PROGRAMME 2018-19 | ONASSIS STEGI by Onassis Stegi

"What do you like?"

It is probably the only question you need to ask, if you want to get to know someone within a few minutes.

Here is what we like curiosity, pleasure, Athens, cities, adrenaline, knowledge, inclination, inclusivity, work, the undefinable, memory, the present, inspiration, art, practice, surprises, stories, relationships.

The DNA of Onassis Culture is the ignition of discussions on crucial non-givens through culture and education. We are not didactic, we wonder. We focus on the constant search for the Athenian reality and we believe in the relationship between the local and the global. We collaborate with those who share our concer ns; those who are fuelled by the same curiosity for whatever lies outside and within ourselves.

The words we share and our common questions are our binding bond.

Afroditi Panagiotakou Director of Culture, Onassis Foundation

ANIMASYROS, ATHENS ANIMATION AGORA

BABIS MAKRIDIS, PITY

EKTORAS LYGIZOS , “NOISES OFF” BY MICHAEL FRAYN

MICHALIS SIGANIDIS, WHO [‘S] IS WHO [ON]

SPACE, SOUND AND THE IMPROVISATORY

BODY POLITICS: MALLIKA TANEJA, BE CAREFUL

BODY POLITICS: SOROUR DARABI, FARCI.E

BODY POLITICS: EISA JOCSON, MACHO DANCER

BODY POLITICS: DANYA HAMMOUD, TO REST ON A SLOPE

BODY POLITICS: ROBYN ORLIN, AND SO YOU SEE...

BODY POLITICS: NADIA BEUGRÉ, QUARTIERS LIBRES

ΑΝΤΙ ATHENS

ALICE POTTS, SWEAT

COMMONS / UNCOMMONS

GEORGES APERGHIS, THINKING THINGS

OMAR ABUSAADA – MOHAMMAD AL ATTAR, THE FACTORY

CYCLE “TRANSFORMATIONS”, THE HELLENIC PROJECT

RSLG QUARTET, GLUE & IGNAZ SCHICK, IMPROV 1

GISÈLE VIENNE, CROWD

I’M POSITIVE

STATHIS MARKOPOULOS, A BRIEF GUIDE FOR PROSPECTIVE TIGHTROPE WALKERS

DANIEL WETZEL (RIMINI PROTOKOLL), BUBBLE JAM

DIGITIZED

VR @ GR: VIRTUAL REALITY – RESEARCH AND APPLICATIONS IN GREECE TODAY

CHRISTIANE JATAHY, ITHACA – OUR ODYSSEY 1

IDANCE #2 - INCLUSIVE DANCE CONVENTION

ΤΕΤΤΤΙΞ ENSEMBLE & PANAGIOTIS TOMARAS, AMBIENT PRESSURE

CHRISTMAS STORIES FOR NARRATOR AND ORCHESTRA, THE HELLENIC PROJECT

MARIA PANOURGIA, “WHO’S AFRAID OF VIRGINIA WOOLF?” BY EDWARD ALBEE

DIMITRIS PAPAIOANNOU, NEW PIECE I - SINCE SHE

PHILIPPE QUESNE, CRASH PARK: THE LIFE OF AN ISLAND

DIY INSTRUMENT MAKING & HACKING

DIMITRIS XANTHOPOULOS, “THREE SISTERS” BY ANTON CHEKHOV

KIRIAKOS HADJIIOANNOU, EROTIKON / HIGHER STATES PART 3

ZOI EFSTATHIOU & EGIL KALMAN, GIORGOS VAROUTAS, NIKOS SIDIROKASTRITIS & KO ISHIKAWA, IMPROV 2

MUSIC CONNECTS THE ONASSIS STEGI AND THE PANTEION UNIVERSITY, VOL. 4

RYOJI IKEDA, DATA.FLUX [12 XGA VERSION]

CRAFTING THE FUTURE

WILLIAM FORSYTHE, A QUIET EVENING OF DANCE

BLOCKCHAIN: UTOPIA OR U-TURN?

SYMPHONIC MINIATURES, THE HELLENIC PROJECT

GEORGIA SPIROPOULOS, EROR (THE PIANIST)

THE PEOPLE: PUBLIC ART AND TALKS

YOUNG CHOREOGRAPHERS FESTIVAL

A TRIBUTE TO OLIVIER MESSIAEN

KRYSTIAN LUPA, THE TRIAL

100

101

102

104

EVE RISSER, L’ENSEMBLE ENSEMBLE

OPEN DAY

CYCLE “TRANSFORMATIONS”, THE HELLENIC PROJECT

DIOTIMA QUARTET, “THE NEW RUINS OF ATHENS”: WORKS BY BÉLA BARTÓK AND ALEXANDROS MARKEAS

DANCING TO CONNECT – DANCING TO CONNECT

ALEXANDROS DRYMONITIS – ARTÉFACTS ENSEMBLE, DATA MINING / LIVE SCORING

BORDERLINE FESTIVAL 2019

FOREVER MORE IMAGES?

IOANNIS MANDAFOUNIS, FADED

WERNER HERZOG, IN CONVERSATION WITH PAUL HOLDENGRÄBER

ZAD MOULTAKA, GILGAMESH EPIC

ONASSIS YOUTH FESTIVAL 2019

THE 2019 IRIS AWARDS BY THE HELLENIC FILM ACADEMY – AWARD CEREMONY

ONASSIS FAST FORWARD FESTIVAL 6

BIG BANG FESTIVAL 5

TRAJAL HARRELL, O MEDEA

TECTONICS FESTIVAL 2019

ONASSIS PEOPLE: ATHENS – BEIRUT

108

110

112

113

114

116

118

121

122

124

126

128

130

132

134

136

138

139

I A

EVERYTHING THATâ&#x20AC;&#x2122;S HAPPENING ON PLANET ANIMATION

S O

ATHENS

ANIMATION

AGORA

22-24.9.2018 | UPPER STAGE

ANIMASYROS

CINEMA

A unique opportunity for animation professionals to widen their knowledge, skills and contacts is offered by the parallel programme of the “Animasyros” inter national festival; three days of networking and innovation for those working in animation.

The “Athens Animation Agora” provides the main meeting point for members of the Greek, European and international animation community. In the space of three days, participants follow stimulating discussions, presentations and educational workshops suitable for both professionals and students, which aim to offer fascinating new opportunities for work, collaborations, Greek and foreign productions, funding and exchange of ideas.

Curated by: Animasyros International Animation Festival + Agora

W ith the help of specialised representatives from the animation industry, who will be coming from abroad to share their views and experiences with their Greek colleagues, the “Athens Animation Agora” contributes towards an all-round, deeper recognition of animation in all its forms. To cap it all off, the three-day event waves us goodbye by announcing the programme of the “Animasyros 11” festival which follows straight on, taking place from the 26th to the 30th of September on the island of Syros.

PITY

P h ot o: Ma r ga r it a Ni k it a k i

27-30.9 & 1-7.10.2018 | MAIN & UPPER STAGE

CINEMA 12

A MERCILESSLY BLACK COMEDY

PITY

Babis Makridis

IN BABIS MAKRIDIS’S NEW FEATURE FILM, A MAN’S QUEST FOR SADNESS BECOMES AN END IN ITSELF, WITH QUITE UNEXPECTED RESULTS.

How pitiful! Babis Makridis’ award-winning tragicomedy premieres at the Onassis Stegi, with a lead performance of surgical precision by Yannis Drakopoulos and a screenplay co-written by Babis Makridis and Efthimis Filippou. #staysad

Script: Efthimis Filippou, Babis Makridis Director: Babis Makridis Director of Photography: Konstantinos Koukoulios Set Designer: Anna Georgiadou Costume Designer: Dimitris Papathomas Sound Designers: Stefanos Efthymiou, Leandros Ntounis, Kacper Habisiak, Marcin Kasińśki Editor: Yannis Chalkiadakis Music: Mikolaj Trzaska Cast: Yannis Drakopoulos, Evi Saoulidou, Makis Papadimitriou, Nota Cherniavsky, Georgina Chrysikoti, Nikos Karathanos, Panagiotis Tassoulis, Evdoxia Androulidaki, Kostas Xikominos, Kostas Kotoulas, Marissa Triantafyllidou, Victor Arditis A Neda Film, Faliro House, Beben Films, Madants (Poland) production Co-produced by: Onassis Foundation, Eurimages, ΕRΤ, Greek Film Centre, Polish Film Institute, ORKA, Foss Productions, Filmprodukcja Produced by: Amanda Livanou, Christos V. Konstantakopoulos, Klaudia Śmieja, Beata Rzeźniczek Distributor (Greece): Strada Films World Sales: New Europe Film Sales

How does unhappiness mix with happiness? Our hero’s daily ritual begins with a satiating sobbing session in his bedroom. When tragedy knocks on his door, the people around him stand by his side. Drawing a sense of satisfaction from all the compassion, kindness and attention of his peers, the middle-aged lawyer becomes addicted to their pity, so much so that he now feels unhappy when he’s happy and he’s happy only when he’s unhappy. He cannot accept other people’s unhappiness, only his own, and while most people strive for happiness, our hero strives for unhappiness. The macabre meets the comical in “Pity”, which, following on from its selection for the International Competition section at the Sundance Film Festival and its success on the international festival circuit, receives its Greek premiere at the Onassis Stegi.

NOISES OFF

Ektoras Lygizos

BY MICHAEL FRAYN

10-21.10.2018 | MAIN STAGE | 20:30

THEATRE

NOISES OFF WHAT CAN GO WRONG, WILL GO WRONG!

THEATRE

NOISES OFF

On an impressive stage set, a human hive abuzz with insults and misunderstandings, the actors forget their lines, the director rages, the costumes fall apart, and the sardines, the axes and the bouquets of flowers are always in the wrong place at the wrong time... Welcome backstage: to the place where every attempt at rationality backfires. Where dark instincts emerge from the shadows and roles—like zombies—devour the actors.

“That's what it's all about, doors and sardines. Getting on, getting off. Getting the sardines on, getting the sardines off. That's farce. That's—that's the theatre. That’s life”, as we hear in “Noises Off” (1982) by Michael Frayn. Five years after “Room Service”, Ektoras Lygizos retur ns to the Onassis Stegi to direct—and play the director—in the classic British farce which sits us backstage in a theatre and invites us to ponder on this: “What happens when everything goes wrong?”. A madcap production from a director who war ns us that: “In this production, backstage, the quintessential space of disaster and chaos, takes over the stage, expansive and voracious...”.

