheels, commissioned

by Herodes Atticus to carry the handwoven peplos (dress) offered to Athena for the Great Panathinaia, held every four years to celebrate the goddess’ birthday. The festival featured recitations of the Iliad and Odyssey, musical competitions, boat and chariot races, and nude athletic games, all culminating in a sunrise pompé (procession) to the Acropolis, where the splendid cult statue of the patron deity was adorned.

Athenian judges gave the annual Solar Oath in the name of Zeus, Apollo, and Demeter at the foot of Ardittos Hill.

Back then, the sacred river Ilissos flowed by here, and the nine Muses were said to dwell on its banks. Sanctuaries dedicated to Pan and Heracles lie beneath the corner where the Athens Conservatoire is now.

This idyllic realm of goddesses, muses, and nymphs has seen a lot of blood, sweat, and adrenalin in the last 2,500 years. Gladiators fought to the death and killed thousands of wild beasts in contests hosted by Roman Emperor Hadrian, when the stadium, more modest than today, was constructed of wood and earth. Built by Lycurgus to host the Panathenaic Games in 330 BC, it was refurbished in pristine Pentelic marble four centuries later by the millionaire from Marathon, Herodes Atticus, who also funded the building of a bridge for access across the Ilissos.

The vaulted gallery used by contestants to enter the stadium, called the “diodos,” is the only element surviving from AT H E N S

the time of Lycurgus. Also referred to as the “Hole of Fate,” this passage led into the ravine even before the stadium was built. It was associated with a mysterious oracle and was the site for the slaughter of sacrificial animals.

At the first modern Olympics in 1896, some 80,000 spectators filled the Panathenaic Stadium to watch gymnastics, weight-lifting, and wrestling competitions – and the discus throw, a component of the ancient Greek pentathlon, revived as an event on its own.

American Robert Garrett took the gold medal, upsetting champions Panagiotis Paraskevopoulos and Sotirios Versis, who were hampered by attempting the awkward, idealized poses depicted in the classical diskoboloi statuary. After years of disuse in the mid-twentieth century, the stadium was opened to the public for exercise and recreation.

“By the 1980s when I came back from the States, we would sit near the top to drink coffee and watch the sunset,” says George Polyzoides, whose uncle, sprinter Angelos Lambrou, won both gold and silver medals there at the Balkan Athletic Games in 1930. “The stadium was packed, and Prime Minister Eleftherios Venizelos personally awarded him the medals.”

TH E PANATH ENAIC STADI U M’S PRISTI N E G EOM ETRY REFLECTS TH E H U MAN DESI RE FOR PERFECTION AN D FOR RECORDI NG TH E PASSAG E OF TI M E .

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I N TH E DARKN ESS

Yet what is most fascinating lurks underground. For years, I had been eyeing the heavy metal doors of a mysterious stone structure hidden among leafy overgrowth, believing it to be the legendary escape tunnel from the Royal Palace, now the Parliament. It turns out that it was, in fact, a World War II bunker. One day, as I passed by, the gardeners were changing the locks and I talked my way in, meandering through the vast passages to an exit on the other side of the hill. The Ioannis Metaxas government started constructing the shelter in 1937, tunneling from an ancient cave of the nymphs, and eventually transferred artifacts from the National Archaeological Museum to the shelter for safekeeping. Later, the Germans used it as an ammunition depot, blowing up the supplies they kept there before retreating in October of 1944.

Although the bunker served briefly as a royal refuge during the reign of King Pavlos, it seems unlikely that Ardittos Hill is connected to the Parliament by a subterranean passage. Yet performance artist Mary Zygouri clearly recalls one night in 1996 when she and a friend, flashlights in hand, descended through a trap door near the park entrance. “We walked along a dark corridor ending in a big space covered in beautiful marble that looked like baths,” she says. “Everything in Athens was more open back then.” What Zygouri saw may have been the arches of the old marble bridge. One day, following the lead of urban speleologist Dimitris

Theodosopoulos, who documents his explorations in the blog “Geomythiki,” I found a heavy metal trapdoor in the ground opening into a tunnel, under Leoforos Vasileos Konstantinou, that runs along the river Ilissos. The steps down were damp with water, and a cockroach emerged from the darkness and into the sunlight. One no longer has to go down into that dank space to see what it's like since Theodosopoulos has posted some wonderful videos, with commentary, of his own forays underground there and elsewhere. Unless they have bigger plans: In December of 1992, robbers pulled off the biggest Greek bank heist ever, using the Ilissos tunnel and digging another 28 meters into the vault of the Labor Bank, now Eurobank, at 19 Kallirois.

CONTRADICTIONS

Ardittos Hill also manifests the complexity and contradictions of modern Greek society: the park is officially closed, but it's open to those in the know. The main gate remains locked because the Archaeological Department has deemed the pathways unsafe for visitors, and an application has been made by the Zappeion Office for ESPA funds to make them suitable for the public. “To open a place, two things have to happen. You have to do the work to make it safe to walk on the pathways, which costs a lot of money and has to be approved by the archaeologists and the forestry department...

Then you need people at the entrances...to monitor the park,” says Dimitris

I N SPRI NG , TH E NATIVE TORTOISES, KNOWN TO LIVE FOR CENTU RI ES, ROAM TH ROUG HOUT TH E AREA . TH IS YEAR HATIJA COU NTED 1 00 N EWBORNS. 6 4 — GREECE IS

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Nikolaou, head of landscaping for the Zappeion and Ardittos Hill. However, an entrance at the back of the stadium, managed by the Olympic Committee, is open daily to provide access to the running track, and it makes the rest of the park accessible as well. And even when that entrance is closed, as it was during lockdown, there's a secret way to get in. “Maybe someday the park will be open to all the people to get in and ruin it,” he adds. “Honestly, I'm ambivalent about that.” Yet the biggest concern, Nikolaou says, is the lack of access roads for fire trucks.

Both Nikolaou and Altin Hatija, the gardener who tends Ardittos Hill, are passionate about the landscape and its creatures. When I described the rugged paths in the park as being comprised of dirt and broken concrete, Nikolaou asked, “Why do you Americans call it dirt? It is soil, it is earth!” In spring, the native tortoises, known to live for centuries, roam throughout the area.

This year Hatija counted 100 newborns. One of the oldest tortoises can be identified by a big crack in its shell.

Stone pools have been built for bats to swoop down to drink the water –and hopefully prey upon the destructive pine processionary caterpillars, whose hairs are toxic to the touch. Aside from the pine trees in which the caterpillars nest, there are olive, cypress, eucalyptus, carob, almond, and pepper trees, all planted since the late nineteenth century; grazing goats had nearly cleared the hill of vegetation prior to that. Not long ago, Hatija planted oak seedlings procured from Parnitha in an attempt to restore a species characteristic of the vegetation that grew here in ancient times, but only a few have survived, due to lack of rain. Scattered all over the hill are giant agave, called "immortals" in Greek, that produce very tall floral stalks just before dying.

ANOTH ER DIM ENSION

A nexus of rebirth, the hill is our spiritual sanctuary, and the gardeners are its priests. “I lived here for years before

3 Georgiou Souri Str. & Filellinon Str., Syntagma Τ. +30 210 3258555 www.innathens.com

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EXPERIENCE

going inside; it’s like entering another dimension,” dog owner Rea Kalavasis says. “There is a special energy that makes everyone feel in harmony.” On the hilltop behind us were remnants of a temple to Tyche, the goddess of Fortune, where pagans still come to burn incense and leave offerings of roses and pomegranates. Or are they the seeds eaten by Persephone, obliging her yearly return to the underworld? It is said that the Lesser Eleusinian Mysteries – the sacrifice of a piglet to Demeter and Persephone, followed by purification in the Ilissos – were performed here during the Anthesteria, a festival devoted to Dionysus during which vintage wine was uncorked and spirits of the dead mingled among the revelers.

To the casual observer, these temple pediments are mere slabs of rock, and I often rest there in the shade after playing fetch with my dog, Lucky.

The perennial presence of the Parthenon in the near distance, along with the unruly flora and fauna of the park, is a reminder of the eternal return.

The dog leaps and scurries like a wild thing, disappearing into a patchwork of sun and shade, oblivious to the ruins of fallen empires – all that matters is the lush nowness of the verdant hill and its meandering paths leading to the same places, transformed each day by different scents and perspectives.

Sometimes it feels as if the creatures of the park are psychopomps, beings sent to guide us to the afterlife, transporting our souls to another plane of existence. A modern marble fountain stripped of its metal spout is an elegant expression of Jorge Luis Borges’s “Elegy for a Park”: “The stopped clock, the tangled honeysuckle, the arbor, the frivolous statues, the other side of evening, the trills, the veranda and the idle fountain are things of the past. Of the past? If there’s no beginning, no ending, and if what awaits us is an endless sum of white days and black nights, we are already the past we become. We are time, the indivisible river...”• 6 6 — GREECE IS

ALL THAT MATTERS IS TH E LUSH NOWN ESS OF TH E VERDANT H I LL AN D ITS M EAN DERI NG PATHS LEADI NG TO TH E SAM E PLACES, TRANSFORM ED EACH DAY BY DI FFERENT SCENTS AN D PERSPECTIVES.

Many runners use the track around the periphery of the Panathenaic Stadium for training.

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PHOTO: DIMITRIS MICHALAKIS, GRAFFITI ARTWORK: SAME84, COURTESY OF THE ONASSIS FOUNDATION, ON ATHENS INITIATIVE

NEIGHBORHOOD

NEW TI M ES IN N EOS KO S M O S Exhibitions, live performances and new cafés, bars and restaurants are drawing crowds to a residential part of Athens that grew out of past refugee influxes and is now being reborn – without losing its original charm.

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A THEATER, A CULTURAL CENTER THAT OPENED ON ITS FRINGES IN 2010 AND A SUCCESSION OF NEW RESTAURANTS, BARS AND CAFÉS, HAVE THRUST THIS NEIGHBORHOOD FIRMLY INTO THE LIMELIGHT. 7 0 — GREECE IS

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© ANGELOS GIOTOPOULOS

Left: A pedestrian bridge over Kallirois Avenue. Right: The refugee housing estate off Syngrou Avenue, now inhabited by new tenants from the Balkans, Asia and the Middle East.

PHOTO: STELIOS TZETZIAS, COURTESY OF THE ONASSIS FOUNDATION

Neos Kosmos

ONASSIS STEGI Visitors to the cultural center can enjoy theatrical and musical productions, film screenings, art exhibits and digital shows.

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NEOS KOSMOS HAS SPENT

most of its history in the shadow of Athens. This area, whose name means “New World,” held out the promise of a new beginning for refugees from Asia Minor. Next year, in fact, marks the centenary of Turkey's expulsion of more than a million ethnic Greeks, who subsequently found haven in Greece. A simple walk around the neighborhood underlines how the area has been transformed, with its quaint footpaths and two-story houses tucked between more modern structures, and its residential buildings now interspersed with car repair shops, spare parts dealerships, and other small businesses.

The refugee housing estate off Syngrou Avenue is now inhabited by new tenants from the Balkans, Asia and the Middle East. Post-war reconstruction erased most of the older houses, unfortunately stripping Neos Kosmos of much of its earlier charm.

But a theater, a cultural center that opened on its fringes in 2010 and an ensuing succession of new restaurants, bars and cafés, have thrust a neighborhood whose appeal used to be restricted to its residents firmly into the limelight. Neos Kosmos is changing into a fascinating mosaic of symbiotic energy.

Dourgouti

Many Athenians confuse the neighborhood’s official name with the area called Dourgouti, which is behind the Athenaeum InterContinental Athens hotel on Syngrou Avenue, but Dourgouti is basically a part of Neos Kosmos. Its story starts in 1914, when thousands of Armenians fled Turkey for Greece.

To house the first of these refugees, the Order of the Knights of Malta

bought a plot of land near present-day Syngrou. The settlement that emerged was named Dourgouti, after the land’s original owners. It was also known as Armenika, after its new Armenian residents. When the 1922 Asia Minor Catastrophe sent a far greater wave of refugees to Greece, hundreds of shacks went up in Dourgouti to house new arrivals. Makeshift structures made of scavenged materials mushroomed around small buildings erected with money from the League of Nations.

Overwhelmed by this sudden demand for housing, the state established the notion of vertical ownership. The Ministry of Social Welfare built the first apartment blocks for its new refugee housing estate in Dourgouti in 1935, in the socio-economic spirit of the modernist Bauhaus movement.

Building continued until the outbreak of WWII. During the Regime of the Colonels, also known as the Greek Junta, which lasted from 1968 to 1974, the last 15 apartment blocks went up. If you come here on the tram you’ll see them – complete with new murals.

A FRESH VIBRANCY Until recently, Neos Kosmos was a place where people simply lived and worked. Now, popular cafés, bars and restaurants draw people from all over Athens.

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La Bella Napoli

© ANGELOS GIOTOPOULOS

NEIGHBORHOOD

NEIGHBORHOOD

A cultural destination

Even before Neos Kosmos had tram and metro connections (built for the 2004 Athens Olympics), people would come here to listen to their favorite bands at Stavros tou Notou live music stage or catch a play at Neos Kosmos Theater. The arrival of the Onassis Stegi, a cultural center, 11 years ago brought with it live theatrical and musical performances, art exhibits, festivals and discussions. It would be no exaggeration to say that many Athenians got to know Neos Kosmos thanks to the Onassis Stegi, which makes a point of organizing events geared at creating interactions with the neighborhood. Soundscapes/Landscapes, for example, is a smartphone app that offers visitors an audiovisual tour of the refugee housing estate, the churches, the public areas, and the Saturday openair market (with sellers peddling fruit, vegetables, fresh fish, spices and more). Its OnAthens initiative – carried out in cooperation with street

artists SAME84 and Ath1281 – filled empty lots, basketball courts and playgrounds with color. Reaching out to the community is important; Neos Kosmos is still very much a neighborhood that's all about its residents.

The old-timers

Until hip restaurants, cafés and bars started springing up recently, Neos Kosmos was not the kind of place where other Athenians would meet up. It was a place where people lived and worked, not where they let their hair down. Nevertheless, it had its classic watering holes, such as Batman, a legendary after-hours bar that would bring night owls from across the city who felt like drinking until dawn. Others came for the tasty bread rolls and the duck with blueberry sauce at Svejk, a two-story eatery that was the city’s first Czech restaurant when it opened 39 years ago, complete with figures from Jaroslav Hašek’s "Good Soldier Švejk" and images of Prague. Apart from the usuals kafeneios, the area also had

a few meze restaurants. Those who worked or wandered here would stop

by Tomas’ for a beef kebab flavored only with salt and onion – made the same way by the eatery's Armenian owner since 1983 – or for gyros in a pita from Achilleas, a souvlaki joint that's been around since 1987 at the same address on Spintharou and even has the original sign to prove it.

A New Neos Kosmos

The recent increase in the arrival of new cafés, bars and restaurants has given the area fresh vibrancy. Fita, on the corner of Dourm and Kasomouli, behind the refugee housing estate across the tram-lines, is a popular gastro-taverna with a different daily menu. Naif, on Evrydamantos, with its red neon sign and yellow bar counter, is another welcome addition, serving good coffee, brunch, pizzas, burgers and drinks. People work from its small “office” area, an espresso next to the laptop, or meet for after-work beers or cocktails at one of the tables. A couple of meters

Teras

TALK OF THE TOWN Some of the city's well-known chefs decided to open restaurants here and, by doing so, changed the fate of the neighborhood.

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© ANGELOS GIOTOPOULOS

Annie - Fine Cooking

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down the same road, a bright blue shopfront announces the presence of Lalos, another great stop for a coffee, a snack (sweet and savory rolls, cakes, sandwiches and salads) or a drink later in the day.