P h ot os : Ni k ol ay B i r yu k ov

NOISES OFF

Translation, Adaptation and Direction: Ektoras Lygizos Set Design: Clio Boboti Costumes: Alkistis Mamali Lighting Design: Dimitris Kasimatis Movement Collaborator â&#x20AC;&#x201C; Physical Training: Chara Kotsali Make-up & Hair Design: Ioanna Lygizou Sound Design: Brian Coon Assistant Director: Eva Vlassopoulos Assistant Set Designer: Eleni Aidoni Assistant Costume Designer: Alexandra Giannakandropoulou Set Construction: Panagiotis Lazaridis Women's Costumes Construction: Eleni Komninou Men's Costumes Construction: Giorgos Parliaros

THEATRE

Production Manager: Electra Arzimanoglou Executive Production: Grasshopper Produced by: Onassis Stegi Cast: Konstantinos Avarikiotis, Aris Balis, Michalis Kimonas, Giannis Klinis, Sofia Kokkali, Emily Koliandri, Ektoras Lygizos, Anna Mascha, Areti Seidaridou

ΘΕΑΤΡΟ

12-14.10.2018 | EXHIBITION HALL -1

MUSIC

WHO [‘S] IS WHO [ON]

Michalis Siganidis

WHO [‘S] IS MICHALIS SIGANIDIS MEETS THE EMBLEMATIC JAZZ SAX PLAYER EVAN PARKER AND HIS ARTISTIC FELLOW TRAVELLERS. BECKETT, SACHTOURIS, MUSICIANS IN SHOP WINDOWS; THE AUDIENCE CIRCULATES FREELY AMONG THEM INFLUENCING THE SOUND AND THE AESTHETIC OUTCOME. THE ONASSIS STEGI EXHIBITION HALL MEETS AMSTERDAM’S RED LIGHT DISTRICT.

WHO [‘S] IS WHO [ON] – (dust thou art, and unto dust shalt thou return): since the cinema is not fond of death * Michalis Siganidis’ iconic soundtrack feat. Evan Parker Concept – Original Score – Script: Michalis Siganidis Stage Director: Giorgos Voudiklaris Text Editing: Michalis Siganidis, Gavriil N. Pentzikis Set Design: Natalia Manda Video & Lighting Design: Tasos Palaioroutas Video Editing - Visuals: COM.ODD.OR / Sofia Papadopoulou Production Design: Konstantinos Sakkas Coordination and Line Producer: Danai Giannakopoulou Production Management: Delta Pi Produced by: Onassis Stegi

Characters / Installations: Beckett: Evan Parker Pentzikis: Gavriil N. Pentzikis Hamm: Dimitris Hainis Apostolakis Singer 1: Martha Mavroidi Singer 2 “do not touch”: Savina Yannatou Mandala widow: Natalia Manda Musicians [the singing children]: Harris Lambrakis: piano, hammond, ney, samples, voice Michalis Siganidis: double bass, electric guitar, voice, samples James Wylie: alto saxophone Kostas Anastasiadis, Vasilis Mantzoukis: drums Panayotis Manouilidis: electric bass guitar, electric guitar, voice Jannis Anastasakis: electric guitar, special effects, sitar Zoe Patini Keselopoulou: percussion, voice * From Miltos Sachtouris’ poem "The Morning and the Evening"

WHO [ON] Faces in shop windows: the Onassis Stegi exhibition hall meets Amsterdam’s Red Light District. How does it all connect with what the group is about to play? Who is this mysterious Hamm? The connecting tissue is the poetry of Samuel Beckett and Miltos Sachtouris, which has been a staple in Michalis Siganidis’ work for years.

Siganidis, one of the most idiosyncratic musicians of the Greek scene, absolutely individual and consistent, comes to the Onassis Stegi with an audio-visual installation, with the participation of friends and partners with whom he goes back a long way. Evan Parker, an emblematic sax player of contemporary jazz, joins them in a surprise guest appearance. The audience will move freely among the musicians, impacting on the sound and aesthetics.

SPACE, SOUND AND THE IMPROVISATORY

19-21.10.2018 | UPPER STAGE & OUTSIDE THE ONASSIS STEGI

TALKS & THOUGHTS

The creative use of urban and rural-based sounds in art has been subject to continual exploration over the past 50 years or so. How do practices of this sort, and in particular those that make use of digital technologies, bring new possibilities to light for improvising with the space and time of a given environment? How do these new interactions impact on social and political relationships?

This conference focuses on the role of urban- and rural-based sound art and other performance practices which use new digital technologies. It also investigates issues relating to the cultural specificity of the use of digital tools in this field. The conference will include presentations of soundwalk applications which have been developed internationally as well as the "Tuned City" project in Ancient Messene and the Onassis Stegi / Medea Electronique "Soundscapes/Landscapes" initiative.

sp a ce, sound & Methods, Technologies and Theories for Improvising with Natural and Built Environments

Curated by: Eric Lewis, Christos Carras Parallel programme curated by: Angeliki Poulou Participants: Rani Al Rajji, Ludger Brümmer, Nikos Bubaris, Rebecca Caines, Budhaditya Chattopadhyay, Teresa Connors, John Drever, hd.kepler platform, Thodoris Dimitrakos/Jannis Kozatsas/ Kostas Passas (Krisi-Biannual Scientific Review), Olivier Le Gal & Rodolphe Alexis (Collectif MU), Jesus Jara Lopez & Patricia Dominguez Larrondo (Medialab-Prado), Úna Monaghan, Medea Electronique Art Collective, Gascia Ouzounian, Bill Psarras, George Samantas, Carsten Seiffarth, Carsten Stabenow, Ellen Waterman In collaboration with: The International Institute for Critical Studies in Improvisation

imp ro v is atory

26-30.10.2018 | UPPER STAGE & EXHIBITION HALL -1

Six choreographic solos by artists from different cor ners of the planet. In them, the body becomes a field where norms and exceptions collide, the accepted and the forbidden, conservatism and freedom. It becomes a field of confrontation, a tool for claiming emancipation, human rights, acceptance, becomes a field of expression for gender identity, but also a space for encountering difference, encountering the Other. The body is always the threshold for that encounter, the limit point for claims, the vehicle for resistance, the point where political claims and solidarity meet. A unique c olle c t ion of w or ks be t w e e n a r t , polit ic s a nd a c t iv ism. Curated by: Katia Arfara Production Management: Dimitra Der nikou

26-27.10.2018 | UPPER STAGE | 19:30

DANCE

BODY POLITICS - BE CAREFUL

Mallika Taneja

How do you speak about your body in a country where the female body is taboo?

Deviced & performed by Mallika Taneja The show was first created at the Tadpole Repertory as part of their show NDLS.

In a country where women are continually exposed to the danger of male violence, the only advice given to girls is to “be careful,” to not provoke. The victims of violence are often blamed for being provocative, while no man is held accountable, despite the powerful feminist movement that has grown up to try and find modes of resistance through art and social action. How does it feel to try to shake free of taboos and speak openly about your body and your identity as a woman in a country where the female body is itself an enormous taboo? Or to be weighted down by an injustice you can’t express in a society that orders you to keep quiet and hide in order to survive? How can art bring about social change? Mallika Taneja summons the courage to speak about all this using her last recourse, her body itself, in a spare, powerful performance. In traditional Indian acting troupes, actors travel from village to village, becoming one with their roles, step by step as they trace the entire country. Mallika Taneja, too, has been “living” this performance for over five years, courageously baring her body and, with the insistence of one drowning in injustice, to seek justice at all costs.

BE CAREFUL

BODY POLITICS - FARCI.E

DANCE

Sorour Darabi

FARCI.E

26-27.10.2018 | UPPER STAGE | 22:00

Concept, Choreography and Performance: Sorour Darabi Lights: Yannick Fouassier Lighting Operator: Jean-Marc Ségalen Outside Eye: Mathieu Bouvier Administration: Charlotte Giteau Touring: Sandrine Barrasso Production: Météores Co-production: Festival Montpellier Danse, ICI-CCN de Montpellier Occitanie Midi-Pyrénées, with the support of CND Pantin in the frame of a residency, Honolulu-Nantes and Théâtre de Vanves

What if you were coming from a neutral world and, all of a sudden, everything had a gender? What does gender determine? How do language and predetermined understandings affect how a society understands gender? In Farci.e we will find only questions—no answers… Sorour Darabi will attempt a lecture about gender, overtur ning images, playing with our perceptions, and offering an unprecedented interpretation of his/her multidimensional self… WHAT IS THE RELATIONSHIP BETWEEN OUR NATIVE LANGUAGE AND OUR UNDERSTANDING OF GENDER?

Special thanks to: Loïc Touze, Raïssa Kim, Florence Diry, Pauline Brun, Jule Flierl, Clair.E Olivelli, Zar Amir Ebrahimi Sorour Darabi is a self-taught Iranian artist living and working in Paris. Working actively in Iran, s/he was a part of the underground organization ICCD, whose festival Untimely (Tehran) hosted their work before their departure for France. “Farci.e” was awarded the Jury Prize at the 2016 Zürcher Theater Spektakel festival

BODY POLITICS - MACHO DANCER

Eisa Jocson

MACHO DANCER Macho Dancing is a Philippino phenomenon: a dance in the voyeurism industry danced exclusively by men in clubs for women or homosexuals. A dance that flaunts its ‘manliness’ using a somatic idiom for tur ning an audience on for money. Eisa Jocson assumes the role of the 'macho dancer' and performs its kinesiological vocabulary with surgical cool and impressive precision.

Concept, Choreography & Performance: Eisa Jocson Light Design: Jan Maertens Music Composition: Lina Lapelyte Coach: Rasa Alksnyte Dramaturgical Advice: Arco Renz Technical Manager: Yap Seok Hui Songs: “Devil’s Dance” by Metallica, “Total Eclipse of the Heart” by Bonnie Tyler, “Pagbigyang Muli” by Erik Santos, “Careless Whisper” by Wham! Co-production: Workspacebrussels, Beursschouwburg Residency and support: Workspacebrussels, Beursschouwburg, wpZimmer

The act of playing with her androgynous image causes a slight shift in every role involved, reformulating the customary relationships between them in the process: the macho dancer comes across as powerful, but might the voyeuristic gaze make him vulnerable and weak? By putting herself in his place, Eisa Jocson creates a rift in our own gaze, an opening that lets questions through about the way gender roles are constructed, about how we perceive the clichés of 'sexiness’, about voyeurism and the body as object.

P h ot o: Gi a n n in a Ot t ik er

26-27.10.2018 | EXHIBITION HALL -1 | 20:30

DANCE

29-30.10.2018 | UPPER STAGE | 22:00

BODY POLITICS - TO REST ON A SLOPE

DANCE

Danya Hammoud WHAT MAKES OUR CONSTANT ATTEMPT TO REST IMPOSSIBLE? LEBANESE DANYA HAMMOUD EXPLORES THE DEPTHS OF HUMAN MOVEMENT.