In the attractive and diminutive Αnnie – Fine Cooking on Menaichmou Street, chef Stavrianni Zervakakou presents a quirky menu that changes with the seasons and uses ingredients and products from different parts of the country, along with what's fresh in the local market, as she combines techniques and culinary traditions. Teras, located in a two-story edifice from the 1930s and boasting a pretty garden, is known for ample breakfasts and salads, Argentine choripan sandwiches, burgers and cocktails. The ground

f loor functions as a showroom for handcrafted furniture made by Haris Rigalos, one of the owners, and the upstairs area will soon host art exhibits, workshops and yoga classes.

For good Italian food, there’s always La Bella Napoli, a small pizzeria that opened a few years ago on Roubesi founded by an Italian who relocated here. His eatery makes different kinds of Neapolitan pizza.

Two of Athens' top restaurants can be found on the Neos Kosmos stretch of Syngrou, attracting the fine-dining crowd to the area. With Hytra, on the eighth floor of the Onassis Stegi, which has received a Michelin star for its creative approach to Greek cuisine. and the modern Première at the InterContinental Athenaeum Hotel, where gifted

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chef Michalis Nourloglou works his magic, the area can definitely boast a certain culinary sophistication.

The launch of the National Museum of Contemporary Art in the former Fix Brewery building at the Athens end of Syngrou, the new hotels on and around the avenue, the plethora of Airbnbs and the buzz in the nearby Koukaki district have been bringing more and more foreign visitors to Neos Kosmos, not just for wining and dining, but for a spot of shopping, too.

Next to the motorcycle shops on Kallirois is Nerdom, selling all sorts of action figures, superhero T-shirts and games; Underflow is a music store-gallery that sells vinyl records and CDs of jazz rock, ethnic and experimental music, and also hosts art exhibits. On Mandrokleous Street, tucked between the houses and the small shops, the elegant space of Daphnis & Chloe offers Greek herbs and spices for sale in beautiful bags and boxes. Its bouquets of oregano from Mount Taygetus, dittany from Crete and wild thyme flowers make wonderful gifts for people who love cooking. A few streets further into Neos Kosmos, on Theodoritou Vresthenis, you can still find proper traditional loukoumi (Turkish delights) at Vomvyla, which, as the sign says, has been making this wonderful confection on site since 1950. A peek through the door offers a glimspe of a sugar-covered counter against a backdrop of white wall tiles. In with the old and in with the new, too: a happy coexistence of past and present is an important part of why things are really looking up here in this historic neighborhood.• © ANGELOS GIOTOPOULOS

Fita

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THE TRADITIONAL, THE OH-SO MODERN, THE FAMOUS AND THE LESSER KNOWN ESTABLISHMENTS YOU NEED TO KEEP IN MIND WHEN SEEKING OUT THE QUINTESSENTIAL GREEK STREET-FOOD ITEM.

SOUVLAKI

It's a wrap!

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© NIKOS KARANIKOLAS, NIKOS KOKKAS

I Rosides – KALLITHEA

Lefteris O Politis – OMONIA

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Kostas SYNTAGMA

Kostas - SYNTAGMA You’re bound to run into lines here, but don’t let that put you off.

The kinds of flavors described by old-timers from back in the day when tomatoes and meat simply tasted “different” (i.e., better) are present here in Kostas’ souvlaki. Established in 1950, this eatery is now run by the original owner’s grandson, who was taught that: “First you need to learn how to use the tongs and then how to make souvlaki.” He did, and now, in his spotless hole-in-the wall in downtown Athens, he serves an absolutely delicious souvlaki wrapped in pita: choice meat (lean skewered pork or a lovely, no-frills bifteki ground beef patty), tomato, onion, cayenne pepper, parsley for freshness, yogurt for coolness and a crispy, unoiled pita bread. Don’t even bother asking for tzatziki. G.P. Mitropoleos & 5 Pentelis, Syntagma, Τel. (+30) 210.322.8502, Mon-Sat 10:00-16:00. Has delivery.

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vlaki joint,” is a Greek institution, and we certainly wouldn’t blame you if you made a beeline for the nearest souvlaki provider straight after dropping off your luggage in your hotel room. The mouthwatering aroma of grilled meat is just too enticing, and a souvlaki or two is a quick, tasty and satisfying meal.

That said, there are certain stand-out spots when it comes to enjoying our favorite street food. Making really good souvlaki is an art, despite its apparent simplicity – or perhaps precisely because of it.

Central Athens has no shortage of old masters and new talents who were trained correctly and know how to transform a humble but satisfying item into a gastronomic experience. The list below will help you steer clear of those using frozen meat, heavy packaged sauces or thick, tasteless pitas. What makes the difference at these establishments is the skillful cooking and the care that goes into selecting the ingredients – from the best ground beef and handpacked towers of pork or other meat skewered on vertical rotisseries to handpicked tomatoes and onions and the freshest spices and herbs. And don’t fret if you’re not presented with an overstuffed gyro hand-rocket; experts will tell you that a proper souvlaki gyro needs no garlicky tzatziki drowning out the other flavors or fried potatoes that make it stodgy and dry.

© DIMITRIS VLAIKOS, ANGELOS GIOTOPOULOS, NIKOS KOKKAS

THE SOUVLATZIDIKO, or “sou-

Kostas – AGHIA IRINI SQUARE The other Kostas in downtown Athens is equally famous. All cooking is done on a charcoal grill that’s lit early each morning. The choice here is between souvlaki kalamaki (skewered pork cubes) – made by hand and not ordered in bulk from a factory as so many others – or souvlaki bifteki (beef patties), made fresh every day or to order. Our favorite – in a freshly baked, hearty pita – is the juicy bifteki, topped with tomato that is cut on the spot (not in advance so it loses its juices and flavors), sweet onions and fresh parsley – topped with a dollop of an original red sauce in a spicy or mild version to bring it all joyfully together. M.V. 2 Aghia Irini Square, Monastiraki, Τel. (+30) 210.323.2971, Mon-Fri 09:00-18:00, Sat-Sun closed.

Kostas – AGIA IRINI SQUARE

Lefteris O Politis – OMONIA

Lefteris O Politis – OMONIA Small but packed with flavor, Lefteris’ pitawrapped souvlakis are paradigms of this food item. The two choices, unchanged from when it first opened in 1951 (it's now managed by the third generation of the same family) are either juicy bifteki or spicy soutzouki beef sausage, both served in a very lightly oiled pita. The necessities are all there in their freshest, tastiest versions: bright red tomatoes, thin slices of onion, finely chopped parsley and a sprinkling of fiery red pepper. If you’re like me and enjoy heat, ask for more than a sprinkling. M.V. 20 Satovriandou, Omonia, Τel. (+30) 210.522.5676, weekdays 11:0019:00, Sat 11:00-17:30, Sun closed.

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© DIMITRIS VLAIKOS, ANGELOS GIOTOPOULOS, NIKOS KARANIKOLAS, NICK BOUTSIKOS/NIDIBOU PHOTOGRAPHY

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Hoocut – AGHIA IRINI SQUARE

Achilleas – NEOS KOSMOS

The team behind some of Athens’ most popular restaurants (Cookoovaya, Base Grill, Travolta and Gastone) has turned its hand to souvlaki and opened Hoocut in Aghia Irini Square.

High-quality meat and handmade pita flatbreads sets it apart. We recommend the tasty mutton wrap with garlicky tzatziki and a spicy sauce. If you’re more than peckish, treat yourself to a “skepasti” or “covered,” a hearty cross between a souvlaki and a club sandwich, made with beef, coriander and a choice of four sauces: yoghurt, BBQ, spicy or seriously hot. C.T. 9 Aghia Irini Square, Monastiraki, Τel. (+30) 210.324.0026, Tue-Sun 12:30-23:30 (Sat & Sun until 00:00), Mon closed.

Achilleas is renowned for its delicious, juicy and spicy pork gyro, made fresh every day in-house. It is served as a main dish with tomato and onion or wrapped in a fresh, unoiled pita with onion, parsley, tomato and homemade tzatziki. The gyro runs out by 21:00 at the latest every evening, so make sure you get there early. The eatery also makes classic souvlaki kalamaki using well-grilled pork skewers and pita. M.P. 18 Spintharou, Neos Kosmos, Τel. (+30) 210.902.1391. Weekdays 16:30-00:00, Sat-Sun closed.

Mimis – PANGRATI Mimis, one of the newest additions to Athens’ souvlaki scene, was an instant success. You won’t find the classics here; instead there’s something new, delightful and original. Just as at any good restaurant, everything you order is made fresh: from the brisket and the lamb kebab to the pitas and the sauces (including eggplant cream and tzatziki).

When it’s all ready, chef Elvi Dimitris Zyba piles the ingredients onto the pita bread with so much attention to detail, you’d think he was plating up an entrée at a gourmet restaurant. A list of carefully selected Greek wines is another plus. M.P. 10 Evfranoros, Pangrati, Τel. (+30) 210.756.5789, Tue-Sat 17:00-00:00.

Hoocut – AGHIA IRINI SQUARE

Tomas Kebab – NEOS KOSMOS The story behind this eatery starts in owner Tomas’ native Armenia, meanders through Syria and Lebanon, where he grew up and learned the local cuisines, and ends in Athens, where he opened his famous souvlaki shop in the 1980s. As the name suggests, kebabs are the specialty; there's beef, lamb or chicken (a recent addition), with lovely falafels as an added bonus. Tomas has turned kebab-making into something of a science, and it’s definitely worth trying a wrap made by him or his son, Marios, who has been working with his father for the past few years. M.P. 49 Mitrou Sarkoudinou, Neos Kosmos, Τel. (+30) 210.901.5981, Mon-Sat 11:00-00:00, Sun closed.

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souvlaki I Rosides – KALLITHEA There’s not much to see in the suburb of Kallithea, but it does boast the souvlaki of Anna Stefanidou, an ethnic Pontic Greek from Kazakhstan who took over the restaurant in 1990 from two Uzbek ladies. She’s there every day, serving scrumptious and comforting souvlaki, in just two variations: beef bifteki and pork skewers. The bifteki are a must. They’re small (order two, just to be on the safe side) and herbladen, packed in pairs in a pita wrap, along with tomato and onion, with a dollop of sauce on top to keep them extra juicy. You’ll also find amazing pirozhki made with potato, ground beef or sweet mizithra cheese. C.TZ. 16 Anagnostara, Kallithea, Τel. (+30) 211.119.2145. Open daily except Sun, 19:00-00:00. Has delivery.

I Rosides – KALLITHEA Volvi – OMONIA

Volvi – OMONIA Located in the meat section of the Varvakeios Central Market, Volvi is a traditional place serving honest, no-frills souvlaki. It comes in a pita wrap, without french fries – we stress this because their absence is usually an indicator of quality. There are two options, pork or spicy ground beef patties, both beautifully grilled over charcoal. They're jazzed up with tomato, onion, mustard and chili flakes. Full of flavor and nothing else, every bite makes you feel warm inside. C.T. 24-26 Evripidou, Omonia, Τel. (+30) 211.118.0587. Open daily except Sun, 12:00-18:00.

I Gynaikes – KOUKAKI

Pringipas – EXARCHIA You’ll be tempted to try new things, like souvlaki made with trout or eel and served with fava split-pea puree and capers, but what you’ll keep coming back for is their classic version, with meat sourced from small Greek farms. Bite-sized Florina kebab, grilled black pig chunks and even a humble chicken version are all consistently well cooked and juicy. Don’t pass up a dollop of ajvar, available in sweet and fiery versions.

The yummy roasted red pepper and eggplant sauce improves any meat dish. C.T. 23 Harilaou Trikoupi, Exarchia, Τel. (+30) 210.405.0070, daily 12:00-01:00.

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The coals are lit late in the afternoon and the ladies who run the place (the name means “The Women”) start wrapping their first souvlaki at around 18.30. We’ve often cursed the saints that they don’t open earlier, but it's worth having patience because their souvlaki is good enough to bring you to Koukaki from all the way across town. What’s in it? Pork or chicken (either as gyro meat or in skewered form), juicy tomatoes, crispy sweet onions and refreshing yoghurt. The last bite often evokes a few more curses. N.M. 16 Drakou, Koukaki, Τel. (+30) 210.922.5.648. Open daily except Sun, 18:30-02:00.

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Kalyvas – KOUKAKI

Jimmy’s Tavern – VYRONAS

Cookoomela – GYZI

Located on one of Koukaki’s liveliest pedestrianized strips, Kalyvas evolved from humble roots, going from a neighborhood souvlaki-to-go joint to a serious grill house favoured for family outings. Crispy, slightly smoky and light on the stomach, the gyro is the undisputed star of the show. Apart from the customary pita wraps, the establishment also does some cool things in the rotisserie department, such as grilled kidneys and livers, as well as kokoretsi (offal) and pork kontosouvli – and you can get those wrapped in pita bread, too! X.T. 12 Georgiou Olympiou, Koukaki, Τel. (+30) 210.923.1257. Open daily 13:00-01:00. Has delivery.

Jimmy’s is our go-to place for great souvlaki of every type as it has everything from bifteki and the yummy offal wrap known as kokoresti to chicken kontosouvli (marinated and spit-grilled), cooked to perfection by a traditional grill master. The side dishes, like the tyrosalata (cheese spread) and the delicious fried potatoes, are also a must, and it’s located on a happy little square where beautiful cats beg at the tables for treats. N.D. 2 Konstantilieri, Aghiou Lazarou Square, Vyronas, Τel. (+30) 210.765.8965, open daily 13:00-01:00. Has delivery.

What passes for vegetarian/vegan/ Lenten souvlaki at most places is usually little more than a pita stuffed with indifferently prepared vegetables doused in some sauce or another.

This is definitely not the case at Cookoomela, which opened a few years ago and quickly chased away the vegetable-lovers’ blues. Even carnivores keep coming back for the mushroom gyro, the delicious sauces and the country-style fries.

We recommend their Red Pita Wrap, featuring avocado, homemade tomato sauce, and vegan mayo. C.T. 6 Petrou Kalliga, Gyzi, Τel. (+30) 210.645.0700. Open Mon-Thu 13:00-23:00, Fri-Sat 13:00-00:00, Sun closed.

Giorgos – PIRAEUS

Giorgos – PIRAEUS It’s not really in Athens but a trip down to the port is worth it for a souvlaki bifteki made at Giorgos. Each pita contains two finger-licking patties made on the spot with beef from northern Greece and accompanied by just a few, but select ingredients: sweet red cayenne, tomato, finely-sliced onion, parsley and the perfect amount of sweet and spicy red sauce. They go down like a dream, in just four or five delightful bites. G.P. 17 Gounari & Nikita, Piraeus, Τel. (+30) 211.403.3388, open weekdays 11:00-19:00, Sat until 18:00, Sun closed.

* G AS T R O N O M O S M AG A Z I N E TEAM M a r i a Va s s i l o p o u l o u Nasia Diamantides Christiana Thomaidi V i v i Ko n s ta n t i n i d o u N i ko l eta M a k r yo n i t o u G e o rg i a Pa p a s ta m o u M a r i n a Pet r i d o u Christina Tzialla

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SHOPPING

ILLUSTRATION: ANNA TZORTZI

Athens

No longer little-known secrets, the Greek capital’s top destinations for jewelry, fashion and well-being offer world -class creativity and service. Here are our top picks.

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Modern Treasures

Earrings / "Tu Es Partout" collection / Lito

A look at the work of contemporary Greek jewelry designers who are carrying on the tradition of an ancient native art and gaining international recognition for their efforts.

TEXT: ELIS KISS

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Necklace / Helios collection / Zolotas AT H E N S

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Ring / Dolly Boucoyannis / i-D Concept Stores

Necklace / Lalaounis

Ring / Fanourakis

Earrings / Ioanna Souflia / i-D Concept Stores

Earrings / Caterina Anesti / Eleni Marneri Galerie

Bracelet / Polina Ellis

CRAFTSMANSHIP The Greek capital is home to a variety of jewelry designers who, whether established or in the rising-star category, have their individual styles and techniques.

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WHATEVER YOUR REASON FOR VISITING ATHENS, a stroll around the city center’s high-en-

ergy, ultra-gifted local fine jewelry scene deserves a spot on your to-do list. Jewelry is a major Greek success story, not that this should come as a surprise. Enter any major local museum and you’re bound to come across artfully hammered metals, often set with precious stones.