TO REST ON A SLO PE

Danya Hammoud is a choreographerexplorer. Her works investigate the body as a site of inscription for collective memory, eter nal quest, tragedy, and poetry. She achieves something that few choreographers can pull off: she gives the viewer space to think about the body, that constant companion which we often ignore entirely. Each of her works is a continuation of the one before, both in their exploration of movement and it their thematic obsessions. Through the materialistic existence of the body, she attempts to give substance to all other elements that make up a human being. This performance makes visible the states of the human body in search of rest. And yet, its innate ambition puts it continually in a state of tension, compelling it to rise, to move, to confront. This state of tension gives substance to every aspect and detail of the movement, creating a landscape where time stops, making room for the viewer to be and think. Choreography: Danya Hammoud Music: Sharif Sehnaoui Performed by: Danya Hammoud Technical Director: Nadim Deaibes Costume: Raya Kazoun Produced by: AFAC (Arab Fun for Arts and Culture) Supported by: L’échangeur CDCN Hauts de France

29-30.10.2018 | UPPER STAGE | 19:30

DANCE

BODY POLITICS - AND SO YOU SEE...

Robyn Orlin

AND SO

YOU SEE...

Robyn Orlin always finds a way to talk about the things no one talks about in South Africa. And while her country was once silent in the face of Apartheid, it is now celebrating its first quarter century of democracy, so what does that tell us about racism and homophobia? How does someone claim a gender identity in South Africa today? And is there real freedom? In her writings, the choreographer argues that there isn't. She advocates her country claiming a truly African identity that would be simultaneously male and female, Christian and pagan, local and global, without the one betraying the other.

A UNIQUE PERFORMANCE ABOUT RACISM AND FREEDOM

A proposal by Robyn Orlin Dancer: Albert Silindokuhle Ibokwe Khoza Costumes: Marianne Fassler Lights: Laïs Foulc Stage Manager: Thabo Pule Administration and Production: Damien Valette Assistance and Coordination: Margot Lahalle Production: City Theater & Dance Group, Damien Valette Prod. Thanks to Philippe Lainé for the use of images and Léopard Frock’s team Co-production: City Theater & Dance Group, Festival Montpellier Danse 2016, Festival d’Automne à Paris, Kinneksbond, Centre Culturel Mamer, Luxembourg, Centre Dramatique National de HauteNormandie, La Ferme du Buisson, Scène Nationale de Marne-la-Vallée With the support of Arcadi Ile-de-France

Albert Silindokuhle Ibokwe Khoza, her young performer, is all that and more. An incredible performer whose powers of transformation are infinite, since he is already everything: both a man and woman and gay, too, a dancer and an actor and a singer, as well, Christian and a sangoma (a traditional healer) but also a citizen of the world. This being with the body beyond all norms, who embodies an elusively different Africa, performs his solo on the seven deadly sins with his back to the audience, facing the huge image of himself projected onto the screen in front of him. And if every performance presents us with a mirror in which we can see ourselves, this performance does it literally, since the camera never stops filming Albert, projecting him in constant close-up, but the audience, too, which often sees its own image on the big screen. Which is where it encounters that massive body, that scary, wonderful, sad, happy, tormented, Kafkaesque creature—a Nubian Queen, a Peacock of the Nile, an African warrior—and faces up to it. Will that body find a way to exist in a world that refuses to accept it? And don't let the music fool you: Mozart’s “Requiem” was never quite as happy, as danceable, as 'African', as it is in this show.

29-30.10.2018 | EXHIBITION HALL -1 | 20:30

BODY POLITICS - QUARTIERS LIBRES

Nadia Beugré

Q U A R T I E R S L I B R E S

Quartiers libres: a French expression meaning ‘the space of freedom’. As a performance, “Quartiers Libres” was made to create a free space in which an African woman’s cry for justice could be heard. Because as Africa drowns under a mountain of plastic waste, and Western waste in general, the West remains inert and apathetic.

P h ot o: Yi - Ch u n Wu

DANCE

And it is precisely this apathy that the stirring Nadia Beugré seeks to subvert, putting herself in among the audience, expressing all the things that can’t be said, emotions too complex to put into words, with her body. As she seeks the freedom to speak, she’s forever becoming entangled in her endless microphone cable, entrapped by a mountain of plastic bottles and—above all—trapped within herself as, gagged by bottles and weighed down by her bottle clothes, she struggles to reach out to the humanity around her.

Choreography, Performance, Plastic Creation: Nadia Beugré Dramaturgy, Sound Creation & Operation: Boris Hennion Technical Direction: Christophe Fougou / Anthony Merlaud Costumes: Nadia Beugré and Boris Hennion Lights & Stage Design: Laurent Bourgeois και Erik Houllier Sound Landscape “alarms”: Mathieu Grenier Executive Production: Latitudes Prod – Lille Special thanks: Choreographic National Center in Montpellier (France), Agora-Montpellier Danse, Choreographic Development Center in Toulouse (France)

VISUAL ARTS – COLLABORATIONS

ΑΝΤΙ ATHENS

People. Athens. Downtown. The art of calling into question. The different strands in the Onassis Stegi's DNA boil down to this: art centred on man, and the ongoing search for the Athenian reality. That's the backdrop for this year's collaboration with the Athens Biennale. The 6th Athens Biennale opens on 26 October and will run until 9 December. Its title: ANTI. In the spirit of its own ANTI-thetical path—from politics to online culture, from video games to Netflix, Žižek to Rihanna—the Onassis Stegi is delighted to support the Biennale. Two works from the Onassis Collection —Loukia Alavanou's first VR film “New Horizons–Pilot” (2018), an Onassis Culture commission and production, and Theo Triantafyllidis' “NIKE” (2018)—will be shown within the framework of the Athens Biennale.

P h o t o s : C hr i s t o s S ar r i s

26.10-9.12.2018

ΑΝΤΙ Athens

VISUAL ARTS – COLLABORATIONS

Theo Triantafyllidis, "ΝΙΚΕ", 2018, mixed reality installation, Part of the Onassis Collection

ΑΝΤΙ ATHENS

Loukia Alavanou, "New Horizons - Pilot", 2018, VR180 HD film, Commissioned and produced by Onassis Culture, Part of the Onassis Collection

ΑΝΤΙ ATHENS

VISUAL ARTS – COLLABORATIONS

14-27.11.2018 | EXHIBITION HALL -1

VISUAL ARTS

SWEAT

Alice Potts

SWEAT “One day we will be able to grow our own accessories on our skin.”, stated Alice in a conversation with Sarah Mower. The main focus of the work will look at the confluence of Fashion, Science and the human body.

Exploring the poetry of the human fluids, sweat as art, she will begin to further study the human sporting anatomy, both inside and outside led naturally, by the history of Athens, the origins of the Olympian, the body full of blood, the maths of the sweat, that passion and examination of those extraordinary feats of athletic endeavour in a city, within our world, where the sporting, social and cultural high-lights all began. During the Athens Biennale, Alice will present the work showcasing an alternate future of design and will be the starting point of exploring a deeper connection of her work aiming to create a new alternative and sustainable set of opportunities during her Onassis Fellowship.

P h o t o : G ia n n in a Ot t ik e r

Sweat is an excretion of chemicals related to heat, passion, a reaction, a thermo regulation. A bodily fluid as yet un-examined through the eyes of Fashion or Art. Alice Potts has created an aesthetic exploration touching on the chemistry, and the beauty of this entropy. She will take her Masters’ collection of crystalline accessories from dancers and athletes and present them in a curated show by Stavros Karelis in her first moment as an Onassis Fellow during the Athens Biennale in November of this year. Alice is a Royal College of Art Graduate, where she was taught by Zowie Broach.

COMMONS / UNCOMMONS

11.2018 â&#x20AC;&#x201C; 6.2019

DIGITAL PROGRAMMES

SERIES OF WORKSHOPS AND TALKS ON DIGITAL CULTURE AND ARTS

In the 2018-19 season, the Onassis Digital Development programme explores the dipole of Commons and Uncommons. Through a series of talks, workshops, performances, commissioned works we investigate the dialectics between forms of sharing and appropriating, contributing to the commons and extracting, pausing and overexploiting, selling and giving.

We consciously choose to embark this jour ney from the position of the commons and then explore the forms that instrumentalise them in order to oppose and neutralize them, rather than using property as the norm from which we are going to explore deviations. In this deem, this as an ethical position emphasizing the communing as the canonical rather than the deviant form of organizing;Â but we also reflect on the broader socio-technical phenomena that are formative of contemporary societies of technogover nmentality.

P h ot o: Ch r i s t o s S ar r i s

commons/ uncommons

Curated by: Prodromos Tsiavos Heracles Papatheodorou Thodoris Chiotis

THINKING THINGS

Georges Aperghis A robotic totem. Two voices. A dancer. A percussionist. They participate in a ritual of burial and resurrection; they form part of a new work. It’s “Thinking Things” by Georges Aperghis, a remarkable composer who keeps reinventing musical theatre in his own unique way.

P h ot os : Q ue n t i n Ch e vr i er, Her v é Ve ro n e se

3.11.2018 | MAIN STAGE

MUSIC

Wr a p p i n g u p i n t h e On a s si s S t egi t he p res e n t a t i o n o f h i s i n f o r ma l t r i l ogy t ha t s t a r t e d wi t h “Ma c h i n a t i o n s ” (2 0 00) a nd c on t i n u e d wi t h “L u n a P a r k ” (2 0 11) , a nd th e e v e r e v o l v i n g “To u r b i l l o n s ” we sa w la s t y e a r, i n “T h i n k i n g T h i n g s” (2018) , G eor g e s A p e r g h i s c re a t e s a n a r t ific ia l, p la s t i c u n i v e r se o f s o u n d s wh i l e e xplor ing th e i n t e r a c t i o n b e t we e n h u ma n s a nd m ac h i n e s. On e o f t h e l a s t re m a ining gre a t G re e k s o f P a r i s (Ca st o r i a d i s , A xe los, X e n a k i s, P e t ro p o u l o s, Ta k i s ), A pe r ghis a r r a n g e s a h u g e ro b o t i c p u z z l e on st a ge : a rob o t wi t h d i s c o n n e c t e d , sc a t t e re d p a r t s . B u t t h i s ro b o t i s n o t t h e re plic a of a h u ma n . I n A p e r g h i s’ st a g e wo r l d, huma ns h a v e ro b o t i c a s p e c t s a n d ro b o t s posse ss h u ma n f e a t u re s.

Director and Composition: Georges Aperghis Video Creation & Design, Robot Programming: Pierre Nouvel Set & Lighting Design: Daniel Lévy Costume Design, Property Master: Olga Karpinsky Assistant Director: Émilie Morin IRCAM Computer Music Design: Olivier Pasquet With: Richard Dubelski, Donatienne MichelDansac, Lionel Peintre, Johanne Saunier Sound Engineer: Sylvain Cadars (IRCAM) Stage Manager: Cyril Claverie (IRCAM) Light manager: Hervé Frichet Video, Robot Managers: Jérôme Tuncer, Yann Philippe

Production: IRCAM-Centre Pompidou Coproduction: Les Spectacles vivantsCentre Pompidou, Südwestrundfunk, Onassis Stegi, Ultima Oslo Contemporary Music Festival With the collaboration of metalu.net, chantier numérique de Métalu A Chahuter The robot impressions were produced as a part of the In Moov programme created and developed by Gaël Langevin

MUSIC

THINKING THINGS

g g

s s n

8-11.11.2018 | MAIN STAGE | 20:30

ΘΕΑΤΡΟ THEATRE

THE FACTORY

Omar Abusaada – Mohammad Al Attar

ACTORS FROM SYRIA TELL A SHOCKING STORY FROM THE CORE OF THE STRIFE.

On the sidelines of the Syrian conflict, there are those who accumulate great profits. The flipside of the war in Syria as seen through the sharp eye of two important artists from Syria. If the war is a factory, what does it produce? Blood? Disaster? Or riches and power? The playwright Mohammad Al Attar and the director Omar Abusaada continue to deconstruct the complex struggle over their bur ning homeland, Syria.

Director: Omar Abusaada Text: Mohammad Al Attar Stage Design & Costumes: Bissane Al Charif Video: Rami Farah, Samer Ajouri Light: Denise Potratz Assistant Director: Amer Okdeh Masks Design: Mohamad Omran With: Lina Murad, Ramzi Choukair, Saed Al Ghefari, Mustafa Kur and Saleh Katbeh (Music) Thanks to: The legal NGO Sherpa & Marie-Laure Guislain, ECCHR & Claire Tixeire, Jobran Khanji, Muhannad Al Ibrahim, Mohammed Al Hariri, Matthieu Fauroux and Aron Lund for their precious time and help during the research to make this play. Coproduced by: Ruhrtriennale with Volksbühne Berlin

In the “Factory” they shed a light on the alliances between money and power in Syria before and after the revolution, and expose the war trade and its traders, investigating a true story: In 2010, right before the Arab Spring, in the norther n Syrian border, a French interests cement factory is inaugurated; it is one of the biggest foreign investments in the country. The popular anti-Assad revolution and its culmination into a bloody strife will define the future of Syria, but the factory will continue its operation at any cost. The two Syrian artists, who continue to report the total disintegration that is Syria in with poetic terms, return to Onassis Stegi with a tale from the core of the clashes. Syrian actors come up on stage to chronicle a dark business game, against the background of a broken country.

THE HELLENIC PROJECT

/ /

MUSIC

C Y C L E T R A N S F O R M AT I O N S

11.11.2018 | UPPER STAGE | 21:00

/ /

The "Transformations" Cycle presents new or classic works that explore new listening experiences in a playful, experimental, challenging way. By breathing new life into old works and creating new ones, the cycle seeks to expose audiences to artistic experiences that will provoke their interest, reflection and pleasure. We are into our fourth cycle of "Transformation" concerts!

Curated by: Rallou Vogiatzi, Dimitris Papadimitriou, Tasos Rosopoulos

THE HELLENIC PROJECT

IMPROV 1

16.11.2018 | UPPER STAGE | 21:00

MUSIC

IMP ROV RSLG Quartet, Glue & Ignaz Schick

ROV1 JAZZ IMPROVISATIONS AND ELECTRONIC ALCHEMIES

Can electronic music sound both instrumental and acoustic? â&#x20AC;&#x153;Improv 1â&#x20AC;? presents one of the most important trends in contemporary improvisational jazz, with two representative groups that experiment with live electronics, sampling, treated musical toys, and anything that can create original, sweeping soundscapes. Centering on avant jazz and using new media, the Athens quartet RSLG lifts the audience into moments of emotional charge, leading it into a liberatory dimension, creating a sense of time expanding. Super-group Glue and sound artist Ignaz Schick of Berlin enrich their improvisations with treated electronic sounds. Their unconventional approach is based on the equal contribution of instruments and offers the listener a fascinating aural layering full of intensities and surprises.

Glue & Ignaz Schick Tom Arthurs: trumpet Miles Perkin: contrabass Yorgos Dimitriadis: drums & microphones Ignaz Schick: turntables & electronics RSLG Quartet Vassilis Roupas: piano, sound effects Giannis Leloudas: drums Stelios Giannoulakis: electronics Panagiotis Raptis: saxophone

CROWD 17-18.11.2018 | MAIN STAGE | 20:30

DANCE CROWD 50

17-18.11.2018 | MAIN STAGE | 20:30

DANCE

CROWD

Gisèle Vienne

CROWD

Gisèle Vienne invites us to a rave party with a difference, where eroticism and violence come together on the boundary between dance and ritual.

To the soundtrack of a rave party created by Peter Rehberg, we watch the bodies of 15 young dancers form themselves into an endless series of images in very slow motion. W ith a background that includes film, Gisèle Vienne creates an astonishingly precise score with movements in place of notes. Each of the movements is informed by a particular cinematic effect— like slow motion, freeze frame, or the ‘jerky’ repetition of a gif file. The flow of the movements is interrupted, then sets off afresh in a different direction. These ongoing tableaux vivants reveal the ecstatic, almost religious, dimension of enjoyment, but also the entirely unconscious violence inherent in —a liberating, fertility-bringing violence like that of some ancient ritual. Unfamiliar but surprisingly beautiful, the “Crowd” draws the gaze like a magnet.

P h ot os : E s t e ll e H an a ni a

Concept, Choreography and Scenography: Gisèle Vienne Assisted by: Anja Röttgerkamp and Nuria Guiu Sagarra Light Design: Patrick Riou Dramaturgy: Gisèle Vienne and Denis Cooper Music selections from: Underground Resistance, KTL, Vapour Space, DJ Rolando, Drexciya, The Martian, Choice, Jeff Mills, Peter Rehberg, Manuel Göttsching, Sun Electric and Global Communication Edits, Playlist Selection: Peter Rehberg Sound Diffusion Supervisor: Stephen O’Malley Performers: Philip Berlin, Marine Chesnais, Kerstin Daley-Baradel, Sylvain Decloitre, Sophie Demeyer, Vincent Dupuy, Massimo Fusco, Rémi Hollant, Oskar Landström, Theo Livesey, Louise Perming, Katia Petrowick, Jonathan Schatz, Henrietta Wallberg and Nuria Guiu Sagarra Costumes: Gisèle Vienne in collaboration with Camille Queval and the performers Sound Engineer: Adrien Michel Technical manager: Richard Pierre Stage manager: Antoine Hordé Light manager: Arnaud Lavisse Special thanks: Margret Sara Guðjónsdóttir and Louise Bentkowski

Production & Booking: Alma Office, Anne-Lise Gobin, Alix Sarrade & Camille Queval Administration: Etienne Hunsinger Executive Producer: DACM Co-producers: Théâtre NanterreAmandiers, centre dramatique national / Maillon, Théâtre de Strasbourg – Scène européenne / Wiener Festwochen / Manège, scène nationale - reims / Théâtre national de Bretagne, direction Arthur Nauzyciel / Centre Dramatique National Orléans/Loiret/ Centre / La Filature, Scène nationale Mulhouse / BIT Teatergarasjen, Bergen Support: CCN2 – Centre Chorégraphique national de Grenoble / CND Centre national de la danse The Company Gisèle Vienne is supported by Ministère de la culture et de la communication – DRAC Grand Est, la Région Grand Est and Ville de Strasbourg. The company is supported by Institut Français for international touring. Gisèle Vienne is associate artist at the Théâtre Nanterre-Amandiers, centre dramatique national and at the Théâtre national de Bretagne, direction Arthur Nauzyciel.

DANCE

CROWD

DANCE

CINEMA

I’M POSITIVE

21-22.11.2018 | MAIN STAGE & UPPER STAGE

POSITIVE VOICES SOUND STRONGER

I’M

TWO DAYS OF INFORMATION AND ACCEPTANCE TO FIGHT PREJUDICE AROUND HIV.

POSITIVE First-person accounts of the experience of living with HIV takes center stage in the two-day event “I’m Positive”, organized by Positive Voice, the Association of People Living with HIV in Greece. Just before World AIDS Day 2018, HIV-positive individuals will speak out with daring and sincerity about their lives, through personal narratives, cinematic projections, and other activities whose historical and social elements aim both to move and to awaken the audience.

Children and teenagers will have the opportunity to speak with members of the HIV-positive community about issues of sexual health, as well as the challenges and prejudices such individuals face, in hopes of achieving a more rapid breakdown of the stigma that accompanies this group. Organized by: “Positive Voice” – the Association of People Living with HIV in Greece and Onassis Stegi

11.2018 – 5.2019 | OUT OF THE ONASSIS STEGI

PUPPET THEATRE

A BRIEF GUIDE FOR PROSPECTIVE TIGHTROPE WALKERS

A BRIEF GUIDE FOR PROSPECTIVE TIGHTROPE WALKERS STATHIS MARKOPOULOS

Set Design-Constructions-PuppetsDirection: Stathis Markopoulos (Ayusaya Puppet Theatre) Dramaturgy: Vicky Georgiadou Movement – Body/Physical Preparation: Antonis Koutroumbis (Plefsis Group) Cast: Vassilki Maltsaki, Stathis Markopoulos, Anneta Stefanopoulou, Maria Fountouli, and other. Executive Production: Delta Pi Produced by: Onassis Stegi The performance is based on the translation by Christoforos Liontakis of Jean Genet’s “Le Funambule – Le Condamné à mort” (“The Tightrope Walker – The Man Sentenced to Death”), Ekdoseis Eikostou Protou (21st c. Editions), Athens, 2016.