Decorative, noting social status (in the past, at least), and always a reflection of standout craftsmanship, Greek jewelry continues its singular creative journey from antiquity to the present. What you’ll discover in the Greek capital is that a large number of jewelry designers, whether established or in the rising-star category, present their own distinct identity. And don’t be surprised if you get a sense of déjà vu: it’s possible that you’ve already come across some of their designs in other cities, on display at eclectic global boutiques, department stores and galleries.

From pure minimalism all the way to sheer opulence, Greek jewelry designers are carving out a powerful narrative through their goldsmithing techniques. Are they, you might ask, inspired by their motherland? The answer is yes, but not necessarily in the most obvious ways. Nevertheless, given that the country is this year commemorating the bicentennial of the Greek War of Independence, do look out for special collections and collector’s items paying homage to the defining moment of modern Greek history, in great style.

G REEK J EWELRY DESIG N ERS ARE CARVI NG OUT A POWERFU L NARRATIVE TH ROUG H TH EI R GOLDSM ITH I NG TECH N IQU ES. ARE TH EY, YOU M IG HT ASK, I NSPI RED BY TH EI R MOTH ERLAN D?

Earrings / Ileana Makri

Some local maisons need no introduction. This is the case of Ilias Lalaounis, a fine brand established by late master jeweler Ilias Lalaounis in 1968. Known for revisiting Greek history and culture – without disregarding other civilizations – through the country’s jewelry tradition, Ilias Lalaounis is one of the very few instantly recognizable global Greek jewelry brands (www.lalaounis.com). The same is true of Zolotas (est. 1895), where goldsmithing techniques stemming from ancient times are still very much part of the creative process for the development of new collections, such as the recent Helios (www.zolotas.gr).

Pioneering designer Ileana Makri believes fine jewelry should be an everyday friend rather than a heavy-duty companion for special occasions. Makri’s own elegantly edgy pieces are on display alongside carefully selected jewelry by international designers at her namesake store. What’s more, the designer was recently named creative director of New York-based jewelry brand Reinstein Ross (www. ileanamakri.com).

The delicate yet mighty strong pieces designed by Lina Fanouraki of Fanourakis are defined by their extraordinarily detailed craftsmanship. At Fanourakis, gold is hammered, pleated and folded, while the irregularly cut diamonds produce a mosaic effect. Bestsellers here include miniature gold jewelry inspired by the world of animals, including insects (www.fanourakis.gr).

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Nikos Koulis

A recipient of the highly prestigious Jewelry Design award at the 2018 GEM Awards bestowed by the Jewelers of America, Nikos Koulis counts Queen Rania of Jordan and Oprah Winfrey among his high-flying clientele. Moving between high and fine jewelry, Koulis enjoys working with unique gemstones as well as translucent and black enamel, among other challenging materials. Look out for the Art Deco-inspired “Oui” and the gold chain “Feelings” collections (www.nikoskoulis.gr).

Yannis Sergakis is known for his use of minute diamonds, which invariably give his work a feeling of edgy delicacy. After spending a few years focusing on gold and diamonds alone, the designer is now incorporating more precious stones into his palette. Check out his less-is-definitely-more signature Charnières collection, also available at the new Yannis Sergakis corner at Le Bon Marché in Paris (www.yannissergakis.com).

At her Cabinet des Curiosités, Lito Karakostanoglou welcomes visitors with her innate sense of hip eclecticism, which is also reflected in her work. Inspired by Art Nouveau and Art Deco, Lito (as the jewelry designer is known) works with mother-of-pearl scarabs and vibrantly colored gemstones, among others. At the Cabinet des Curiosités, top-selling collections include the “Tu Es Partout” series, based on the notion of the evil eye (www.litofinejewelry.com).

Necklace / Yannis Sergakis

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advertorial

TH E N EW J EWELRY COLLECTION OF KATERI NA MAKRIYIAN N I CELEBRATES TH E H EART

© GEORGE ANASTASAKIS

THE NEW JEWELRY collection of Katerina Makriyianni is based on simplicity, warm colors and gemstones. “The symbol of this collection is the heart”, says the designer. “The power of that image is so important nowadays.” Gold is an element that is never missing from her collections, and it is widely present in this one, too, as it‘s perfectly suited to the pieces’ geometric designs and clear-cut winter shapes. “Collaborating with Net-A-Porter was a huge recognition for me,” Makriyianni says. “Then came the collaboration with the world-renowned photographer, Mario Testino for Vogue UK, as well as the Vogue Spain cover with Penélope Cruz as guest editor and photographer. Meeting Anna Wintour was also an important step in my career.”

This year, Makriyianni was honored at the Greek International Women Awards and was commissioned to create jewelry for the President of the Hellenic Republic.

What’s happening in 2022? “I‘ll be working with various raw materials in an attempt to carefully meet the current need for environmental sustainability. In the coming year, we‘ll be embarking on some very bold projects.”

Info: Katerinamakriyianni.com

TH E N EW J EWELRY CO LLECTIO N O F KATERI NA MAKRIYIAN N I IS BASED O N SI M PLICITY, WARM CO LO RS AN D G EMSTO N ES .

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Minas

Bracelet / Minas

At the Neso Studio (www.nesostudio.com), the use of micro-sculpting techniques for the creation of wax casts leads to one-off pieces in silver, gold, precious and semi-precious gemstones inspired by mystical creatures, while at Break A Stone (www.breakastone.com), a sense of vintage with an edge is reflected in silver and bronze pieces, where emphasis is often given to raw semi-precious stones.

Only a few steps from the Acropolis Museum, the Eleni Marneri Galerie, the city’s first contemporary creative jewelry art space, showcases local and global talent through permanent and temporary displays. Among the gallery’s “regulars” is Elena Votsi, whose groundbreaking sculptural pieces include bulky gold rings with colorful gemstones. Votsi is also the designer behind the Athens 2004 Olympics medals – with the obverse design gracing all Olympic Games medals since. In addition, the gallery space hosts new blood like Greek-British Joanna Peters, whose pieces focus on texture and a sense of joy (www.elenimarneri.com).

At the i-D Concept Stores – both downtown and in the upmarket Golden Hall mall in northern Athens – a mini panorama of creative Greek jewelry includes pieces by Myrto Anastasopoulou, whose fluid and nature-inspired pieces have a penchant for colorful gemstones; Doric order-inspired jewels by archaeology scholar Polina Ellis, who focuses on symmetry and a strong sense of construction; works by Christina Soubli, whose delicate femininity is highlighted in her signature filigree method; sophisticated jewelry by Ioanna Souflia, who daringly mixes materials such as white marble and black gold; and refined pieces by Dolly Boucoyannis, whose work includes gold matched with pebbles and pearls (idconceptstores.com).

I n Kifissia

In the leafy northern suburb of Kifissia you’ll discover the creative universe of minimalist master Minas. The late designer’s body of work is based on a sense of gentle austerity, with pieces moving away from all unnecessary ornamentation. The designer’s jewelry work follows the movement of the body and is further inspired by ancient cultures such as the Cycladic civilization (www.minas-designs.com).•

Earrings / Break A Stone

Bracelet / Neso Studio

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© YIORGOS KAPLANIDIS

Zeus+Δione

Grecian Chic Redefined History, culture and tradition provide the inspiration for a number of Greek designers and fashion brands making a name for themselves beyond the country’s borders.

TEXT: ELINA DIMITRIADI

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PHOTOGRAPHY: BILL GEORGOUSIS, STYLING: ANNA ZINCHENKO, MODEL: DASHA BASHYNSKA

CLOTHES & AC C E S S O R IE S

Parthenis

VIBRANT, EXPRESSIVE, UNEXPECTED AND THRILLING, Athens is like a huge the-

ater stage, starring both its residents and the hundreds of thousands of visitors who every year choose it as a holiday destination, not just as a transit point to the Greek islands. All together, we form the cast of a play that is constantly evolving, so the “costumes” we wear should be carefully assembled, featuring Greek designers and new brands that showcase Greece's cultural heritage and express the city’s vibe.

A walk around the streets of Athens is like a treasure hunt for gems of the local fashion scene or a search for new talent. Where better to start than at the boutique of Zeus+Δione, the Greek brand that shot to fame thanks to its ability to bring the past into the future? Ιnspired by the country’s mythology, folk customs and traditional craftsmanship, Zeus+Δione creates women’s garments and accessories that sing of simplicity and enduring elegance. Doric elements, geometric forms and poetry of movement are employed in high-quality fabrics and Greek silks to compose collections of timeless suits, skirts that flatter every figure and impressive dresses with ornate details, offsetting their simple lines and telling a story about folk art, and artfully placed slits for that hint of sensuality. The luxurious boutique incorporates the brand philosophy by drawing on the old to create the new.

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Carrying on the same thread of drawing inspiration from the ancient Greek notion of “kallos,” or “beauty,” the flagship store of luxury brand Callista Crafts is, like Zeus+Δione, located on Voukourestiou, Athens’ high-end shopping street. The brand seeks to provide every woman with the perfect purse and bag for her multitasking lifestyle, from capacious totes for the office and crossbodies when you’re out and about, to small yet handy mini-baguettes, flaps and saddle bags. All are crafted in soft leather with Callista’s signature stitching and embossed details. The brand has recently expanded into apparel, launching a capsule collection in cooperation with Greek designer Angelos Tsakiris, of essential readyto-wear items in luxurious textures and oversized or minimal silhouettes.

© DIONYSIS ANDRIANOPOULOS

Callista Crafts

Another chapter of Greek mythology – the one about the messenger god Hermes and his winged sandals – is the inspiration behind Ancient Greek Sandals. The Greek brand’s founders work with skilled local craftsmen and use high-quality leather to create comfortable, stylish and enduring footwear based on techniques that stretch back centuries. Apart from mythology, the motifs also draw on ancient pottery, sculpture and jewelry-making, elevated to contemporary aesthetic standards. The collections include everything from clogs and alternative flip-flops (you can even get ones with a small heel), braided strappies, intricately tied sandals, cozy slides and even clog boots, in classic and funky color combinations. The brand’s first flagship store in Athens is an architectural testament to Greek hospitality and creativity.

It’s not ancient Greek mythology but drama that informs the signature creations of the internationally acclaimed Parthenis brand. Defined by clean lines and simple forms, the clothing designed

by Orsalia Parthenis for the historical Greek house attests to the fact that she shares the love her father and the brand’s founder, Dimitris, had for ancient theater. Her dresses and skirts – timelessly minimalist pieces with discreet draping – and a range of basics in wool, viscose and devoré, such as blouses, shirts, jupe culottes, trousers, jackets and coats suitable for every occasion, are available at the brand’s self-named boutique in the downtown Athens district of Kolonaki.

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In the same neighborhood, seek out the flagship store of acclaimed and voracious designer Yiorgos Eleftheriades. A steady presence at international fashion weeks over the past few years, Eleftheriades is a pioneer of geometric forms and edgy minimalism. His richly layered pieces – both literally and conceptually – achieve that elusive combination of ease and creativity, with hints of playful eccentricity here and there. Collections include double-breasted and voluptuous coats and trenches, oversized and slim-fit jackets in wool and denim, casual and minimal tops and dresses like the ribbed polo, but also dresses and skirts that play with volume and asymmetrical detail, blouses with accentuated shoulders, pants with pleats and modern pencil skirts – everything you need for a wardrobe with interesting twists.

One of the forces shaping the new Greek fashion scene, Milkwhite just opened its first store in downtown Athens and recently presented a collection that is basically a love letter to the city that drives so much of the brand’s style and aesthetic. Combining whimsical femininity and romance, the brand has a lot in store for the style-conscious: crossed animal print skirts, fluffy wrap dresses in pastel shades, impressive painting-inspired motifs, long silk dresses and more. Their collection promotes sustainability making the most of materials such as vegan leather and natural textiles. Surprise drops made every so often to enrich the collections will draw you back to the store again and again.

Speaking of sustainability, one Greek brand that is doing good work to this end is Vathos. Adopting an ethical approach to fashion, Vathos creates ready-to-wear clothing and accessories from eco-friendly materials. Its minimalist silhouettes seek to combine a comfortable fit with a sense of spiritual, physical and emotional wellbeing. The clean-formed basics like shirts, trousers, jackets, Bermuda shorts and dresses are the stuff of a comprehensive mix-and-match wardrobe with a few elegant statement pieces to make a splash without compromising on comfort.

Vathos

Milkwhite

Sustainable and slow fashion is also the guiding principle of the Greek project and brand It’s A Shirt, which goes in the opposite direction of seasonal, disposable trends. Apart from being incorporated into the clothing, the motto “It is what it is, not just about two sleeves and a collar” is the overriding philosophy behind every shirt, jacket and coat. Natural dyeing processes, unexpected textures, creative partnerships with artists, a sense of humor and a sense of timelessness, together with hand-crafted skill come together for gender-neutral styles and pieces that attract people who are interested in the story behind the clothes.

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PHOTO: ©EVI TSADARI

CLOTHES & AC C E S S O R IE S

Mohxa describes its style as “Falifornia,” a portmanteau of the southern Athens coastal suburb of Faliro where it was born, and California’s surf culture that inspires it. It is a stylistic combination that’s evident in all its cool urban wear, from the loud print shirts and hip granny skirts that it launched in its early days, to the more diverse and sophisticated pieces it produces today for people who don’t need to look cool. These include T-shirts and shirts with simple lines and amazing textures, hoodies that stand out for the simplicity, and hats and caps bearing the logo of the palm tree that so defines the Faliro area. It also has a unisex line developed in cooperation with another Greek brand, Somf Clothing, of 1970s-inspired paisley shirts and bandanas, and a grunge collection that’s a nod to the 1990s.

Creating ready-to-wear classics with a twist, Anamnesi is a fresh new name in Greek fashion aimed at women with chutzpah. Combining an air of nostalgia with a retro aesthetic vibe – which also informed the name, meaning “memory” in Greek – the brand is defined by bright colors that vibrate on its high-quality textiles and in its playful motifs, like on the striking Athens Puzzle dress. It also has trousers that combine baggy and comfortable lines with a perfect fit, and shirts and jackets with names like Stockholm and London that attest to a collection created with the aim of standing out in the city throng.

A light and playful mood is also the driving force behind the space and philosophy of September, a concept store in downtown Athens. Like a splash of color in the grey urban landscape, September brings an air of late summer fun even to the winter, with carefully selected and uplifting clothing and accessories from Greek and international labels. Think flower earrings and hand-painted vintage jeans with floral motifs, blouses and shirts with neon prints, suns and waves, socks with cats, beaded hairclips and stripey purses.

September

© NIKOS KARANIKOLAS

It’s A Shirt

ATH ENS IS LI KE A H UG E TH EATER STAG E, STARRI NG BOTH ITS RESI DENTS AN D ITS H U N DREDS OF THOUSAN DS OF VISITORS. 1 0 0 — GREECE IS

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JOHN

www.johnp-shop.com John p. @johnp_shop

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CLOTHES & AC C E S S O R IE S

Another concept store, Aiki Diounot is a fun and funky space hosting limited collections from young and up-and-coming Greek designers. As the playful name (“I-Kid-You-Not”) suggests, these artists aren’t trifling with fashion and Aiki Diounot gives them a platform to spread their wings and us shoppers the opportunity to get to know their work and help them on their way. Pick from dresses with handmade prints, alternative deux-pièces for every occasion, statement pieces in pants and jackets that can be combined in everyday looks, and jumpsuits with unexpected influences from sportswear and the Roaring ’20s.

With a beautifully curated design and fashion collection, A Future Perfect & Friends describes itself as a “lifestyle store.” Why? Because it brings together collections from its own brand – clothing with architectural motifs and geometric lines drawn from the urban landscape – with whimsical and tasteful homeware made to bring imagination to every room in the house, design decorative items with strong artistic references and unexpected materials, and unusual jewelry by local designers, among much more.