A moder n, lyrical puppet theatre for all ages, with live music and a revolutionary mood; it’s this year’s original away offsite performance produced by the Onassis Stegi for high-school students, teachers and other special audience groups, such as inmates, senior citizens, the chronically ill, people in rehabilitation centres, people with disabilities and everybody who is unable to access the arts easily, or is in remote areas. We are all tightrope walkers, hence worthy of attaining freedom; this is what Jean Genet seems to be telling us in his famous lyrical manifesto “Le Funambule” (“The T ightrope Walker”, 1955), which has inspired this performance by the Ayusaya Puppet Theatre. Puppet players, musician and dancer give life to hand-made puppets. Drawing inspiration from Genet’s instructions to the tightrope walker Abdallah Bentaga, to whom he dedicated his allegorical essay, our troupe invites us to discover the craftsman-artist inside us all and respond to the challenges he sets us in the art of living.

24.11.2018 – 21.4.2019 | YOUTH STAGE

BUBBLE JAM

THEATRE

Daniel Wetzel (Rimini Protokoll)

BUBBLE JAM IF YOUTUBE WAS A HUMAN BEING, IT WOULD BE 13 YEARS OLD. THIS PERFORMANCE IS RECOMMENDED FOR ITS PEERS.

Concept – Direction: Daniel Wetzel Written by: Daniel Wetzel, Nikolas Hanakoulas, Giorgos Panagiotakis Space: Dido Gkogkou Light: Guy Stefanou Software System Design and Implementation, Graphics: Dimitris Trakas (ViRA) Sound Design and Programming: Lambros Pigounis Script editors: Andreas Andreou, Kostis Kapidakis Produced by: Onassis Stegi and Rimini Apparat Using technology that has been developed for the Rimini Protokoll project “Dreaming Collectives. Tapping Sheep”, written by Daniel Wetzel and Ioanna Valsamidou.

“Who is on the other end of the inter net and what are the processes between us when communicating online?" Asking this question, Daniel Wetzel, founding member of the inter nationally acclaimed Rimini Protokoll, sets up a show for the peers of YouTube; for those who use messengers despite the age restriction; for the upcoming generation of digital natives. We, as is usual in theatre, meet in the same space, yet this time a large part of the stage design has been converted into code. An interactive play and an experiment among us, Bubble Jam invites its visitors to act as members of a cloud that explores itself. How are joint decisions made? What happens when algorithms enter that process? And who or what do we “like” and “follow”? Who is it on the other end? And who are we in this cloud?

DIGITIZED

24.11.2018 | MAIN STAGE

DESIGN

Let’s get Digitized. “Digitized” takes place once a year in Athens; it is a series of events that include several workshops and a convention. Its purpose is to bring together, inform and inspire the digital design community. Now in its eighth year, “Digitized” is a dynamic and fascinating event that has never fallen short of exciting its audience.

In this year’s edition, “Digitized” will host an amazing group of what is considered the “digital elite” including names such as Steve Vranakis (Creative Lab, Google), Rania Svoronou (IBM iX), Andrien Pin (Merci-Michel), Jennifer Heape (Cult LDN) and Anthony Kyriazis (Ignota.io). In short, “Digitized” has become the largest digital design scene encounter in the region of Southeaster n Europe.

Organized by: +DESIGN, niceandneat.gr

VR @ GR

24-25.11.2018 | UPPER STAGEΤ

DIGITAL PROGRAMMES

VIRTUAL REALITY – RESEARCH AND APPLICATIONS IN GREECE TODAY

Meeting Virtual Reality at the Onassis Stegi. Two days dedicated to the ones who create VR and to those who wish to take it one step further. Researchers, artists, organizations, and companies discuss today the reality of tomorrow.

Scientific Committee: Georgios Lepouras (University of Peloponnese) Vassilis Bourdakis (University of Thessaly) Katerina Mania (Technical University of Crete) Panagiotis Kyriakoulakos (University of the Aegean) Dimitris Charitos (National and Kapodistrian University of Athens) Organization committee: Iouliani Theona (National Technical University of Athens) Dimitris Charitos, Penny Papageorgopoulou (National and Kapodistrian University of Athens) Curated by: Prodromos Tsiavos Heracles Papatheodorou

Virtual Reality (VR) technologies have seen a gradual transformation from “science fiction technologies in the 1990s” to standard media technologies in the second decade of the 21st century. The dramatic drop in equipment prices, the emergence of global VR marketplaces and the wide development of software tools and content on VR devices has rekindled the interest of researchers and artists groups, as well as corporations that compete in developing innovative experiences, products and services. The “VR @ GR” meetup is the beginning of a dialogue between the groups currently active in the field of VR in Greece, through bringing together research, applied and artistic works and a critical approach to such media. It will additionally set the foundations for the Greek Virtual Reality community (VR_GR Special Interest Group). This community will operate in collaboration with the ACM Special Interest Group (Association for Computing Machinery) for Computer Human Interaction – SIGCHI and is incubated by the Onassis Digital Development programme.

29.11-2.12.2018 | MAIN STAGE | 20:30

THEATRE

ITHACA – OUR ODYSSEY 1

Christiane Jatahy The new star of the French stage, Christiane Jatahy, presents a daring multimedia spectacle about migration. Cinema, theatre, new technologies and a story that is present and past.

The sea of Ithaca floods the Onassis Stegi main stage. Ulysses, Penelope and Calypso float on its waters. An ancient myth or a news flash about the refugee crisis? The Brazilian director Christiane Jatahy turns a magnifying glass on contemporary reality. She creates a parallel universe – present and past in one – reflecting the odyssey of homecoming.

Through her multimedia work for the OdéonThéâtre and the Comédie-Française, she has captivated the French audience. Her work, “Ithaca”, is a combination of stage-work, digital and cinematic depiction. Christiane Jatahy sets her Ithaca on two islands, Calypso’s Orygia and Penelope’s Ithaca and the sea between them, the water becoming a travel memorial. Like a siren, Jatahy sings the eternal song about the pain of exile, the longing for a homeland and love that survives in times of waiting.

P h ot os : É li z ab e t h Ca rec ch i o

Inspired by Homer's work Dramaturgy, Scenography & Direction: Christiane Jatahy Artistic Collaboration, Lighting, Scenography: Thomas Walgrave Collaboration on the scenography creation: Marcelo Lipiani Artistic Collaboration: Henrique Mariano Sound Design: Alex Fostier Photographer: Paulo Camacho Costumes: Siegrid Petit-Imbert, Géraldine Ingremeau Video System: Julio Parente Staging Assistance, Translation: Marcus Borja Cast: Karim Bel Kacem, Julia Bernat, Cédric Eeckhout, Stella Rabello, Matthieu Sampeur, Isabel Teixeira Stage Set Production: the decoration workshop of Odéon-Théâtre de l'Europe and Odeon-Theatre de l'Europe's team

Premiere: 16 March 2018 at Ateliers Berthier, Odéon-Théâtre de l'Europe Special regards to: Kais Razouk, Godrat Arai and Nazeeh Alsahuyny for sharing some parts of their own odyssey with us. Production: Odéon–Théâtre de l'Europe Co-production: Théâtre National Wallonie – Bruxelles, São Luiz Teatro Municipal – Lisbonne, Onassis Stegi, Comédie de Genève, Ruhrtriennale – Germany With the support of: Centquatre – Paris Christiane Jatahy is supported by Sesc Consolação in São Paulo.

IDANCE #2 - INCLUSIVE DANCE CONVENTION

2.12.2018 | UPPER STAGE

DANCE / EDUCATION

FOR THE SECOND YEAR IN A ROW, GUESTS FROM GREECE AND THE REST OF EUROPE DISCUSS, INFORM, AND EDUCATE INDIVIDUALS BOTH WITH AND WITHOUT DISABILITIES REGARDING THE LIMITLESS POSSIBILITIES AND ACCESSIBILITY OF CONTEMPORARY DANCE.

In the context of the European programme iDance, the Onassis Stegi organizes for a second consecutive year an outwardlooking, interactive conference that overtur ns stereotypes and proposes innovative methods to educate dancers with and without disabilities. In collaboration with three European partners—the Dutch Holland Dance Festival, the Swedish Skånes Dansteater and the British Stopgap Dance Company— and in the presence of specialists from Greece and abroad, this year’s lineup aims to promote, both in theory and in practice, progressive ideas about how disabled individuals hone certain skills as well as their access to the art of dance and, by extension, to culture itself. Invited guests include artists, researchers, social activists, students and professionals from the cultural sphere, from Greece and abroad, while the programme gives individuals the opportunity to lear n new techniques and choreographies of inclusive dance, under the tutelage of important teachers and organizations.

INCLUSIVE DANCE CONVENTION

Coordination: Onassis Stegi In association with: Holland Dance Festival (The Netherlands), Skånes Dansteater (Sweden), Stopgap Dance Company (UK) Project Coordination: Myrto Lavda, Dora Vougiouka Co-funded by the Erasmus+ programme of the European Union

6-7.12.2018 | EXHIBITION HALL -1 | 21:00

MUSIC

AMBIENT PRESSURE

ΤΕΤΤΤΙΞ ensemble & Panagiotis Tomaras IMMERSION IN SOUND AND LIGHT

AMBIENT PRESSURE

Taking Giacinto Scelsi, a composer of the mysterious spirituality, as a starting point, the performance follows a path of music and light leading to the “godfather” of ambient, Brian Eno.

To mark the 30th anniversary of Giacinto Scelsi’s death, ΤΕΤΤΤΙΞ stages an ambient performance in which the spectatorslisteners are left free to immerse themselves in the music or simply to follow it from a distance. Every composer calls forth different expressive means: imperceptible changes made by increasing or decreasing the density of the musical material or emphasizing a particular sound colour and instrumental register. Guided by the music’s atmosphere, its 'minimalist' aesthetic and its impact, which moves between the hypnotic and the stimulating, Panagiotis Tomaras plays with the fundamental qualities of light. Using reflections and gradations of intensity and colour, he weaves subtle optical illusions and creates a singular environment for each work.

Works Giacinto Scelsi: “Okanagon” and “Maknongan” Brian Eno: “Ambient 4 – On Land” (I, V & VII) Nikos Ioakeim: “Væsanus!” Peter Adriaansz: “Fraction” Michalis Paraskakis: “Skostok” Zesses Seglias: “Let the Music Go Down” Concept, Realization: Michalis Paraskakis Artistic direction: Michalis Paraskakis-Katerina Konstantourou Lighting & Stage Design: Panagiotis Tomaras ΤΕΤΤΤΙΞ ensemble Ana Chifu: flute Eirini Amanatiadou: clarinet Rhea Pickios: bassoon Guido de Flaviis: saxophone Panagiotis Ziavras: percussion Sissi Makropoulou: harp Mislav Režić: guitar (electric/acoustic) Katerina Konstantourou: piano Stamatis Pasopoulos: bayan Charis Pazaroulas: double bass Nikos Ioakeim: composition Nikos Galenianos: composition Michalis Paraskakis: composition, voice

Konstantinos Terzakis: conductor

MUSIC

THE HELLENIC PROJECT

C H R I S T M A S S T O R I E S F O R

O R C H E S T R A

8-9.12.2018 | MAIN STAGE

N A R R A T O R

THE HELLENIC PROJECT

“REPERTOIRE CREATION” CYCLE

Committed to creating new repertoire, THE HELLENIC PROJECT commissions works for children and the whole family every season. Which is how Dimitris Papadimitriou's “Aesop's Fables” came into being, along with the “8 Tales for Narrator and Orchestra” composed by Achilleas Wastor, Kostis Kritsotakis, Nefeli Liouta, Dimitra Trypani and Tasos Rosopoulos.

The stories by Maritiva Grammatikaki and Katerina Schina, and the soundscapes of Kostis Kritsotakis and Tasos Rosopoulos, will update the Christmas message into the present. The works, which are scored for an unusual combination of brass, percussion and piano, will be performed by the vibrantly youthful Ventus Ensemble.

This year, inspired by the Christmas spirit, we are creating two Christmas tales for narrator and orchestra.

Curated by: Rallou Vogiatzi, Dimitris Papadimitriou, Kostas Fassoulas Composers: Kostis Kritsotakis, Tasos Rosopoulos Authors: Maritiva Grammatikaki, Katerina Schina Performed by: Two narrators and the Ventus Ensemble

12-23.12.2018 | UPPER STAGE | 21:00

THEATRE

WHOâ&#x20AC;&#x2122;S AFRAID OF VIRGINIA WOOLF?

Maria Panourgia

? F L O O IA W N I G R I V

BY EDWARD ALBEE

Two couples and their relationships hit rock bottom. A long, wild, brutal night. Marriage is no longer sacred. A legendary play, forever associated with Elizabeth Taylor and Richard Burton thanks to the film of the same name, is to be staged at the Onassis Stegi as a “living museum” of behaviours from decades past. Translation: Jenny Mastoraki Director: Maria Panourgia Dramaturg Consultant: Tassos Koukoutas Set Designer: Poulcheria Tzova Costume Designer: Ioanna Tsami Lighting Design: Eliza Alexandropoulou Movement: Zoe Hadjiantoniou Music and Sound: Blaine L. Reininger Assistant Director: Rania Kapetanaki Assistant Costume Designer: Kelly Papadopoulou Cast: Konstantinos Avarikiotis (George), Lena Kitsopoulou (Martha), Yannis Papadopoulos (Nick), Stella Vogiatzaki (Honey) Line Production: Eleni Kossyfidou / Blackbird production Produced by: Onassis Stegi

HO ME SW EE T HO ME

Two couples stay up late drinking copious quantities of alcohol. The party begins. Emotions bide their time, ready to set the sanctity of marriage, the very heart of Western civilization, ablaze. Knowledge is used to neutralize—and neuter—the other. In the living room-jungle, they set traps for each other and wait to snare their prey. Maria Panourgia directs this classic American work free of illusions. She gives us a ‘stuffed’ bourgeois sitting room full of relics of the past, and leaves the radio on. She’s interested in the morbidity of relationships, but also in the era in which “Who’s afraid of Virginia Woolf?” plays out— an era it encapsulates like a time capsule. And as the murder of a child slowly comes to the surface, Maria Panourgia invites us to view the work with which Albee rocked Sixties’ audiences as a “living museum” of behaviours past.

18-21.12.2018 | MAIN STAGE | 20:30

DANCE

NEW PIECE I - SINCE SHE

Dimitris Papaioannou

New Piece I - Since she

THE WORLD OF DIMITRIS PAPAIOANNOU MEETS THE UNIVERSE OF PINA BAUSCH.

Nine years after Pina Bausch’s sudden departure, the Adolphe Binder–Intendant and Artistic Director of Tanztheater Wuppertal Pina Bausch during the season 2017-2018–invites an outsider in to choreograph the legendary company for the first time: Dimitris Papaioannou. It will be a first for him, too: the first time he’s choreographed for anyone except his own company. Accepting the enormous challenge with “New Piece I Since she”, Papaioannou manages to pay homage to the great Pina with his characteristically magical images, while simultaneously breathing new life into her dance legacy. A series of images of magnificent pictorial beauty draw on the world of Pina Bausch for their elegance and unexpected surrealism. W ithout losing sight for a moment either of his training as a painter or his Greek references, Dimitris Papaioannou transforms the stage into a mirror in which every nuance of human existence is revealed.

Conceived, Visualized and Directed by: Dimitris Papaioannou Set Design: Tina Tzoka Costumes: Thanos Papastergiou Lighting Design: Fernando Jacon, Stephanos Droussiotis Sound Design: Thanasis Deligiannis Music Arrangement: Thanasis Deligiannis, Stephanos Droussiotis Artistic Consultants: Tina Papanikolaou, Stephanos Droussiotis Rehearsal Director: Barbara Kaufmann Sculpturer: Nectarios Dionysatos Collaboration Costumes: Rike Zöllner Artistic Photography: Julian Mommert With: Ruth Amarante, Michael Carter, Silvia Farias Heredia, Ditta Miranda Jasjfi, Scott Jennings, Milan Kampfer, Blanca Noguerol Ramírez, Breanna O’Mara, Franko Schmidt, Azusa Seyama, Ekaterina Shushakova, Julie Anne Stanzak, Oleg Stepanov, Julian Stierle, Michael Strecker, Tsai-Wei Tien, Ophelia Young Music: Christos Constantinou, Richard Wagner, Charles Ives, Johann Sebastian Bach, Aram Khachaturian, Gustav Mahler, Gija Kantscheli, Marika Papagkika, Wayne King, Leo Rapitis, Manos Achalinotopoulos, Sergei Prokofiev, Giuseppe Verdi, Tom Waits Produced by: Tanztheater Wuppertal Pina Bausch Co-produced by: Théâtre de la Ville Paris / La Villette, Paris; Sadler’s Wells, London; Holland Festival, Amsterdam; Onassis Stegi Supported by: Kunststiftung NRW

ONASSIS STEGI Options

P h ot os : J u li an M om me rt

ONASSIS STEGI

p o w e re d

b y

ONASSIS STEGI

s u p p o r t e d

b y

ONASSIS STEGI

p o w e r e d

ONASS STEGI

s u p p o r t e d

ONASS STEGI

DANCE

NEW PIECE I - SINCE SHE

DANCE

28-30.12.2018 |MAIN STAGE | 20:30

THEATRE

CRASH PARK: THE LIFE OF AN ISLAND

Philippe Quesne CRASH PARK: THE LIFE OF AN ISLAND

Concept, Direction & Set Design: Philippe Quesne Piece for 7 perfomers: Isabelle Angotti, Jean-Charles Dumay, Léo Gobin, Yuika Hokama, Sébastien Jacobs, Thomas Suire, Gaëtan Vourc'h Assistant: François-Xavier Rouyer Dramaturgic Collaboration: Camille Louis Stage Manager: Marc Chevillon Stage Technician: Joachim Fosset Sound Manager: Samuel Gutman Lights: Thomas Laigle Costumes Collaboration: Corine Petitpierre Set & Accessories Construction: Ateliers Nanterre-Amandiers Production: With support from the Fondation d’entreprise Hermès programme “New Settings” Co-production: Théâtre National de Bretagne (Rennes), HAU (Berlin), Munchner Kammerspiele (Munich), Onassis Stegi (Athens)

A mysterious island looms on the Onassis Stegi's Main Stage. Around us, ocean. Everything is possible here. Planes can get smashed to bits, mermaids and monsters can emerge from the waters, new states can be set up, new myths and legends can be born. Two years on from “The Melancholy of Dragons”, with which he introduced himself to Greek audiences, Philippe Quesne retur ns to the Onassis Stegi with his latest production, which fuses Homer's Odyssey with “Lost” and Jules Ver ne with a musical about exile and utopia. A passionate collector of insects during his childhood and with a past in the visual arts and set design, Philippe Quesne always creates wondrous theatrical ecosystems. As he himself admits: "I often conceive a show by reflecting on landscapes or whatever micro-world I can immerse my performers in, a place in which they will have to make life possible no matter what". He has applied this logic to “Crash Park”, in which everything is performed by seven performers around the broken-off tale of a bur ning plane which has crash-landed on a desert island.

DIY INSTRUMENT

11-13.1.2019 |EXHIBITION HALL -1

S A

DIGITAL PROGRAMMES

The â&#x20AC;&#x153;DIY Instrument Making & Hackingâ&#x20AC;? event will bring together artists, performers, music tech start-ups, designers and developers to collaboratively create new instruments and sounds.

Selected participants will have the opportunity to build new instruments and create their own compositions, exploring new ways to make music, noise, & sound. The outcome of the workshop will be presented to the public on the last day through an improvised music performance by the participants.

Organized by: Heracles Papatheodorou, Dora Vougiouka The event is part of the Interfaces project co-funded by the Creative Europe programme of the European Union

16-27.1.2019 | MAIN STAGE | 20:30

THEATRE

THREE SISTERS

Dimitris Xanthopoulos Might fantasizing about a possible future prevent us from living fully in the present? By choosing to write "Three Sisters" as a comedy about expectations, Chekhov is asking himself "How should we live?". A full 117 years later, we're still asking ourselves the same question.

SOMEWHERE ELSE, WOULD YOU BE SOMEONE ELSE?

Forget Moscow and pre-revolutionary Russia. Dimitris Xanthopoulos stages “Three Sisters” (1901) in the belief that every place and every era finds itself on the point of rupture, in a state of constant turmoil. He does retain the military environment of the provincial town, though, in which the three daughters and only son of a dead general now find themselves. They nurture a bur ning desire to retur n to the idealized city of their childhoods. But they are not in a position to make this happen. “They sink into the fantasy of a ‘life’ in some ‘Moscow’ or other. Trapped within themselves, they lose touch with reality. Beyond the four walls of their home, they fall apart. This confrontation with Outside lies at the heart of the production. And this confrontation is all our stories— our anguished struggle to find our place in a world into which we were thrust, without reason or cause”, the director notes.