Representing the elite of Greek designers in fashion, accessories and jewelry, the concept store Aesthet is the perfect way to wrap up our tour of Athens’ creative shopping scene. Some of the top brands that have been handpicked to represent the existing and future trends of Greek fashion include Angelos Bratis, Antonia Karra, Di Gaia, Evi Grintela, Greek Archaic Kori, Hermina Athens, Kooreloo, Lito Fine Jewelry, Sophie Deloudi, Stefania Frangista, Stefania Vaidani, Themis Z, Blameyourdaze and Vassia Kostara. Every nook and corner of Aesthet holds a new discovery for women who treat fashion as an investment and an adventure, with gowns for show-stopping evening looks, classic woolen capes, mohair and leather coats and trenches, velvet blazers and suits in unusual colors, two-piece suits in ’70s patterns, ribbed dresses and tops for an everyday look, tailored trousers and lifestyle jumpsuits.•

Aesthet

© THODORIS MARKOU

Aiki Diounot

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• Zeus+∆ione, 6 Voukourestiou, Tel. (+30) 210.323.0132 • Callista Crafts, 11 Voukourestiou, Tel. (+30) 210.364.7989 • Ancient Greek Sandals, 1 Kolokotroni, Tel. (+30) 210.323.0938 • Parthenis, 20 Dimokritou, Tel. (+30) 210.363.3158 • Yiorgos Eleftheriades, 29 Tsakalof & Voukourestiou, Tel. (+30) 210.361.6272 • Milkwhite, 5 Athanasiou Axarlian, Tel. (+30) 210.331.5233 • Vathos, 19 Archelaou, Tel. (+30) 694.807.2676 • It’s A Shirt, 67 Asklipiou, Tel. (+30) 694.517.5234 • Mohxa, 59 Zoodochou Pigis, Tel. (+30) 216.002.9238 • Anamnesi, 12 Protogenous, Tel. (+30) 210.921.0515 • September, 16 Apollonos, Tel. (+30) 210.323.4891 • Aiki Diounot, 53 Pratinou, Tel. (+30) 211.725.3717 • A Future Perfect & Friends, 23 Praxitelous, Tel. (+30) 697.430.4656 • Aesthet, 15 Valaoritou, Tel. (+30) 210.363.8573 WINTER 2021-2022

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Change more than just your location

IN CONTRAST TO SUMMER ESCAPES IN GREECE, which are by nature more a shared vision, with everyone thinking sea and sun, winter escapes seem to be more individualized, especially in a setting such as Athens, a metropolis with a style of its own. Its evolution into a multicultural destination has transformed what it has on offer; it no longer exclusively caters to locals. Instead, the city seeks to meet the needs of all tastes and demands, offering its visitors reasons to explore beyond the famed cultural touchstones and enjoy, for instance, its lively art scene or its gastronomic destinations. A night out at the concert hall or a fine restaurant is always welcome. Such undertakings, however, aren’t like carefree summer excursions to the beach; they need a little more wardrobe planning, and a much greater degree of attention paid to personal presentation.

In Athens, you can find everything you need to look your best, and you can take that new look home with you, too, thanks to the excellent range of goods and services on offer in the capital. From international brands and Greek designers to hair salons and nail bars, the growth of this market sector has been impressive, as has its impeccable professionalism and the hygienic safeguards put in place by the specially trained staff at all those spot in the city that will leave you looking sharper. What follows are just some of the many places that Athens offers those visitors seeking a little extra personal glamour during their city stay.

By all means, see that museum, but make sure to schedule time for a trip to the hair salon, the nail bar, the beauty counter or the perfumery as well. You'll love the personal care options here in the capital, and so will your travel budget.

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© VANGELIS ZAVOS

Products based on natural extracts (sourced from the island of Naxos) and tailor-made face creams are the bestsellers at Naxos Apothecary - an umissable beauty stop in town.

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The N axos Apotheca ry Hydration is of vital importance when you’re traveling. To restore the health of your skin after longer or shorter flights, facial and body treatments are helpful. Just a short walk around the welcoming Naxos Apothecary will let you in on some of the secrets of herbs and other natural cosmetics. Founded by the family behind the oldest homeopathic pharmacy in Athens, known as the Korres pharmacy, and the beauty company of the same name, the apothecary offers special products based on natural extracts sourced from the island of Naxos. Enjoy making your own homeopathic treatments, natural extracts or oils in hands-on workshops, or order a personalized face cream based on your skin's needs. Discover the perfumes, soap bars, and wonderful candles, all with a link to the natural riches of Naxos. 3-5 Kolokotroni & Voulis, Syntagma, Tel. (+30) 210.722.2774

Apivita Experience Store

Apivita Experience Store Building on innovative concepts, years of experience and an expertise in “natural” beauty, Apivita offers select services in its energy-filled flagship store in downtown Athens. Its five floors invite you to experience a different approach to face and body treatments, based on the idea that natural sources, bees and herbs in particular, hold the key to beauty. Apivita has been harnessing their miraculous powers for the last 35 years. In the Natural Pharmacy on the first floor, create your own personal cosmetics, try the honey and herbs, and indulge in organic beverages at the Juice Bar. Trust the experts and update your look at Nature’s Hair beauty salon and barber shop on the third floor, or indulge in unique treatments for the face and body at the Beehive Spa on the top floor. 6 Solonos & Kanari, Kolonaki, Tel. (+30) 210.364.0560 I nd ie Scent If you’re a fan of tailormade and niche perfumes, you’re in luck; a walk to the minute Indie Scent perfumery on Aghias Irinis will reveal a rich collection featuring sandalwood, vanilla, rose, and cotton. Test your creativity with the help of Efi, Irini or Hara, the three sisters who've created this haven, and mix your own long-lasting signature perfume. Don't forget to check out the shower gels, aromatic body lotions, body and hair oils, hair mists, candles and diffusers, all at very budget-friendly prices. 3 Aghias Irinis, Tel. (+30) 211.408.1452 1 0 6 — GREECE IS

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© ANGELOS GIOTOPOULOS

Indie Scent

Nail Bars

Tresor N a i ls Boutiq ue If you're getting your nails done, it’s not enough for them to be

impeccably manicured; they need to be perfectly painted, too! When you leave the Tresor Nails Boutique on Voukourestiou, your nails will be averitable work of arts, with brands such as Essie, OPI and Semilac being used here. The paint job is, of course, preceded by a professional manicure and skincare treatment from some of the best nail artists in the industry. Services also include threading for eyebrows and other facial hair. 16 Voukourestiou, Kolonaki, Tel. (+30) 210.300.5100 N a i l Job This wonderful industrial space in Pangrati, with an engaging atmosphere complete with jazz music, offers exceptional nail care and is always busy. Manicures, pedicures, nail and foot treatments, as well as manicures for men, can be had at very reasonable prices. Owner Kirki Fotopoulou is wonderful; she also keeps her customers apprised of the latest trends. 32 Archelaou, Pangrati, Tel. (+30) 211.407.3346

Brow Makeup

Per fect Touch Perma nent Ma keu p Rich, well-shaped eyebrows are essential to a flaw-

less look. To achieve this effect, you need to trust the experts: Anna Albani, artistic director of NyxiNyxi and certified permanent make-up artist, and her team will help you create your personal style, highlighting your best features with services such as semi-permanent make-up. Reshape your eyebrows with the natural 4D brow lift technique, or lift and paint your eyelashes in just 35 minutes for a lasting effect (lash lift). Eyelash extensions, using a 3D technique that leads to a thicker lash effect, are also available. 1 Christopoulou & Ermou, Kapnikareas Square, Tel. (+30) 210.322.0023

Nail Job

Hair

Cassidy & Co Antonia (colorist) and Dimitris (hair specialist) created a welcoming, minimal

space in Exarchia in January 2020. Their new ideas, positive approach and professionalism have helped them develop services that go beyond simply updateing your look. Indulge in their special treatments, formulated after a discussion of the particular needs of your hair. The background music will always lift your spirits, while the eco-friendly products they use – Davines, Olaplex and Paul Mitchell, to mention a few – are composed of light formulas. 44 Mavromichali, Exarchia, Tel. (+30) 210.363.8408 AT H E N S

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Di m itra Da n i ka At her salon, this TRESemmé hair expert and her team will redefine your entire image, imbuing your hair with natural shine and health with a simple haircut, or creating an ideal shade that matches your skin tone, and they do it all in a space that feels homey and welcoming and that hosts art exhibitions from time to time. 46 Spefsippou, Kolonaki, Tel. (+30) 210.721.0622 N icolas Vi ll iotis Baby lights, low lights, balayage – no matter what you choose for your hair, the results will thrill you at hair colorist Nicolas Villiotis’ salon. In an elegant setting in Pangrati, among artworks and classical music, you’ll be able to discuss your needs before starting. If you’re bored with your hair color but not ready for a radical change, ask for the painting technique that uses tones just slightly lighter than your natural tone.19 Alkmanos, Pangrati, Tel. (+30) 210.722.2058 Elepha nt a nd Castle This salon is named after the London district where Stavros Petropoulos, owner and Label.M ambassador in Greece, lived before coming to Greece. The setting is remioniscent of a London pub, while the music, played on vinyl, is an integral part of the experience.

Services on offer include hair therapies, hair coloring and haircuts. A new branch is opening in Berlin very soon! 21 Kolokotroni, Tel. (+30) 213.0287.802 Cassidy & Co

Talkin’ Heads

Ta l ki n’ Heads The 130 wooden frames suspended from the high ceiling with 520 metal wires, a creation of the Bureau de Change architecture firm, is the first thing you’ll notice upon entering Talkin’ Heads, a truly avant-garde salon. The second thing that will make an impression is the music selections of owner and director George Kampouris. His work as a radio producer on En Lefko 87.7 (Sun 20:00-22:00) has influenced his work as a hair stylist – he cannot use the scissors or his brush without listening to his favorite sounds. His carefully selected team and products that are eco-friendly and good for our hair, such as Australian brand Kevin Murphy or the Italian Oway and Davines, make for a unique coloring or hair styling experience. 5 Massalias, Kolonaki, Tel. (+30) 210.3392.211 Cut n’ Blow High-quality services in an aesthetically pleasing setting – this is Cut n’ Blow in Syntagma. Talented hair expert and Redken artist Vagelis Margoutas offers specialized solutions for hair coloring, cuts and styling, essentially tailor-made for each customer. Additional services include three types of keratin treatments (including vegan options), as well as an anti-frizz treatment. 23-25 Lekka, Syntagma, Tel. (+30) 210.322.2332 •

Shopping meets coffee and more at the city's more unorthodox retail locations. Scan here to explore them.

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© GIORGOS VISTSAROPOULOS, ANGELOS GIOTOPOULOS

Nicolas Villiotis

IN DEPTH

© GETTY IMAGES/IDEAL IMAGE

© GIORGOS VISTSAROPOULOS, ANGELOS GIOTOPOULOS

Athens

Greece Is has a mission to provide stories that do more than scratch the surface, that bridge past and present, and that shed light on lesser-known aspects of its corner of the world.

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t h e pa rt h e non sc u l p t u r e s

ABDUCTED

© SHUTTERSTOCK

T E X T : D U N CA N H OW I T T - M A RS H A L L

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TEMPLE OF ATHENA The Parthenon, visual centerpiece of the Athenian Acropolis, amid the scattered architectural remains of shrines and dedications that once adorned the Sacred Rock.

PARTHENON

© GETTY IMAGES/IDEAL IMAGE

THE MARKET Neoclassical pediments adorn the facade of the where a sign reads “Neoclassical pediments adorn the facade of the where a sign reads “Central Food Arcade”. Central Food Arcade”.

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CHARIOTS OF THE GODS Surviving sculptures from the east pediment of the Parthenon, portraying the heads of three horses from the chariot of Selene, goddess of the moon, descending through the bottom of the pediment.

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ON A LATE AUTUMN DAY IN 438 BC, as the sun neared the glistening sea on the horizon, Pheidias gently ran his fingers along the thick neck of the horse.

He slowly traced the vertical lines of its taut musculature up towards the curving head and, with squinted eyes, smiled in satisfaction. It was a masterpiece of high-relief sculpture, made from white crystalline marble quarried from nearby Mount Pentelicus, just north of the city. His skilled craftsmen, Alkamenes, Agorakritos and others, had done all of the initial work, carving out the relief and main features of the galloping animal and its young rider, but he, as the overseer (episkopos) and master sculptor, was there to add the finishing touches.

Like all great artists, he was a stickler for detail. He wanted his craftsmen to create the impression that their sculptures could come alive at any given moment and step out of the frieze.

High up on the scaffolding on the western side of the cella, the inner chamber (naos) of the Parthenon temple, beams of soft light skipped over the deeply cut lines, curves and folds of the sculpted figures, catching the shadows and giving the impression of subtle movement. Renowned for his colossal bronze statue of the goddess Athena Promachos (the “Defender”) that guarded the entrance to the sacred rock of the Acropolis, Pheidias, now 43 years old, walked along the marble frieze, surveying the rank and file of carved horsemen. Divided into ten

ranks, they represented the ten tribes of Attica. Almost all the riders were depicted as beardless youths, dashing cavalrymen in the prime of life: a conscious display of the power and vitality of the great state of Athens, and a memorial to the brave Athenian warriors who had fallen in the Battle of Marathon against the Persians 52 years earlier.

As the goat tallow torches flickered in the fading light, Pheidias and his craftsmen were busily finishing their Herculean task. Carved in situ around the four outer walls of the cella of the gigantic Parthenon, the largest and most impressive temple to Athena in the Greek world, the 160-meter-long sculpted frieze was close to completion. Consisting of 378 figures and 245 animals, it told the story of the Panathenaic Procession, a religious event that took place in the city every year to commemorate the birth of the goddess. The planned sculptural decorations for the other parts of the temple – the pediments and metopes – would represent the usual fare of Olympian gods and scenes from myth and legend, but the figures on the frieze were different, quite unlike anything that had been done before.

Without a doubt, this was Pheidias’ masterstroke. He had overseen the creation of a unique artistic narrative that represented the Athenians themselves; not gods or heroes, but mortals, brave and audacious participants in the first great democracy.

PH EI DIAS HAD OVERSEEN TH E CREATION OF A U N IQU E ARTISTIC NARRATIVE THAT REPRESENTED TH E ATH EN IANS TH EMSELVES; NOT GODS OR H EROES, BUT MORTALS, BRAVE AN D AU DACIOUS PARTICI PANTS I N TH E FI RST G REAT DEMOCRACY. 1 1 4 — GREECE IS

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Parthenon

© AFP/VISUALHELLAS.GR

THE AGE OF PERICLES Athenian statesman and general, Pericles (c. 495-429 BC) and his companion Aspasia, directing Pheidias’ work on the Parthenon sculptures. Pericles launched the monumental building program on the Acropolis in the mid-5th century BC.

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© THE TRUSTEES OF THE BRITISH MUSEUM

THE SCULPTUR ES

A CAVALCADE IN STONE Young cavalrymen taking part in the Panathenaic Procession, the annual celebration of the birthday of the goddess Athena. Marble relief (Block XLII) from the north frieze of the Parthenon, on display in the British Museum.

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SPECIAL REPORT

the most magnificent and best-known monuments in the world, a lasting reminder of the artistic and cultural achievements of the ancient Greeks, and a universal symbol of Western civilization. Inscribed in 1987 as a UNESCO World Heritage Site, along with the other monuments of the Acropolis, the building was originally adorned with hundreds of beautifully crafted sculptures, made entirely of locally sourced Pentelic marble. Conceived and sculpted between 447 and 432 BC under the watchful eye of Pheidias, the Parthenon sculptures were not intended as freestanding works of art.

Instead, they functioned as an integral and highly symbolic part of the monument, depicting the founding stories of the city and people of ancient Athens. For his overarching theme, Pheidias chose the eternal struggle between order and chaos, a powerful metaphor for the recent wars between the civilized Greeks and the barbarian Persians; a lengthy conf lict, including the seismic battles of Marathon (490 BC) and Salamis (480 BC), from which the Athenian-led Greek forces had, against all odds, emerged victorious.

Following the end of the Persian Wars in 479 BC, Athens was the most powerful city state in Greece. A year later, it became the self-appointed head of a large tribute-paying confederacy that defended the Aegean against further Persian aggression. The Delian League, as it was known, originally kept its treasury on the sacred island of Delos in the heart of the Cyclades, but, in 454 BC, the Athenian Assembly had it transferred to Athens itself, to be kept on the Acropolis. It was a bold move; one that signaled the beginning of the Athenian maritime empire. Pericles, a highly respected military leader and orator in the assembly, argued for revenue from the league’s treasury to be put aside for an immense building program on the Acropolis that would make the city the envy of the known world.

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© AIKATERINI LASKARIDIS FOUNDATION ARCHIVES

TODAY, NEARLY 2,500 YEARS LATER , the Parthenon stands as one of

STUDIES IN ANCIENT ART Detailed drawings of sculptures from the Parthenon’s west pediment by renowned archaeologist, painter and writer, Edward Dodwell (1767–1832).

The still-standing monuments of the Athenian Acropolis, including the Propylaea (monumental entrance way), the Temple of Athena Nike, and the Erechtheion, all built in the second half of the 5th century BC, are a testament to his great vision. This 50year period, a golden age for ancient Athens, is commonly referred to as the Age of Pericles, and the Parthenon, with its richly carved sculptures, was its crowning glory.

The Temple of Athena Parthenos (the “Virgin”) – the Parthenon – chief temple of the goddess Athena, is a masterpiece of architectural design and engineering. Built between 447 and 438 BC by the great architects WINTER 2021-2022

Iktinos and Callicrates, it became the center of religious life in the city and a powerful and enduring symbol of Athenian democracy. It was the largest and most lavishly decorated temple that mainland Greece had ever seen.

Pheidias’ once brightly painted sculptures atop the Parthenon’s forest of columns represented a high point in Classical Greek art. The restless swirl of figures not only commemorated the history and mythological foundations of the city of Athens, they were a glorious manifestation of democracy itself, with every finely carved figure a tribute to the primacy of the individual in this bold, new system of government – the first of its kind in the ancient world.

Parthenon The architectural

ILLUSTRATION: A. ORLANDOU, A. NIKA

THE PEDIMENTS For the large triangular pediments on the east and west façades of the temple, Pheidias and his sculptors rendered 50 over-life-sized figures in the round. Above the main entrance, the east pediment showed the birth of Athena from the head of Zeus. The west pediment depicted her famous contest with the sea god Poseidon for the patronship of the city.

and sculptural anatomy of the temple

THE FRIEZE The subject of the frieze was the most characteristic feature of the Parthenon's decorative art. Instead of focusing on mythology, Pheidias created a visual narrative of the Athenians themselves in the sacred act of worship - the Panathenaic Procession. Measuring 160 meters, the frieze ran around all four sides of the temple between the outer colonnade and the inner cella.

THE METOPES Below were the metopes, each one measuring around 1.25 x 1.2 meters. Carved in high relief, they ran around the four sides of the peristyle, just above the columns: 32 on the long sides of the temple facing north and south, and 14 on each of the façades. The metopes depicted popular scenes from Greek mythology: the Gigantomachy, the Amazonomachy, the Centauromachy, and the Trojan War. AT H E N S

Scan here for more information on the art and architecture of this monument.

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A TUR BULENT HISTORY

THE PARTHENON STOOD as a place of worship of the goddess Athena for 900 years before its conversion in the 6th century AD to a Christian church dedicated to the Virgin Mary – the Church of Parthenos Maria. It served as a church for nearly 1,000 years, becoming the fourth most important pilgrimage destination in the Eastern Roman/Byzantine Empire after Constantinople, Ephesus and Thessaloniki. Since then, it has been a mosque, an armory, part of a fortified garrison and, now, a famous ruin. In a region that is so seismically active, it is a testament to the solid rock of the Acropolis and the material and quality of construction that the building itself remains standing after nearly two and a half millennia.

The present state of the monument is largely a consequence of human actions and interventions. In antiquity, while it was a still a place of cult worship for Athena, the most destructive event was the great fire of AD 267.

The Heruli, a Germanic tribe from the north, sacked Athens and set the Parthenon ablaze, destroying the huge wooden beams of the roof and most of the inner facade of the cella. During its conversion to a church in the early Christian period, the entrance on the east side of the building was blocked and reworked into a semicircular apse, the main entranceway placed at the western end. Marble structures on the long sides of the building, including six blocks of the sculpted frieze, were 1 2 0 — GREECE IS

removed to make way for windows.

Christian inscriptions were carved into the columns, icons were painted on the walls of the cella, and other decorative sculptures were removed, deemed inappropriate subject matter by the ruling clergy. Under Latin rule, it became a Roman Catholic church of Our Lady, and a bell tower containing a spiral staircase was constructed in the southwest corner of the cella.

Sometime before the end of the 15th century, during the Ottoman period, the Parthenon was converted into a mosque on the orders of Sultan Mehmed II. The Catholic bell tower was extended upwards and turned into a minaret and the Christian altar was removed. Iconography of Christian saints and martyrs were whitewashed, but many of the surviving sculptures from the pediments, metopes and frieze were left alone. The Turkish explorer and travel writer Evliya Çelebi, visiting the site in 1667, was awestruck by the Parthenon’s beauty: “a work less of human hands than of heaven itself, it should remain standing for all time.”

During this time, a number of important studies were made on the sculptures, including sketches by the French artist Jacques Carrey in 1674. Carrey’s detailed drawings provide the most comprehensive evidence of the sculptures prior to the disastrous events that were soon to follow.

By far the most extensive damage occurred on the night of September 26, 1687. During the Morean War WINTER 2021-2022

(1684–1699), Venetian forces, under the command of Francesco Morosini, marched on Athens and besieged the Acropolis, then an Ottoman fortress.

On that ill-fated night, a Venetian mortar shell fired from nearby Filopappos Hill struck the Parthenon and ignited the gunpowder that was being stored inside. The sheer force of the explosion split the ancient temple in two, destroying the roof and central part of the building, and reduced the large sections of the cella walls to rubble. Threefifths of the sculptures from the frieze

Parthenon

© VISUALHELLAS.GR

ATHENS ABLAZE The destruction of the Parthenon during the Venetian siege of Athens, September 1687.

Contemporary Italian engraving.

and metopes crashed to the ground while 14 columns from the north and south peristyles collapsed. The explosion showered marble fragments over a wide area, destroying homes clustered around the slopes of the Acropolis, and killing nearly 300 people.

The building sustained more damage in those few catastrophic moments than in the previous 2,000 years. In the aftermath, when the Venetians had overrun the citadel, Morosini, who would later go on to become the doge of Venice, looted the site of its larger

SU RVIVI NG PI ECES OF TH E DECORATIVE SCU LPTU RE WERE I LLICITLY SOLD TO TRAVELLI NG EU ROPEANS, FASCI NATED BY TH E ART AN D ARCH ITECTU RE OF CLASSICAL G REECE .

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surviving sculptures. He even attempted to remove the statues of Poseidon and Athena’s horses from the west pediment, but both were destroyed when the pulley system his soldiers were using snapped. Within a year, Morosini and his forces withdrew from Athens with the ignominious honor of having ushered in the latest phase of the Parthenon’s history: that of a famous ruin.

Over the following century, large marble fragments from the partially destroyed Parthenon were recycled as building material for the renovated Ottoman garrison. Surviving pieces of the decorative sculpture were illicitly sold to travelling Europeans, fascinated by the art and architecture of Classical Greece. This Classical centrism cultivated in the consciousness of Western Europeans during the late 17th and 18th centuries, especially in Britain and France, was a double-edged sword. Not only did both nations see themselves as modern-day inheritors of ancient Greece and Rome, but the popularity of Classical literature among the educated classes, paintings and drawings of ruins and the early publications of antiquities by the nobleman-scholars of the Society of Dilettanti also sparked a rise in philhellenism which, in turn, aroused much sympathy and support for Greek independence. Nevertheless, it opened up an insidious path to the wanton removal of antiquities to adorn personal collections and buildings at home, and the ruined Parthenon was the primary target.

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DISMEMBERING THE MONUMENT The removal of Parthenon sculptures by agents of the British Ambassador to the Ottoman Empire Thomas Bruce, 7th Earl of Elgin. From the book “In Search of Greece,” catalogue of the Exhibit of Drawings at the British Museum by Edward Dodwell and Simone Pomardi, from the Collection of the Packard Humanities Institute, 2013.

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Enter Lord Elgin IN OTTOMAN-RULED Greece at the

turn of the 19th century, the recently appointed British ambassador to the Sublime Porte of Constantinople (Istanbul) arrived in Athens with one thing on his mind: the Parthenon sculptures.

That man was Thomas Bruce, 7th Earl of Elgin, a career diplomat with an insatiable appetite for Greek antiquities.

In his entourage, often overlooked in discussions about the removal of the Parthenon sculptures, was Lord Elgin’s personal chaplain and private secretary, the Reverend Philip Hunt, a wily negotiator and, like Elgin, a keen antiquarian. The third man was the Neapolitan court painter, Giovanni Battista Lusieri, employed to make casts and drawings of the sculptures.

From 1801 to 1804, Elgin and his associates not only stripped the sculptures from the Parthenon, they helped themselves to one whole Caryatid (sculpted female figure serving as a column) from the veranda-like porch of the Erechtheion, four slabs from the parapet frieze of the Temple of Athena Nike, and other pieces from the Propylaea. In all, Elgin oversaw the removal of more than half of the surviving sculptures from the Acropolis monuments, either hacked off or simply sawn into smaller pieces for ease of shipping, causing irreparable damage in the process. What were his motives? And why dismember an already existing monument, albeit a ruin?

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© GENNADIUS LIBRARY - AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

CLASSICAL-CENTRIC WESTERN EUROPEANS The view of the Acropolis from the house of French consul M Fauvel.

Oil on canvas painting by Louis Dupré, 1819.

Before taking up his post as ambassador to the seat of the Ottoman Empire, an appointment that he had enthusiastically lobbied for, Elgin approached British government officials about the acquisition of drawings and plaster casts of surviving sculptures from the Acropolis monuments; a request that was immediately turned down.

At the time, he had been overseeing the redesign of Broomhall House, the family home of the Earls of Elgin in Dunfermline, Scotland. Chief architect on that project was Thomas Harrison, 1 2 4 — GREECE IS

an admirer of Classical Greek architecture, who encouraged Elgin to use his elevated position in the diplomatic service to bring back drawings and casts to be used to influence the design and aesthetic of the country house.

Without official backing from the British government, Elgin decided to go it alone. When he arrived in Greece in 1800, Athens was a ramshackle city of some 10,000 souls, living in poorly built houses around the slopes of the Acropolis. His arrival ignited a great deal of excitement among the local WINTER 2021-2022

population, hoping that he would create jobs and generate wealth in the impoverished city.

His initial aim was to draw and make casts of the 5th century BC sculptures, as requested by Harrison.

At the time, the Athenian Acropolis was still an Ottoman stronghold under the control of the dizdar, the fortress commander. Alongside him was the voivode, the governor of the city and official representative of the sultan, Selim III. Both were well aware of the fascination and allure the monuments of

the Acropolis had on Western visitors, especially young gentlemen-scholars on the obligatory grand tour, and neither were opposed to selling the odd piece of sculpture to line their own pockets – an activity that was officially forbidden under Ottoman law.

Nevertheless, the citadel was a heavily fortified military site, and Elgin’s first request to sketch the monuments was turned down. Apprehensive about Elgin’s intentions, the dizdar demanded he obtain formal permission from the top, a royal decree, or firman, from the sultan himself.

Leaping to the task, Elgin navigated the labyrinthine layers of Ottoman officialdom in Constantinople and lobbied the sultan for special permission to gain unfettered access to the Acropolis and its monuments. What happened next is crucial to our understanding of the legality of Elgin’s actions.

He claimed to have obtained the official firman in May of 1801, allowing him to erect scaffolding, draw and make molds of the sculptures, but was unable to produce the original document to the officials in Athens. In its place, he presented an English translation of an Italian copy made at the time, deemed insufficient by the dizdar and voivode. Elgin’s associate Reverend Hunt, a skillful negotiator, then requested a second firman, which he claimed was issued in July of the same year. An Italian transcript of this document still exists in the archives of the British Museum, but its authenticity as a copy of an official firman has been questioned by experts on the diplomatic language used by Ottoman authorities of the period. The wording of the document, not altogether clear, granted Elgin permission to “take away some [or ‘a few’] pieces of stone with old inscriptions or figures thereon, that no opposition be made thereto.”

A landmark 1967 study by British historian William St Clair, “Lord Elgin and the Marbles,” concluded that the sultan likely meant the removal of artefacts that had fallen to the ground

COVETOUS COLLECTOR Portrait of Thomas Bruce, 7th Earl of Elgin, later in life.

ELG I N CLAI M ED TO HAVE OBTAI N ED TH E OFFICIAL FI RMAN I N MAY OF 1801 , ALLOWI NG H I M TO ERECT SCAFFOLDI NG , DRAW AN D MAKE MOLDS OF TH E SCU LPTU RES, BUT WAS U NABLE TO PRODUCE TH E ORIG I NAL DOCU M ENT. AT H E N S

and/or been found in excavations at the site, not the artworks still adorning the temples. Nevertheless, in Elgin’s view, it amounted to official permission to remove the sculptures from the Parthenon itself.

Presenting the alleged firman to the voivode in Athens, along with the customary bribe, Elgin and his associates immediately set to task erecting the scaffolding and removing the statues and reliefs from the Parthenon. In August of 1801, the British scholar and travel writer Edward Daniel Clarke was an eyewitness to the destructive removal of the metopes. In his “Travels Part II,” he wrote that the dizdar protested their removal but was bribed to allow it to continue: “We saw this fine piece of sculpture raised from its station between the triglyphs: but while the workmen were endeavoring to give it a position adapted to the line of descent, a pair of adjoining masonry was loosened by the machinery; and down came the fine masses of Pentelican marble, scattering their white fragments with thundering noise among the ruins. The Disdar, seeing this, could no longer restrain his emotions; but actually took his pipe from his mouth, and, letting fall a tear, said in a most emphatic tone of voice ‘Telos!’ [‘Enough!’], positively declaring that nothing should induce him to consent to any further dilapidation of the building.”

In a recent interview, the Honorary Director General of Antiquities and Cultural Heritage in Greece, Elena Korka, an expert on the Parthenon sculptures, asserted that Elgin became increasingly avaricious and used whatever means possible to acquire the sculptures: “He circulated rumors that he had a ‘firman’ from the sultan, when in fact he had a letter from an official not authorized to give permission.” It's important to note that the original version of the document Elgin claimed was a firman, surrendered to Ottoman officials in Athens at the time, has never been found.

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Parthenon

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Sale to the British Museum

THE EXCAVATION AND removal of the sculptures and their shipment to Britain was finally completed in 1812, at huge personal cost to Elgin. In total, he paid an estimated £75,000, equivalent to nearly £5 million in today’s money. He intended for the sculptures to adorn Broomhall, his home mansion in Scotland, but a costly divorce from his wife, Mary Nisbet, in 1808 forced him to seek buyers for the sculptures to settle his debts.

Elgin’s initial efforts to sell the collection to the British Museum were unsuccessful, and Britain’s Parliament, conscious of public criticism, showed little interest in stepping in to take them off his hands. His chief critic was the English poet and peer, Lord Byron, who denounced Elgin as a vandal and immortalized the heinous act in his vitriolic poems The Curse of Minerva and Childe Harold's Pilgrimage. Byron would later go on to become one of the greatest supporters of the Greek Revolution, taking an active role in the armed struggle before dying in Messolongi in 1824.