Director: Dimitris Xanthopoulos Settings and Costumes: Eleni Manolopoulou Movement: Vaso Giannakopoulou Lighting Design: Tasos Palaioroutas Music: Alexis Kalofolias Cast: Aris Armaganidis, Aris Balis, Nikolitsa Drizi, Giorgos Frintzilas, Mando Giannikou, Kalliopi Kanellopoulou Stamou, Vasilis Karamboulas, Antonis Miriagos, Angeliki Papathemeli, Thodoris Skyftoulis, Giorgos Stamos, Rebecca Tsiligaridou, Giorgos Valais Produced by: Onassis Stegi

18-20.1.2019 | EXHIBITION HALL -1

DANCE

EROTIKON / HIGHER STATES, PART 3

Kiriakos Hadjiioannou

A series of performative fragments that presents an ode to eros, or whatever remains of it. Vibrating between theory and lived experience, poetic language and the emancipated body, “erotikon / higher states 3” invites us to imagine eros differently.

rheor sttaiteks,opanrt 3/ e hig

Tough times for falling in love! How have our erotic and sexual selves been transformed by the contemporary environment of imagification and new modes for mediating human communication? To what extent has our understanding of love changed in an era of social media and dating apps? Can we still imagine alternatives, or have we become entirely reconciled to the versions of eros that saturate the media? Which social conventions does feminist and queer theory yearn to destroy so that eros reclaims its vital momentum? Kiriakos Hadjiioannou poses pending questions concerning the diachronic nature of erotic phenomena. The third installment of his choreographic body of work “Higher States” envisions a contemporary symposium devoted to eros. Using a series of analytical tools and methods, such as song, philosophical discourse, movement and gesture, Hadjiioannou attempts to construct an erotic meta-vocabulary, a language that can give physical shape to unexplored aspects in the field of everyday human relationships. A multi-modal experience, an ‘ode’ to eros - or whatever remains of it.

From and with: Katerina Drakopoulou, Stelios Georgalis, Myrto Grapsa, Kiriakos Hadjiioannou, Lara - Joy Hamann, Jost Von Harleßem, Anastasios Koukoutas, Mickey Mahar, Nancy Papathanasiou, Maria Sideri, Bernhard Siebert, Nancy Stamatopoulou, Urs August Steiner, Margarita Tsomou Produced by: Onassis Stegi Partner: Tanzhaus Zürich

EROS IN TROUBLED TIMES

IMPROV 2

19.1.2019 | UPPER STAGE

MUSIC

IMP ROV Zoi Efstathiou & Egil Kalman, Giorgos Varoutas, Nikos Sidirokastritis & Ko Ishikawa

ROV2 BEWITCHED BY IMPROVISATION

Two inter national musical encounters. Greek and foreign soloists bring together the old and the new, the natural and the electronic sound and introduce us to the fascinating world of improvisation.

Two ensembles with Greek and foreign musicians in a unique evening. Ko Ishikawa, Giorgos Varoutas and Nikos Sidirokastritis meet again after the record “Chronostasis” (2018), to tell electroacoustic stories between ancient and digital time. Sounds as old as the world, made by wood and chords, combine with electronics. Landscapes of Greece and Japan merge. New geographies are moulded on stage with us as sole witnesses. Zoi Efstathiou and Egil Kalman meet on the keyboards: a “tweaked” piano for Zoi and modular synthesizers for Egil. Together they create a sound environment where the line between acoustic and electronic music is blurred. Through interaction and improvisation, the duo carves new, magical sound objects. Their new composition, “Athroa” will be presented for the first time in Greece.

Zoi Efstathiou: piano, electronics, composition Egil Kalman: modular synthesizer Ko Ishikawa: shō Giorgos Varoutas: guitar, electronics Nikos Sidirokastritis: drums, acacia wood The composition is supported by the Swedish Arts Grants Committee Konstnärsnämnden.

23.1.19, 31.1.19 & 6.2.19 | PANTEION UNIVERSITY

MUSIC

MUSIC CONNECTS THE ONASSIS STEGI AND THE PANTEION UNIVERSITY, VOL. 4

Have you ever heard electric guitar in a contemporary music recital? Acoustic guitar with four extra strings? A solo oboe accompanied by the sound of crystal glasses or a harp? Have you seen scores containing only words, which anyone can play?

For the fourth consecutive year, the "Musical Bridge over Syngrou Avenue" connects the Onassis Stegi with Panteion University to offer new combinations of instruments, new composers, and works in first performances. Project Head: Lorenda Ramou Professor in charge, Panteion University: Georgios Klimis

In the first concert, we will hear Vassos Nicolaou's new work for solo oboe and electronics, commissioned by the Onassis Stegi, along with a tribute to the most important oboist of our era, Heinz Holliger, and the musical partnership he formed with his harpist wife, Ursula Holliger. 1st concert: 23 January 2019 Spyros Kontos: oboe, oboe d' amore Gogo Xagara: harp With the participation of Panteion students (playing crystal glasses) Works Luciano Berio “Sequenza VII” for solo oboe (1969) 8' Vassos Nicolaou New work for oboe and electronics* (2018) 10' Mario Lavista “Marsias” for oboe and crystal glasses** (1982) 10' Elliot Carter “Trilogy” for oboe and harp (1992) 15' Heinz Holliger “Bouquet de pensées” (extracts) for oboe or oboe d'amore and harp (1995–2010) 15'

* Commissioned by Onassis Stegi ** Greek premiere *** Works written for the 6daEXit Improvisation Ensemble, premiere performances

MUSIC CONNECTS THE ONASSIS STEGI

The second concert includes works for acoustic, ten-string and electric guitar, combining different sound versions of the instrument. Works by two young Greek women composers, Foteini Salmouka and Sofia Avramidou are heard alongside key works of recent years.

In the third and last concert, the improvisation and experimental music ensemble 6daEXIt will perform 20th- and 21st-century works from six countries. Panteion students will be collaborating with 6daEXIt in what is, for most of them, their first concert experience.

2nd concert: 31 January 2019 Part One Nikos Zarkos: acoustic and ten-string guitar Arkadios Rakopoulos: baritone Marinos Tranoudakis: percussion

3d concert: 6 February 2019 6daEXIt Improvisation Ensemble: Odysseas Gallios (laptop), Yiannis Dimitroudis (Korg Microsynth, percussion), Lina Koukouli (Korg portable synth, percussion, objects), Fotis Lazidis (electric guitar, synth), Ioanna Valsamara (percussion), Dimitra Pavlou (violin), Alexis Porfiriadis (electric piano, melodica, objects, percussion), Chrysi Parpara (accordion), Athina Sotiroglou (cello, percussion, melodica), Yorgos Holopoulos (laptop, French horn)

Works Foteini Salmouka: “Sillage – A fantasy for solo guitar” (2014) 6΄ Maurice Ohana “Cadran Lunaire” (extracts) for ten-string guitar** (1981–1982) 10' George Crumb “The ghosts of Alhambra” for baritone, guitar and percussion** (2010) 20' Part Two Mislav Režić: electric guitar Works Sofia Avramidou New work for electric guitar* (2018) 8' Fausto Romitelli “Trash TV Trance” for electric guitar (2002) 12' Steve Reich “Electric Counterpoint” (1987)—version for electric guitar and tape 15'

THE

With the participation of a group of Panteion students Works Pauline Oliveros (US) “Teach yourself to fly” from her “Sonic Meditations” collection (1971–1989) Makoto Nomura (Japan) “Shogi Composition”** (1999) Carl Bergstrom Nielsen (Denmark) “Alchemy”*** (2016) Liliana Alvarado Rodríguez (Mexico) “Círculos”*** (2017) Ian Mikyska (Czech Republic/UK): “With/against” *** (2016) Alexis Porfiriadis (Greece) “Between the We and the I”*** (2018)

PANTEION

UNIVERSITY

28.1-17.2.2019 | EXHIBITION HALL -1

MUSIC – AUDIOVISUAL INSTALLATION

DATA.FLUX [12 XGA VERSION]

Ryoji Ikeda

T he leading Japane s e a r tis t re tur ns to the O nassis St egi w ith a n ins ta lla tion w hic h challenges the lim its of huma n p e rc e p tion and digit al techn ology. How ma ny p a tte r ns lie h idden in the u niv e r s e a round us a nd ho w man y do w e ha v e d e e p w ithin us ? Ho w ran dom, u ltima te ly, a re the things w e co nsider ran dom? The la te s t w or k in R y oji Ikeda’s “dat amatic s ” s e r ie s is a tor re nt of dig it s an d data, a r if t in the v ie w e r ' s time and space.

LIVE THE DIGITAL SENSORY EXPERIENCE

d a t a . f l u x [12 XGA version]

Concept, Composition: Ryoji Ikeda Computer Graphics, Programming: Norimichi Hirakawa, Tomonaga Tokuyama Materials: DLP projectors, computers, speakers Dimensions: variable Photo Credits: data.flux [12 XGA version], audiovisual installation, 2017 © Ryoji Ikeda (Courtesy of: 2017 Parallax)

Inter nationally acclaimed for his digital art audio-visual installations, R yoji Ikeda knows how to electrify the human senses. In a dark and silent environment, pulses of light and sound set the body vibrating with new data every second: the geographical coordinates of our solar system, space-time sequences, genetic codes, molecular information, numbers, lines, letters. W ith the precision of a metronome, twelve parallel video projectors synchronize with a minimalist electronic composition, tur ning numbers and data into the ultimate sensory experience for the visitor. From the micro-patter ns that exist around us to the codified knowledge of the whole world, “data.flux [12 XGA version]”, the recent multimedia addition to R yoji Ikeda's “datamatics” project-in-progress, uses the language and aesthetic of mathematics to compose countless sequential frames and pose experiential questions to the public about existence and transcendent identity.

CRAFTING THE FUTURE

LOOKING AT NEW VALUES FOR THE FUTURE OF FASHION AND DESIGN

“Crafting the Future” will showcase inspirational speakers, hear from panels of experts, instigate the right questions and advance potential solutions, as well as providing opportunities for everyone, from young professionals to absolute beginners, to explore making, mending and the craft of caring for our clothes. Let’s explore sustainability in fashion, innovation and sustainable materials under a critical thinking lens, the role of technology for a transparent supply chain, design solutions to environmental challenges and in particular, the role of crafts within this complex panorama.

C R A F T I N G Curated by: Μaria Papaioannou, British Council Greece Prodromos Tsiavos, Onassis Stegi Orsola de Castro, Fashion Revolution

P h ot o: Co u r t es y o f F a s h io n R e vo l u t i on

1-2.2.2019 | UPPER STAGE & OUTSIDE THE ONASSIS STEGI

DIGITAL PROGRAMMES

T H E F U T U R E

DANCE

A QUIET EVENING OF DANCE

6-10.2.2019 | MAIN STAGE | 20:30

William Forsythe DANCE AS EXPERIENCE

ONASSIS STEGI Options

ONASSIS STEGI

If anyone could be described as having "electrified" ballet, as having breathed new life into it and transformed it into a dynamic art-form ready to soar ever higher in the 21st century, that person would be W illiam Forsythe. He creates entire worlds using nothing but the human body, space and time, making dance an unprecedented experience for dancers and audience alike. This is very much the case with the four works—two revivals plus two new creations—which form the evening’s programme. Dancers who have worked with him for many years narrate profoundly communicative stories with their bodies, their breathing the only sound accompanying them. Humour, sensitivity, provocation, response. Guiding them: their rhythm and incredible coordination. Like the hands on an invisible clock, they record time, render it visible, expand and contract it by changing space and, ultimately, by opening the secret channel through which we communicate with it.