The subject of the removal of the Parthenon sculptures remained deeply controversial, with scholars, artists and poets taking opposing sides in the public debate. But with growing public interest in Classical Greek art and architecture, the British Parliament soon reconsidered its position. Following an investigation, a parliamentary hearing in 1816 exonerated Elgin’s actions and voted 82–30 in favor of purchasing them “for the British nation.” The debate concluded that Elgin was right to remove the sculptures as the Ottoman Turks viewed the monuments with apathy, and large quantities of marble had already been used to build the military 1 2 6 — GREECE IS

I N 1838, SCI ENTIST M ICHAEL FARADAY APPLI ED CARBONATED AN D CAUSTIC ALKALI ES TO LOOSEN TH E DI RT, FOLLOWED BY A DI LUTED SOLUTION OF N ITRIC ACI D. TH IS NOT ON LY DISCOLORED TH E MARBLE BUT ALSO LEFT M UCH OF TH E G RI M E EM BEDDED I N ITS CELLU LAR SU RFACE .

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garrison. Even so, Member of Parliament Hugh Hammersley, who voted against the motion, proposed that “Great Britain holds these marbles only in trust till they are demanded by the present, or any future, possessors of the city of Athens; and upon such demand, engages, without question or negotiation, to restore them.”

Following their sale to the British government for the sum of £35,000, less than half of what it cost Elgin to procure them, the sculptures passed into the trusteeship of the British Museum, where they were put on display to the general public as the “Elgin Marbles,” soon drawing large crowds. They were moved to the specially constructed Elgin Saloon in 1832, where they later underwent several destructive attempts to clean the dust and soot from the deteriorating marble surfaces. In 1838, while art conservation was still in its infancy, scientist Michael Faraday applied carbonated and caustic alkalies to loosen the dirt, followed by a diluted solution of nitric acid. This not only discolored the marble but also left much of the grime embedded in its cellular surface.

More destructive cleaning was carried out a century later in 1937-1938 at the instruction of Lord Duveen, a controversial art dealer who was financing the construction of a new gallery at the museum to exhibit the sculptures.

This was done under the false belief that the sculptures were originally a pure, brilliant white. Made from Pentelic marble, the surface would have gradually acquired a color similar to the soft hue of honey when exposed to air, referred to as its natural patina. Using metal scrapers, wire brushes, chisels and highly abrasive carborundum stones, a team of masons worked to remove the patina, scrapping away as much as 2.5 mm of the original surface. To make matters worse, it is known that the sculptures were originally painted with bright colours. As a result of the excessive cleaning, future scientific studies will no longer be able to determine their original color.

Parthenon

© NICOLAS ECONOMOU/AFP/VISUALHELLAS.GR

THE PARTHENON SCULPTURES IN LONDON The Temporary Elgin Room at the British Museum. Oil on canvas painting

by Archibald Archer, 1819. Below: Statuary from the east pediment of the Parthenon, on display in the Duveen Gallery at the British Museum.

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© ACROPOLIS MUSEUM, 2019, PHOTO: GIORGOS VITSAROPOULOS

THE C A MPA IGN

UNDER THE BLUE SKY OF ATTICA The Parthenon Gallery on the third floor of the Acropolis Museum.

Statuary from the west pediment in direct alignment with the Parthenon.

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FOR THEIR R ETUR N

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THE PARTHENON IS the ultimate

symbol of Greek cultural heritage and identity, one that is important not only for the people of modern Greece, but for Europe and for all humanity. Two and a half millennia ago, the monument and its sculptures, taken as a whole, celebrated the victory of Athenian democracy over the forces of chaos and barbarism, a victory that sparked the development of the creative arts, philosophy and science as we know them today. As such, the Parthenon is a celebration of the achievements of a free and democratic people – the cornerstone of the Western cultural ideal.

Following independence from the Ottoman Empire in 1832, the newly formed Greek state embarked on a series of campaigns to restore historic monuments and retrieve looted antiquities. The spiritual revival of the Greek people following nearly four centuries of oppression by the Ottoman Turks became closely interconnected with the survival of ancestral relics, especially those from the golden age of Periclean Athens – an ideological orientation to the Classical Greek past. The Neoclassical Bavarian architects who worked for Greece’s first king, Otto, played a decisive role in the preservation of ancient Greek monuments, and appeals were made by successive Greek governments for the return of looted artworks. In the case of the Parthenon sculptures, the first such appeal was made in 1842.

Over the course of the 19th century, further requests were repeatedly turned down by the trustees of the British Museum, citing their legal “ownership” of the sculptures. The devastating world wars of the early and mid-20th century put everything on hold until, in the early 1980s, the Greek Minister of Culture, Melina Mercouri (19201994), brought the plight of the Parthenon sculptures to the attention of the international community.

Mercouri herself was an incredibly dynamic figure. A world-famous singer and Academy Award-nominated 1 3 0 — GREECE IS

actress, she gained further prominence as a political activist during the dark years of the Greek dictatorship, from 1967 to 1974. In later life, she became increasingly involved in politics, and was appointed Minister of Culture from 1981 to 1989, and briefly again in 1993 to 1994. She was deeply passionate about the protection and enhancement of Greek cultural heritage and its promotion to the world, using her position to make an ardent plea for the return of the Parthenon sculptures at the UNESCO World Meeting of Ministers of Culture in Mexico in 1982.

In a speech to the assembled ministers, Mercouri made a powerful argument for their reunification in Athens, and announced the Greek government’s intention to formally request their return from the British Museum: “The day may come when the world will conceive of other visions, other notions about ownership, cultural heritage and human creativity.

And we fully appreciate that museums cannot be emptied. But I would like to remind you that in the case of the Acropolis Marbles we are not asking for the return of a painting or statue.

We are asking for the restitution of part of a unique monument, the particular symbol of a civilization. And I believe that the time has comes for these Marbles to come home to the blue skies of Attica, to their rightful place, where they form a structural and functional part of a unique entity.”

Mercouri’s passionate rallying cry was heard around the world. Her campaign was no longer the struggle of the Greek people or government but of the global community, as scholars, heritage professionals and others joined the ever-growing chorus for the sculptures’ return. Since then, 21 national committees spanning 19 countries have been established, most recently Luxembourg in 2020, each one raising awareness of the long-standing issue in their respective nation, galvanizing popular support and applying pressure WINTER 2021-2022

"OUR SACRIFICES" Melina Mercouri on an official visit to the British Museum.

The actress/political activist instigated the campaign for the return of the Parthenon sculptures in 1982 when serving as Greece’s Minister of Culture.

on the British Museum and UK government officials. Working under the collective umbrella of the International Association for the Reunification of the Parthenon Sculptures (IARPS), the committees work closely with the Greek authorities, hosting regular conferences and meetings, and supporting the ongoing policy of cultural diplomacy. In the words of Professor Louis Godart, former chair of the International Association (2016-2019): “anyone who loves Greece and democracy must fight for the repatriation of Pheidias’ sculptures.”

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Parthenon

The tireless work of IARPS, including the British Committee for the Reunification of the Parthenon Marbles, chaired by Dame Janet Suzman, appears to be having an overwhelmingly positive impact. Opinion polls in the UK in recent years suggest that significantly more British people support the sculptures’ return to Greece than oppose it. Indeed, a 2014 poll conducted by the Guardian found that 88 percent of respondents agreed that the Britain Museum should return the sculptures.

There is clearly a groundswell of public opinion in favor of their return.

WHERE ARE THE PARTHENON SCULPTURES TODAY?

Today, only 50 percent of the original Parthenon sculptures survive. Of these, a small number remain in situ on the monument, silent survivors of its long and turbulent history, and just under a half are on display in the purposebuilt Acropolis Museum in Athens, which opened in 2009.

Outside of Greece, small fragments are in the collections of the Louvre in Paris, the National Museum of Denmark, and museums in the Vatican City, Vienna, and Würzburg, Germany. The remaining half are on display in the British Museum, where they have been on permanent display since 1817. They consist of 17 figures from the statuary of the east and west pediments, 15 of the original 92 metopes, depicting the battle between the Centaurs and Lapiths, and 75 meters of the 160-meter-long frieze.

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THE TRUSTEES OF the British Mu-

seum have continued to assert clear legal title to the Parthenon Sculptures since 1816, citing their legal acquisition by Lord Elgin under the laws pertaining at the time. Supporters of the British Museum’s position also argue that the sculptures receive six million visitors per year in London as opposed to one and a half million at the Acropolis Museum in Athens. In a statement on the British Museum’s website, the trustees make the following argument: “The Acropolis Museum allows the Parthenon sculptures that are in Athens to be appreciated against the backdrop of ancient Greek and Athenian history. This display does not alter the Trustees’ view that the sculptures are part of everyone’s shared heritage

and transcend cultural boundaries. The Trustees remain convinced that the current division allows different and complementary stories to be told about the surviving sculptures, highlighting their significance for world culture and affirming the universal legacy of ancient Greece.”

Nevertheless, many would argue the display of the Parthenon sculptures in the British Museum is inadequate.

Their exhibition in the dimly lit Duveen Gallery gives the false impression that they form a contiguous whole, presenting an unbroken narrative of the mythological and religious scenes depicted in the pediments, metopes and frieze. In reality, they constitute a collection of disembodied, de-contextualized historical artifacts that portray the narrative in piecemeal. This is especially the case for the frieze, portraying

the Panathenaic Procession. On the Parthenon, the slabs were originally conceived to run along the outside walls of the cella, but in the British Museum, where they are displayed on the inside of a wall, there is no indication where the missing slabs would have been positioned.

Since 2009, Athens has been home to a world-class, purpose-built museum for the display of cultural artifacts related to the monuments of the Acropolis and its environs. The Acropolis Museum, located on the south side of the Acropolis, has been equipped with state-of-the-art facilities for the conservation and preservation of exhibits, including advanced laser cleaning, and functions as one of the leading research museums in Greece for the study of Classical Antiquity. The specially designed Parthenon Gallery

NICHOLAS STAMPOLIDIS

GEORGE OSBORNE

DAME JANET SUZMAN

Archaeologist, Director of the Acropolis Museum

Chairman of the British Museum, former UK Chancellor of the Exchequer

Actress, Chair of the British Committee for the Reunification of the Parthenon Marbles

“The Parthenon ... is a whole born into a particular time and place, under a certain light. And everyone in this light should visit the Parthenon and be ‘re-baptized’ in their roots. It’s not just the State and the museum that calls for the return [of the sculptures], it is the monument itself, the Parthenon, the body-symbol that demands its limbs back.”

“There are those who demand the return of items that they believe we have no right to keep. ... Lord Byron thought that the ‘Elgin marbles’ should return to the Parthenon. ... We are open to lending our items wherever they can take care of them and ensure their safe return something we do every year, inlcuding to Greece.”

“Recent polls suggest public opinion is growing in favor of return, due largely to a greater historical awareness of colonial misdemeanors and a questioning of a dead empire’s right to imagine itself unassailably in the right. The British Museum is behind the curve on this. It has a reputation to save and must go about saving it right now.”

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© GETTY IMAGES/IDEAL IMAGE, IN TIME NEWS

So, why the delay?

Parthenon on the top floor of the museum is in direct line of sight with the Parthenon monument itself on the Sacred Rock.

With glass walls running from floor to ceiling, the modern gallery allows visitors to view the sculptures in the natural Mediterranean sunlight, configured in the same way as they would have been on the Parthenon. Contrary to their display at the British Museum, the gaps in the marble slabs and figures in the Parthenon Gallery have been deliberately left blank, patiently awaiting the return of their missing brothers and sisters from London.

It's important to remember that these sculptures were never intended to be viewed as freestanding works of art, but as parts of a symbolic whole.

Issues of legal ownership aside, experienced in unity, the sculptures represent the highest form of Classical Greek art,

and should be seen as an integral part of the Parthenon, their original place of conception and display. Detractors from this point of view fear the return of the Parthenon sculptures would open the floodgates for the repatriation of many more cultural items from the British Museum’s collections, setting a precedent that would empty the socalled “encyclopedic museums” of the Europe and North America.

While it is true that comparable claims have been made by governments around the world for the return of specific cultural items looted during colonial times, most notably in Africa, there is no hard evidence that global museums would be denuded. Instead, the Parthenon sculptures appear to represent a very special case. In a 2018 article in the London-based art and culture magazine “Frieze,” Cambridge

classicist and historian Paul Cartledge made the following argument: “The Marbles are unique in that the building they adorned two and a half millennia ago still stands in full view on its mighty Acropolis rock – you see it from every street in the center of Athens.”

Furthermore, the British Museum would greatly benefit by returning the Parthenon sculptures, opening up a new chapter in cooperative partnership with Greece. Not only would it enhance scholarly collaboration between British and Greek archaeologists, conservators, curators and art historians, it would pave the way for exhibitions to be shared and other collections to be offered as long-term loans by Greek museums. It would also improve the British Museum’s somewhat tarnished image abroad, and, by extension, Britain’s global image.

STEPHEN FRY

NADINE GORDIMER (1923-2014)

CHRISTOPHER HITCHENS (1949-2011)

Actor, writer and philhellene; author of “Mythos: A Retelling of the Myths of Ancient Greece” (2017)

Nobel Prize winner, writer and political activist

Journalist, columnist and orator; author of “The Parthenon Marbles: The Case for Reunification” (1997)

“We are discussing a specific part of an existing building, which we now know can be properly and professionally curated and displayed … Greece made us.

We owe them. They are ready for their return and have never needed such morale-boosting achievement more. And it would be so graceful, so apt, so right.”

“The Parthenon Gallery in the new Acropolis Museum provides a sweep of contiguous space for the 160-metre-long Panathenaic Procession as it never could be seen anywhere else, facing the Parthenon itself high on the Sacred Rock. But there are gaps in their magnificent frieze, left blank. They are there to be filled by an honorable return of the missing parts from the British Museum.”

“The ‘Elgin line,’ of sculptural partition and annexation, runs through a poem in stone that was carved as a unity and that tells a single story. It even cuts through figures and characters in that story. The body of the goddess Iris is now in London, while her head is in Athens.

The front part of the torso of Poseidon is in London and the rear part is in Athens. This is grotesque.”

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New momentum THE BRITISH MUSEUM already

has one of the best collections of ancient Greek artefacts on display anywhere in the world, and it is certainly not short of visitor attractions to draw in the crowds. The return of the Parthenon sculptures would in no way diminish that.

Setting a good precedent was the return in 2006 of a sculptural fragment from Parthenon’s frieze held in the collection of the University of Heidelberg. The fragment came from the north frieze, depicting the lower foot of “Figure 28” (a thalophoros, a figure holding an olive branch) and part of the garment’s edge. This symbolic act of return constituted the first repatriation of any part of the architectural or sculptural decoration of the Parthenon from a museum outside of Greece.

It was followed later that year by the return of an architectural fragment from the Erechtheion from the collection of the Museum for Mediterranean and Near Eastern Antiquities in Stockholm, Sweden. During a special repatriation ceremony in Athens, representatives of the Swedish museum expressed hope that the return of the fragment would send a clear signal to the British Museum.

Efforts for international mediation in the long-standing issue have been ongoing since 1983. Leading from the front, UNESCO’s Intergovernmental Committee for Promoting the Return of Cultural Property (ICPRCP) has adopted at least 16 recommendations for bilateral negotiations on the Parthenon sculptures, which, among others, call on Greece and the UK to 1 3 4 — GREECE IS

“intensify their efforts with a view to reaching a satisfactory settlement.” In 2013, following a meeting between the Greek Minister of Culture and Sport and UNESCO’s Director-General, UNESCO formally invited the UK Government and the British Museum to enter into mediation talks. The invitation was turned down, two years later, in 2015, citing the same old and tired arguments regarding the British Museum’s legal acquisition and ownership of the sculptures.

But there is hope. In September 2021, auspicious for being the bicentennial year of the start of the Greek Revolution that set Greece on the path to becoming a free and independent state, the Greek government and ICPRCP made a significant breakthrough. During the 22nd session of the ICPRCP in Paris, following intense talks, the committee for the first time acknowledged that the matter is an intergovernmental one, and not one between the Greek state and the trustees of the British Museum. Together with its recommendation, which referred to the poor conditions in which the sculptures are being kept in the Duveen Gallery, the ICPRCP, in full support of Greece’s legal and moral claims, voted unanimously to pass a decision urging the return of the Parthenon sculptures: “The decision of the 22nd session of the ICPRCP’s Commission expresses its strong dissatisfaction with the fact that the issue remains unresolved due to the United Kingdom’s stance. In addition, it urges the United Kingdom to reconsider its position and enter into a bona fide dialogue with Greece, emphasizing the intergovernmental nature of the dispute.”

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© GETTY IMAGES/IDEAL IMAGE

SPECIAL REPORT

Parthenon

OUT OF CONTEXT Statuary from the west pediment of the Parthenon, on display in the Duveen Gallery at the British Museum.

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SPECIAL REPORT

The latest developments and what British voters can do IF YOU’RE REGISTERED to vote in the UK and you’d like to help the campaign for the reunification of the Parthenon sculptures, we urge you to write to your local Member of Parliament asking them to raise the issue in the House of Commons. It’s important that you stress the issue become an intergovernmental one – one between the Greek state and the UK. As it stands, the UK government blindly supports the position held by the trustees of the British Museum regarding their legal claims of ownership of the sculptures since 1816, and is keen for museum professionals in Greece and the UK to continue to have dialogue. The Greek government, on the other hand, now with the full and unequivocal support of the ICPRCP, continues to press the UK to upgrade the longstanding issue and enter into direct talks at an intergovernmental level.

To break the stalemate, UK voters must petition Parliament to debate and amend the British Museum Act of 1963, which outlines the composition and general powers of the British Museum trustees. The all-powerful trustees exist as a 25-person corporate body, one member appointed by the Queen, 15 by the Prime Minister, four by the Secretary of State and five appointed by the trustees of the Museum. Their role is the general management and control of the British Museum, including the keeping and inspection of collections, and the disposal of objects. A parliamentary debate would allow the House of Commons to carefully consider the issue of the Parthenon sculptures and further reflect on what responsibilities they wish to give to the trustees of the Museum.

Vesting the trustees with the right to voluntarily return the sculptures would affirm the British nation’s respect and admiration for the immense legacy of ancient Greece, promote the indivisibility of Classical Greek art, and enhance the reputation and esteem of the British Museum in the eyes of the world. As such, the repatriation of the sculptures would create a win-win situation. Seizing on present momentum, Greek Prime Minister Kyriakos Mitsotakis pressed his UK counterpart, Boris Johnson, on the case for reunification. True to form, Prime Minister Johnson’s response reiterated the UK government’s longstanding position that the sculptures were “legally acquired by Lord Elgin ...,” and that the issue is not an intergovernmental one.

In a swift riposte, the Greek premier appealed to Johnson’s self-proclaimed admiration for ancient Greece in an article for the UK's Mail on Sunday: “I believe that the classical scholar in Boris Johnson knows that he has a unique opportunity to seize the moment and make this generation the one that finally reunited the Parthenon Sculptures.” He added that the return of the sculptures would open the door for long term loans to the British Museum of other iconic Greek artifacts. In the immediate aftermath, there was a groundswell of support from media outlets in the UK and around the world in support of the Greek cause.

Despite the stubborn refusal of the UK government to enter into any meaningful dialogue with Greece, the ICPRCP’s potentially game-changing decision gives new hope to the nearly 40-year campaign, especially now that public opinion in Britain has shifted in clear favor of the return of the sculptures to their rightful home in Athens.

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© ACROPOLIS MUSEUM, 2012, PHOTO: SOCRATIS MAVROMMATIS

Parthenon

ONE FRAGMENT IN LONDON, THE OTHER IN ATHENS Fragments from Block XXVII of the Parthenon's north frieze, adjusted to a plaster cast of the upper part of the original block kept in the British Museum. The scene depicts an apobates race, an equestrian contest related to the mythical origins of Athens.

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ASK ANYONE, ANYWHERE IN THE WORLD, ABOUT ATHENS AND YOU’RE LIKELY TO HEAR BACK ABOUT THE PARTHENON, THE ACROPOLIS, CLASSICAL ANTIQUITY OR THE CRADLE OF DEMOCRACY. WHICH IS EXACTLY WHY BARACK OBAMA PICKED ATHENS AS THE LOCATION OF HIS 2016 FINAL FOREIGN TOUR KEYNOTE ADDRESS AIMED AT DEFENDING DEMOCRACY. IT’S ALSO WHY MOST VISITORS USED TO TREAT ATHENS AS MERELY A SHORT STOPOVER ON THEIR WAY TO THE ISLANDS. ATHENS WASN’T WORTH MUCH BEYOND THE ACROPOLIS AND A COUPLE OF MUSEUMS, OR SO THE THINKING WENT.

The surprising modernity of ATHENS 1 3 8 — GREECE IS

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© DESPINA GALANI/UNSPLASH

T E X T : S TAT H I S N . K A LY VAS

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© JOHN CAM HOBHOUSE/VISUALHELLAS.GR

TOWERING ROCK AMIDST A DESERT View of the city of Athens by Richard Temple (1810) AT H E N S

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evolution

ESSAY

U UNLIKE FOREIGN VISITORS

doesn’t include a medieval quarter, like Barcelona. Nor is it a grand 19th-century capital, like Paris or Stockholm.

Despite its pedigree, Athens is a city that was built from the ground up after Greece won its independence in 1830.

In fact, it was imagined and planned as the brand new capital of an emerging post-imperial nation-state, a blank canvas on which to project grand ambitions and wild dreams, very much like Washington or Brasilia. As such, its urban core exhibits broad boulevards, large squares, and monumental neoclassical public buildings echoing the names of their European architects: Eduard Schaubert, Stamatis Kleanthis, Ernst Ziller or Theophil Hansen.

But that was only the start. It was the city’s great misfortune (or was it fortune?) that the Greek state lacked the resources to fully realize its highly ambitious original plans. Hence, the city’s development followed a nonlinear path.

SOURCE: G. IOANNOU, ATHENS THROUGH POSTCARDS OF THE PAST, I. SIDERIS, ATHENS 2001

to the city who worshiped it, most Athenians ignored the Acropolis until recently. They did so in spite, or perhaps because, of its towering presence over the city’s landscape.

After all, omnipresence can feel a lot like absence. They didn’t think much of the rest of their hometown, either. In most part the children and grandchildren of internal migrants who'd settled in Athens to escape the endemic poverty

of their ancestral villages during the 1950s and 1960s, the city's residents saw it as an unwelcoming, impersonal, overpopulated, traffic-clogged, dirty and ugly metropolis, colloquially known as Tsimentoupoli, or “Cement City,” a reference to the ocean of concrete apartment blocks that cover the landscape. For a long time, in other words, Athens wasn’t much loved.

Attitudes, however, change quickly. Visitors stay longer in Athens these days, and some even spend all their time here. Athenians have begun to rediscover and appreciate their city, too. There’s now a growing sense that there’s much more to it than simply a perplexing blend of famous ancient monuments and lots of concrete. How can we explain this surprising turnaround?

It all began with the realization that Athens really isn't an ancient city, but a thoroughly modern one. It doesn’t exist next to extensive ruins, like Rome,

REINVENTING A GLORIOUS PAST Athens' iconic Trilogy; the National Library, the University, and the Academy 1 4 2 — GREECE IS

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IN SEARCH OF A NEW LIFE Greek refugees from Turkey sheltering outside the Temple of Hephaestus (1922)

During the 19th century it grew to reflect the needs and vision of a growing public bureaucracy and a rising commercial bourgeoisie, including Greeks who'd amassed their fortunes abroad but felt the urge to make a statement in Athens. During the 20th century, however, the city’s development was dictated primarily by a series of shocks caused by wars and mass population displacements. In fact, present-day Athens is the combined outcome of four great waves of migration.

First came hundreds of thousands of Greek Orthodox refugees fleeing Asia Minor after Greece’s defeat by Turkey in 1922. Three decades later, it was the

turn of peasants f leeing civil war and seeking economic opportunity. In the early 1990s came a big post-communist, mainly Balkan, wave of migrants, and since 2000, Athens has been attracting people fleeing the war zones of Africa, the Middle East and Central Asia. The city reacted to these successive waves in predictable ways: initially with panic and disbelief, followed by adaptation and integration. How Athens integrated these new arrivals says a lot about why the city looks and feels the way it does today. Indeed, the remarkable thing about Athens, and one often ignored by both visitors and locals, is how (and how well) it has managed to integrate AT H E N S

these successive migration waves.

Housing sudden and large inf luxes of people is perhaps the greatest challenge faced by cities. Developed countries have relied mostly on massive public housing, whereas developing ones have accommodated them through the rapid spread of informal settlements. Athens came up with an original solution that fell right in the middle between Soviet-style blocks and third-world favelas. It did so by using an ingenious legal innovation called antiparochi, a legal framework that opened the door to an unusual transaction: the exchange, effectively a barter, of (present) land for (future) GREECE IS — 1 4 3

evolution

ESSAY

It all began with the realization that Athens is not an ancient city, but a thoroughly modern one.

It doesn’t exist next to extensive ruins, like Rome, doesn’t include a medieval quarter, like Barcelona, nor is it a grand 19th-century capital, like Paris or Stockholm. Despite its pedigree, Athens is a city that was built from the ground up after Greece won

© K. MPIRIS FROM THE BOOK “AI ATHINAI”, MELISSA PUPLICATIONS

its independence in 1830.

MODERN URBANISM The Kleanthis & Schaubert Plan (1833) 1 4 4 — GREECE IS

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A NEW KIND OF HOUSING

© YIORGIS YEROLYMBOS

The “Blue Polykatoikia” in Exarchia (Built in 1933)

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apartments. This approach solved a key obstacle to the provision of affordable housing: limited liquidity and credit.

With antiparochi, developers were able to build without the need to purchase land, effectively devoting their limited capital to construction; and landowners could turn land into apartments at no cost to them. Add to this the social makeup of Athens, characterized by small-scale local family businesses and highly fragmented land ownership, and you get the Athenian recipe for rising to its housing challenge.

The literal and metaphorical building block that came out of antiparochi was the polykatoikia, or aparment building, the instantly stereotypical Athenian housing unit. Despite variations, its essential elements have not changed much: usually of medium height (five

mobility, by conjoining poorer families in the smaller and cheaper apartments of lower floors with wealthier ones in the more expensive and expansive ones higher up. Second, it fostered a broad mix of professional and residential functions, by including an array of shops and workspaces at street level or lower, with business offices (e.g. doctors’ or lawyers’ practices) on lower floors as well. Third, and largely a consequence of this mix, it contributed to the creation of a safe and, ultimately, very lively street ecosystem.

The immense concrete jungle one sees from above turns out to be surprisingly human and pleasant when approached at street level.

In short, it is no exaggeration to say that, throughout its history, Athens has been an astonishing integration machine. And it is the resulting energy and

cocktail of dysfunctional results: hellish traffic jams and deadly air pollution known as the nefos (cloud), which made air unbreathable and covered the city in a grey haze. This caused a massive population f light from the city center to the suburbs, as well-to-do Athenians sought cleaner air, more personal space and more greenery, leading to the destertion of vast downtown areas. When the last wave of migrants arrived from Africa and Asia, they settled in these abandoned areas, an ideal setting for generating social stress, further exacerbated by the financial crisis that erupted in 2010.

Still, that crisis failed to erase the vast improvement that had been achieved in the preceding years. Indeed, Greece’s 2004 Olympic Games had spurred major, and effective, air and sea clean-up iniatives alongside massive investments in public

It is the aggregation of thousands of polykatoikias that has produced an ocean of concrete, the Cement City, that offers such a striking spectacle from any elevation . to six floors) and medium size (a dozen or so apartments on average), it is built out of reinforced concrete with flat roofs and extensive balconies. It is the aggregation of thousands of polykatoikias that has produced an ocean of concrete, the Cement City, that offers such a striking spectacle from any elevation.

In their heyday, polykatoikias weren't just an economical and convenient way to house newly arrived migrants; they were also a point of entry to a new way of living: more densely inhabited and more constricted compared to traditional village houses, more anonymous but also freer, and also incomparably more comfortable, with indoor plumbing and other modern amenities.

Most importantly, the polykatoikia performed three key functions very well.

First, it spurred social integration and 1 4 6 — GREECE IS

vibrant nature of Athens’ street life that many visitors, and increasingly many locals as well, find so enticing and alluring. Which, in turn, explains why Athens has emerged as such an attractive destination recently. But then, why was it overlooked for so long?

READY TO SH I N E

The 2010 crisis dealt Athens a heavy material and reputational blow – as it did to Greece, more generally. However, the truth is that Athens had reached its lowest point much earlier, during the 1980s. The breakneck speed of economic growth during the preceding 30 years, which had led to massive population growth and an accompanying surge in car ownership, along with a chronic lack of investment in public infrastructure, ended up producing a disastrous WINTER 2021-2022

infrastructure, including a new airport, a new ring road, and a gleaming new subway system.

So, when Airbnb and budget airlines arrived in the mid-2010s, Athens was ready to shine again and impress this new wave of visitors with its unique energy and atmosphere, now updated and enhanced by a host of creative and talented designers, architects, shop owners, and restaurateurs – many with a cosmopolitan pedigree. In turn, these visitors were happy to give Athens a chance, exploring it more thoroughly and discovering its modern personality even as they continued to appreciate its famous ancient gems. And it's this, perhaps, that was needed to get Athenians to see their own city with a new set of eyes and start to show it the love it deserves.•

CEMENT CITY

© NOMADIC JULIEN/UNSPLASH

Crowded and vibrant

STATHIS N. KALYVAS is Gladstone Professor of Government and fellow of All Souls College at Oxford.

He is the author of, among others, "Modern Greece: What Everyone Needs to Know" (Oxford University Press, 2015).

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SEARCH I NG FO R P L ATO W I T H M Y 7-Y E A R - O L D

T E X T : T H O M AS C H AT T E RTO N W I L L I A M S / T H E N E W YO R K T I M E S M AG A Z I N E P H OTO S : D I M I T R I S TS O U M P L E K AS

IN ATHENS WITH HIS DAUGHTER, THOMAS CHATTERTON WILLIAMS COULD FINALLY PAY HOMAGE IN PERSON TO THE CLASSICAL EDUCATION HIS OWN FATHER GAVE HIM. 1 4 8 — GREECE IS

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At left: Protruding from the dirt and undergrowth, a large rectangular stone that once formed part of Plato’s Academy.

LEGACY

When my father was a small boy in Galveston, Texas, with no siblings to play with or anything like a helicopter parent regimenting his time, he roamed the inscrutable world of adults all around him. On one such sortie, rummaging behind his neighbor’s property, he found a neglected box of books, the names of which he recalls to this day with awe and precision. The first and most important was Will Durant’s 1926 classic, “The Story of Philosophy.” In its pages, he was immediately drawn to an image of Socrates, whose features reminded him of his grandmother’s pig.

Far from repulsed, he lingered on the image, longing to comprehend why this funny-looking man who never wrote a word was revered throughout the ages.

One of the three remaining colossal statues in the ancient Agora, marking the path of the sacred Panathenaic Way. 1 5 0 — GREECE IS

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EXPERIENCE — ATHENS

An extraordinary number of inscriptions have been found in the area of the ancient Agora.

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TH E FATH ERLESS BLACK BOY STU M BLES U PON WISDOM ITSELF, IS TRANSFORM ED BY TH E SOCRATIC I NJ U NCTION TO KNOW THYSELF AN D, TH ROUG H SH EER I MAG I NATION AN D WI LLPOWER, WEAVES TOG ETH ER AN I NTELLECTUAL AN D ETH ICAL LI FELI N E STRETCH I NG BACK TO ATTICA .

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LEGACY

G GALVESTON IS A PORT TOWN,

and even amid the segregation of the 1940s, the color line fluctuated. There was more cultural and class exchange than contemporary narratives of racial deprivation tend to allow for.

My father’s family was not educated, yet the neighbor in question was the principal of the local Black elementary school. The house previously belonged to European immigrants. Ownership of the books was unclear. What my father knew was that he needed whatever was inside them, and so he asked to keep them. His neighbor’s generosity that day sparked a passion for reading and inquiry that would shape his entire life and alter its trajectory.

This story swelled long ago to the dimensions of a foundational myth. My father is our family’s First Man, a figure who created himself from scratch, initiating patterns of behavior and taste that did not exist before him but will outlast him now. If this were fiction, the symbolism would be heavy-handed: the fatherless Black boy stumbles upon Wisdom itself, is transformed by the Socratic injunction to know thyself and, through sheer imagination and willpower, weaves together an intellectual and ethical lifeline stretching back to Attica. Yet this story is essentially true, and it reverberated throughout my own childhood, guiding my course of study in college and throughout my adulthood.

That story was very much on my mind as our delayed Air France flight landed in Athens in July, for the first 1 5 4 — GREECE IS

STU DENTS WOU LD PAY A FEE AN D COM E AN D SIT WITH MY FATH ER I N TH E LIVI NG ROOM OR KITCH EN , AN D H E WOU LD, QU ITE SI M PLY, I M PROVE TH EI R ABI LITY TO REFLECT AN D REASON .

Below: The Temple of Hephaestus, located on the northwest side of the ancient Athenian Agora.

At right: Native tortoises roam the once busy streets and spaces of the ancient Agora at the heart of the city.

W T HI NE T2E0R2 22 0E2D1 -I T2 I0O2N2

vacation out of the country that my wife, Valentine, and our two children, Marlow and Saul, seven and three, had taken together since the novel coronavirus upended the seasonal habits I’d grown so fond of after moving to Paris a decade earlier. Summer, in my mind, was synonymous with Italy. My best friend, Josh, who is my daughter’s godfather and had decamped to Moscow from Brooklyn, made an annual tradition of flying west to meet us. For nine straight years, we found each other in Ischia or Florence or Puglia. Valentine preferred the stripped-down purity of the Greek islands but was always outvoted. It had taken COVID-19 to alter the calculus. Because returning from travel to Europe would be problematic for an American residing in Russia like Josh, Valentine found a whitewashed house above an undeveloped stretch of shoreline on the island of Tinos. We could spend part of the month there and another week in Athens. It was true that those colorful Italian bagni packed

tight with sun loungers and umbrellas that I’d always found so convivial had lost some appeal in the age of social distancing, while the Cycladic beaches offered seclusion. And here was my chance to see the Acropolis. We booked the trip and then, in the days before we left, Josh learned that Russia’s travel restrictions had been eased. He was feeling a lot less picky now, and would join us on Tinos a few days later.

That afternoon, at the sole restaurant below our rental on Tinos, over cold white wine and what I came to understand is the platonic ideal of the traditional Greek salad, Valentine and I gazed across the turquoise sea at the daytime moon and the sun-baked silhouette of Ermoupoli in the distance.

The logic of new traditions was suddenly persuasive.

MY ACADEMY

I had flown with a hefty blue plastic binder labeled WILLIAMS ACADEMIC SERVICES. It was stuffed with

hundreds of pages of test-prep materials bearing the same logo, which my father had lovingly and painstakingly assembled for my daughter, and I intended to use them. When I was growing up, he ran a business out of our home that, for ease of understanding, I would describe to strangers and acquaintances as a “test-prep service,” but anyone who knew us better understood that it was an “academy” in the classical, informal connotation of that word. No degrees or certificates of mastery were issued, but students – hundreds that I witnessed over the years – would pay a fee and come and sit with my father in the living room or kitchen, and he would, quite simply, improve their ability to reflect and reason. Most of the people who did this were teenagers trying to lift their GPAs or their SAT or Advanced Placement scores, but I have seen children as young as five and adults well into their 50s at his desk with pencil and paper. Plenty who couldn’t afford to pay received instruction pro bono.

AT H E N S

Anyone under the impression that he or she was merely cramming for a standardized exam was in for an awakening when my father offered a modern poem or a passage of Confucius or Plutarch’s “Lives” to mull over. These were conversation starters. The students would soon be caught up in the thrust and parry of dialectic. Many came back year after year, long after they had achieved any specific objectives. My brother and I lived within the walls of that academy. As far as I am concerned, those three words making up the logo spell out the most powerful mnemonic device in the English language.

Marlow was now the same age as I had been when my father first sat me down to say that I'd need to follow a program of study during the summers.

And with the same technique he used to silence my childish tears, I had resolved to bribe her until she could see the intrinsic value. She is far more indomitable than I ever was, but through an improvisational combination of carrot (fresh smoothies) and stick (less screen time), I was able on some afternoons to turn the table on our terrace into an Aegean replica of the setup I'd spent so many hours contemplating in my New Jersey bedroom. When it was too hot to be at the beach, too hot to think about moving a muscle, we read Aesop’s fables and worked through sets of spatial-reasoning exercises, which, to my relief, she found the opposite of a chore, something akin to play, much the way I had.

I have seldom been physically farther away and yet closer to my father in spirit than in these moments of improvised pedagogy. With the sudden distress the math problems sparked in her, it was as if the generations were collapsing — I was simultaneously both of them.

These sessions planted in me overly ambitious plans of turning the Greek capital into an open-air classroom. We arrived in Athens after dark on a Friday, checked into a centrally located hotel with a pool and free breakfast buffet, and took the elevator up to the roof GREECE IS — 1 5 5

LEGACY

deck for dinner. The moussaka was forgettable, but the panoramic views onto the city froze me in my chair. The Parthenon glowed at eye level, a pile of orange ember in the sky. I lost track of time contemplating its significance, as I would frequently come to do over the course of the week.

We'd been warned about the extreme heat of the mainland, but it surpassed all expectations, making it hard to maintain the teaching discipline I established on the island. With temperatures topping 100◦ F and not a single cloud to block the sun, Valentine found a solution in the form of a trilingual wunderkind of a 14-yearold named Margot. The daughter of a friend of a friend, she gamely stayed in the air-conditioned room or at the pool with the kids. I had wanted to impress upon my daughter the feminist aspect of Athens, a city brought to life by the mythological victory of Athena, goddess of wisdom and strategic warfare, over Poseidon, ruler of the sea. She was much more interested in the flesh-andblood example of Margot, who quickly won the admiration of the adults as well when she helped finagle us a table at the packed neighborhood taverna near her family’s apartment. Stepping out of the taxi, she produced a notebook and delivered all our orders directly to the kitchen before retiring for the evening.

Heaping plates of stewed rabbit, lamb, fish, potatoes, salad and meatballs and delicious, nondescript wine served in metal containers appeared before we fully grasped what had even happened.

Over the course of our stay, a relentless sun beat down on the nearly deserted ancient Athenian Agora, a small, parched and rocky patch of land that provoked in me the same telltale shiver down the spine that I’ve only ever felt in the garden of Gethsemane and parts of the Vatican. An overwhelming proportion of the world we take for granted today was birthed in these cramped spaces. Josh and I sat among the pillars and rubble, and I labored to envision Socrates darting through 1 5 6 — GREECE IS

shops and Orthodox churches. With the aid of some precise geotags I had found on a particularly helpful blog, we located the unobtrusive signpost giving context and directions to the rectangles of stones protruding from the dirt in several expanses. “What are we doing?”

Marlow asked, and I explained again that we were looking for the footprint of a structure that, in some imagined but also not at all insignificant way, had reached across millenniums to grab her grandfather and nudge him beyond his circumstances.

PLATO'S ACADEMY

Bust of a satyr in the Museum of the Ancient Agora. Comically hideous, satyrs were associated with Dionysus, god of wine and revelry.

the hurried masses, pestering everyone with questions so insightful and inconvenient that he would eventually have to be killed for their perspicacity. When I looked up, it hit me that he was tried and convicted on the hill directly above us.

On our second-to-last day in Athens, we met Margot’s mother, Irène, and Valentine’s friend Sebastien in Exarchia, the traditionally anarchist neighborhood at the center of the 2008 riots that broke out in response to the police killing of a 15-year-old. Sebastien had recently moved from Paris to simplify his life and to work at Irène’s fashion label, Kimalé. After lunch, we visited the small, treasure-packed atelier where they produce clothing and handmade jewelry for women. While Valentine shopped, I realized there was someplace I needed to take Marlow. I ordered an Uber and 15 minutes later the two of us were standing in the blazing heat of a not particularly well maintained public park in the nondescript Akadimia Platonos quarter, next to modest apartment blocks, auto-repair WINTER 2021-2022

I repeated to her the anecdote about how my father discovered the image of Socrates, which led to a lifelong devotion to his student Plato, in whose dialogues his genius is preserved.

Somewhere in this park were the archaeological ruins of Plato’s Academy, where he taught, among others, Aristotle, tutor of Alexander the Great and one of the finest minds the world has ever witnessed. These men actually studied here, I told her. The academy endured from 387 BC until the death of its last head, Philo of Larissa, just over 300 years later. The ruins had been lost to history until the 20th century. In another era, we would have missed it.

We stood now in the original Grove of Academe, and I asked Marlow if she recognized the word from the top of all the papers her grandfather had given us. According to classical mythology, this plot of land was sacred; it had been a haven to Athena since the Bronze Age and was subsequently named after its legendary owner, the hero Akademos, who'd revealed to the Spartans where King Theseus had hidden Helen (not yet of Troy) and spared Athens bloodshed. It was for this reason that Plato called his school, set on Akademos’ land, an “ακαδημία,” and it’s because of that choice that centuries later the French “académie” would filter into English and eventually inform those toner-stained sheets of paper we both pored over.

The Sacred Rock of the Acropolis and the Ancient Agora, as seen from the Temple of Hephaestus.

This was where we know that Plato developed and lectured on the Good — or value itself, something even “greater than justice and the other virtues” — which he made famous in “The Republic” through Socrates’ ventriloquy.

Some things are better than others, and it is necessary to distinguish. In his own framework, what we have been left with is a vastly inferior form of philosophical transmission. For Plato and Socrates, speech was inherently superior to writing because writing was no longer living. The pupils who had the chance to sit before Plato in this garden were some of the luckiest in all of intellectual history. They practiced their discipline as it was meant to be practiced and, it occurred to me then, as my father practiced it with me, and as I was now trying my best to capture in my sessions with my daughter.

As I talked, Marlow nodded at me the way I used to nod at him. She would encounter all this history later; we would revisit it. Now I simply wanted her to understand what stores of hope and motivation he had drawn

from this place that, I reflected, he'd never set foot in but had nonetheless taught himself to yearn for. It may just be a testament to the very success of his endeavor that she cannot — not fully — intuit the force and improbability of his self-invention. What she could tell was that I do, and she hugged me tightly as we fell into a happy silence.

I took her hand as we followed the instructions across the field for several hundred feet, not a single soul around us. Then, in a clearing of trees, the ground dipped slightly, and we were upon it. Large rectangular stones formed the outlines of rooms, the very rooms whose walls once reverberated with the voices of the philosophers. I told my daughter then that I don’t believe it is an exaggeration to say that – in some small but very real way – these rooms made possible our own fleeting existence.•

THOMAS CHATTERTON WILLIAMS is the best-selling author of Losing My Cool and Self-Portrait in Black and White. He is a 2019 New America Fellow, a member of the Board of Trustees of the American Academy in Berlin, a visiting fellow at AEI, and a contributing writer at The Atlantic. His work has also appeared in the New Yorker, Le Monde and elsewhere. His next book, Nothing Was the Same, will be published by Knopf.

This article originally appeared in The New York Times Magazine.

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READY FOR CHRISTMAS

RUM AND CHOCOLATE

The Athens Capital Hotel – MGallery Collection, dressed in its Christmas best by interior designer Dimitris Brazas, welcomed journalists and other friends to a joyful party that included champagne, mulled wine, Greek Christmas sweets and finger food prepared by the hotel’s Executive Chef Dimitris Boutsalis and his team, as well as a “Secret Santa” lottery with enviable presents, like a two-night stay or dinners for two at the hotel. The party’s festive atmosphere was made even more special thanks to the Rosarte Children’s Choir, which sang Christmas carols from various regions of Greece.

• athenscapitalhotel-mgallery.gr

The double-aged Brugal 1888, a truly exceptional rum produced in the Dominican Republic and combining the rich flavors of bourbon and sherry casks, can now be paired with an organic chocolate of the same name created especially for Brugal by the Greek company Kakau Worship using Peruvian cocoa. Rum and chocolate can be purchased together as a premium Christmas gift in select liquor stores around Greece and enjoyed at home with loved ones.

• brugal-rum.com

IN[N]ATHENS

Hidden away in the depths of a historic arcade, in[n] Athens is a petite delight that is surprisingly tranquil, despite its central location in the heart of Athens. The 37 rooms of what used to be a girls’ boarding school feature, among other things, rain showers and eco-friendly Coco-mat mattresses and bedding; what's more, they look out onto a light-filled atrium full of plants and hidden nooks where guests can relax with a drink or a snack after an action-packed day in the city, or enjoy breakfast here during the warmer months of the year.

• innathens.com 1 5 8 — GREECE IS

WINTER 2021-2022

SUPERBRANDS GREECE AWARDS COCO-MAT

The Greek brand COCO-MAT was voted the winner in the category Furniture at the Business Superbrands Greece 2021-2022 Awards ceremony that took place on December 1, 2021 at the Athens Concert Hall. The event was attended by important representatives of the business world. Superbrands Greece is part of the world’s largest independent arbiter of branding, identifying and paying tribute to the strongest and most valuable brands in the world.

• coco-mat.com

sponsored

HAVAIANAS VELVET SLIPPERS

MON KOOLOOR

Who said that that Havaianas slippers are only meant for the summer? The new velvet flatform slippers are here to prove that Havaianas can be enjoyed year round. They feature a plush upper, platform soles, elastic heel-straps and a cushy feel that makes them easy to put on and hard to take off. Choose between black, pink or yellow, and enjoy soft, comfortable footwear you can wear anywhere.

• havaianas-store.com

Mon Kooloor is the first Thessaloniki bread ring chain in Greece serving original Thessaloniki bread rings (koulouri in Greek), as well as sweet or savory stuffed baked buns, crunchy breadsticks, nutritious cereal bars, superior quality coffee and fresh juices, all made with fresh and high quality ingredients. The first Mon Kooloor store was opened in 2014 by brothers Stathis and Thodoris Karadimas, who were following in their family’s footsteps; it soon became known for its delicious and healthy street snacks. Since then, more and more Mon Kolooor stores have been popping up around Greece.

• mon-kulur.gr

LIGHTHOUSE ATHENS

BY BROWN HOTELS

The former iconic hotel La Mirage, in its prime location on Omonia Square, is being reintroduced as Lighthouse Athens by Brown Hotels, with a fresh and innovative design style that combines baroque elements with modern urban touches. The remodeled hotel offers 220 fully equipped rooms, an all-day bar/restaurant on the 1st floor, meeting rooms, a rooftop bar/restaurant with a pool and panoramic views across Athens, and hidden spots for relaxing in the equipped gym and spa. In the near future, there will be a rooftop sushi bar, as well as an underground club.

• brownhotels.com

VIVE LA VODKA!

Get into the holiday spirit with the quintessential drink of the season, the iconic GREY GOOSE® Vodka Martini Cocktail. All you’ll need is GREY GOOSE® Vodka (made from soft winter wheat and Gensac spring water, the best ingredients from France) dry vermouth, and bitters of your choice.

Looking to make your Martini cocktail even merrier? Try mixing 50 ml GREY GOOSE® Vodka with 10ml NOILLY PRAT® Dry Vermouth and serve with cranberry bitters and a red currant garnish for a festive twist. Your Holiday Martini is ready!

• greygoose.com AT H E N S

GREECE IS — 1 5 9

TRAVEL, CULTURE, GASTRONOMY & MORE TRAVEL, CULTURE, GASTRONOMY & MORE

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