First performed at Sadler’s Wells London on 4 October 2018. Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018

P h o t o : B il l C o op e r

Choreography: William Forsythe and Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit and Ander Zabala The dancers are: Cyril Baldy, Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf ‘RubberLegz’ Yasit Lighting: Tanja Rühl & William Forsythe Costumes: Dorothee Merg & William Forsythe Sound Designer: Niels Lanz Technicians Production Manager: Adam Carrée Touring Production Manager: Philip Connolly Production Electrician / Relighter: Will Frost Head of Sound: Simon Lambert For Sadler’s Wells Chief Executive & Artistic Director: Alistair Spalding CBE Executive Producer: Suzanne Walker Head of Producing & Touring: Bia Oliveira Tour Producer: Aristea Charalampidou Producing & Touring Coordinator: Florent Trioux Marketing Manager: Daniel King Senior Press Manager: Caroline Ansdell Wardrobe Supervisor: Miwa Mitsuhashi A Sadler’s Wells London production. Co-produced with: Théâtre de la Ville-Paris, le Théâtre du Châtelet and Festival d’Automne à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Stegi; deSingel international arts campus (Antwerp).

A QUIET

EVENING

OF DANCE

B L O C K C H A I N T H E

B L O C K C H A I N ?

T E C H N O L O G Y

A T H I N K E R S ,

A R T I S T I C

A N D

T U R N ?

A N D

E X P L O R E S

O R

U -

C H A N G E

H A C K E R S

S U B V E R S I V E

T H AT

â&#x20AC;&#x201D;

H O W L I V E S ?

W H AT M I G H T

B L O C K C HAIN I S

A P P L I C AT I O N S

E C O N O M I C

AT F E S T I V A L

O U R

U T O P I A

A R T I S T S

8-10 & 16-17.2.2019 | INSIDE & OUTSIDE THE ONASSIS STEGI

BLOCKCHAIN: UTOPIA OR U-TURN?

TALKS & THOUGHTS

What is a blockchain? How might blockchain technology change our lives? Thinkers, artists and hackers at a festival that explores the economic and artistic applications—subversive and otherwise— of this exciting technology in our networked world.

The blockchain technology underpins the digital currency Bitcoin, which was created in 2008. We could describe it as an encrypted digital spreadsheet which is shared between users and records financial data and transactions, contracts and bilateral agreements without the intervention of a central administrator, such as banks. The festival invites thinkers, artists and hackers to discuss the dialectic of resistance and recuperation which characterizes blockchain technology. It is a fascinating subject for study which helps us understand and envisage our position in our digitally networked society.

Curated by: Voltnoi Brege & Quetempo

Although blockchain has mainly been adopted by investors and entrepreneurs, it is also extensively employed by communities that explore radical and alternative uses to which the technology can be put in the arts, music, media and governance. But the new technology raises political and ethical questions, since, while it achieves social reciprocity and removes the need for mediators, it also presents an investment opportunity for a new—digital—elite.

15-16.2.2019 | MAIN STAGE | 20:30

MUSIC

THE HELLENIC PROJECT

Dimitris Papadimitriou / /

S Y M P H O N I C

M I N I A T U R E S

/ /

THE HELLENIC PROJECT commissions new symphonic works with a view to expanding the Greek repertoire. Dimitris Papadimitriou has already composed and presented works in this context which cover wideranging creative quests: “Aesop's Fables”, “Epitaph Days”, “The Chronicle of an Early Autumn”, “Satyricon”, “Erotikos Logos” and “Symphonic Visual Soundtracks” – works for a large orchestra covering a range of forms and content. Curated by: Dimitris Papadimitriou, Rallou Vogiatzi Composer: Dimitris Papadimitriou Performed by: the ERT National Symphony Orchestra

In these two concerts, the composer will be premièring a new symphonic work consisting of linked but independent parts under the umbrella title “Symphonic Miniatures”.

THE HELLENIC PROJECT

“REPERTOIRE CREATION” CYCLE

22-23.2.2019 | MAIN STAGE | 20:30

MUSIC

EROR (THE PIANIST)

ero Georgia Spiropoulos

A PERFORMANCE FOR A PIANIST AND LIVE ELECTRONICS

“eror” is inspired by a word—λάθως (lathos: in error)—written on the walls of Athens. In a city without people, the only survivor is a disguised pianist who repeats that same word—λάθως—over and over again. Although the word λάθως appears only on the walls of Athens, the work relates to any city and the ‘errors’ of civilization/culture: badly-conceived and faulty IT systems, red alerts that spread fear, the production and piling up of waste – throw-away products, images, information...

The work expresses the political, geographical and social instability through the digital instability – the introduction of the aleatory and the algorithmic error in the musical material, the sound and the video image. Pianistic gestures, brief references and tributes, and field recordings are transformed through a complex music computing environment. A ‘soundgeography of error´ for a city without people.

(THE PIANIST)

Concept, Composition, Dramaturgy, Art Direction: Georgia Spiropoulos Video Animation: bestbefore – Andreas Karaoulanis Computer Music Design: IRCAM – Benjamin Lévy Artwork Drawings: Woozy – Vangelis Hoursoglou Light Design: Arnaud Jung

Production Management: Rena Andreadaki Production Management IRCAM: Aurelia Ongena

Piano – Soloist: Alvise Sinivia

Georgia Spyropoulos has benefited from the support of the Abbaye Royale de Fontevraud.

Director Assistant, Set Design, Costumes: Sylvie Martin-Hyszka Sound Engineer IRCAM: Sylvain Cadars Video "Images d’une oeurve": IRCAM – Sabine Massenet

Commissioned and Produced by: Onassis Stegi Coproduction: IRCAM - Centre Pompidou

Word Premiere: Onassis Stegi

THE PEOPLE: PUBLIC ART AND TALKS

SPRING 2019

TALKS & THOUGHTS

The Onassis Stegi launches a series of public art and talks, titled “The People: Public Art and Talks”, presented twice a year in multiple cities.

Curated by: Mari Spirito, Guest Curator, Onassis Stegi

100

THE PEOPLE: PUBLIC ART AND TALKS “The People” will address urgent concer ns related to urban development, culture, digital age and the hand-made. Taking place in a range of cities, in and around Athens, “The People” works with leading voices and creative partners to deepen a non-hierarchal, fluid exchange for the best possible outcome for everyone.

1-2.3.2019 | MAIN STAGE, UPPER STAGE, EXHIBITION HALL -1

101

YOUNG CHOREOGRAPHERS FESTIVAL

CHOREOGRAPHERS IN THEIR FIRST EXPLORATIONS

fes tiv al

DANCE

young cho re ogra phers

Taking on the challenge of renewal through repetition, upping the ante yet again, the Onassis Stegi will host the sixth annual Young Choreographers Festival â&#x20AC;&#x201D;a showcase and incubator for young creators and artistic propositions that are put to the test onstage, while also testing the limits of our own understanding of dance in Greece. The Onassis Stegi also offers nontraditional performance spaces that reorient our view of choreography and its relationship with the audience. These encounters both on and off the stage comprise yet another direction recently adopted by the institution and similarly embraced by the public. In its rich offerings to date, the Young Choreographers Festival has managed not only to highlight creators in their stage debuts, but also to establish new trends that expand or reevaluate our existing conception of dance. The presence of this festival every year, and the anticipation surrounding it, affirm the Onassis Stegi's choice to support new work and invest in the future.

Curated by: Katia Arfara Production Management: Dimitra Dernikou

A TRIBUTE TO OLIVIER X MESSIAEN

4-7.3.2019 | ATHENS CONSERVATOIRE

MUSIC

Olivier Messiaen's multifaceted contributions to 20th-century music for four full days at the Athens Conservatoire.

All the events will be held at the Athens Conservatoire. The full programme will be announced shortly. With the support of the French Institute in Greece, and in collaboration with the Paris Conservatoire National SupĂŠrieur de Musique et de Danse.

102

This year is the 110th anniversary of the birth of the great theorist, organist, composer and teacher Olivier Messiaen, whose work occupies a central place in the music of the 20th century. Intent on enhancing its students' familiarity with the modern and contemporary repertoire, the Athens Conservatoire has joined forces with the Onassis Stegi to stage an important tribute to Olivier Messiaen.

OLIVIER MESSIAEN

A TRIBUTE TO

His pioneering work and inspired teaching will be spotlit with the help of the pianist Florent Boffard, who studied under Yvonne Loriod, Messiaen's wife and the ideal performer of his works, and the composer Alain Louvier, who, along with many of the key composers of the 20th century, studied under Messiaen.

6-10.3.2019 | MAIN STAGE

THEATRE

THE TRIAL

104

Krystian Lupa

The giant of inter national theatre on a head-on collision with authority. Krystian Lupa revolts against the Kafkaesque reality of his homeland

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

KAFKA

“LIVES” HERE

THE THE THE THE THE THE

TRIAL TRIAL TRIAL TRIAL TRIAL TRIAL

THE TRIAL

Actors are fired, directors walk out, longawaited performances are censored, the theatre is in decline. An ultra-conservative gover nment dismisses the art director of a historic theatre, replacing him with someone of their liking. Any similarity to people and situations is intentional. Kafka’s “Trial” reflects presentday Poland to a chilling degree. A victim of the practices afflicting the historic Polski Theatre in Wroclaw, Krystian Lupa resorts to prophetic dystopia, which echoes our absurd world.

106

“It is me. It is us. We are arrested.” The cry of the Polish director about the instances of censorship in his country culminates in a five-hour performance cum existential experience. Black tape seals the mouths of the seventeen actors, who strike out against the violation of freedom of expression, gover nment corruption and the annihilation of the citizen in a Kafkaesque country. The nightmare of Josef K., who is arrested by forces of the regime, automatically becomes the nightmare of Polski Theatre, of Krystian Lupa, of Poland, of Europe.

P h ot os : Na t al i a K ab a n ow

THEATRE

Direction, Adaptation, Scenography & Lighting Design: Krystian Lupa Costumes: Piotr Skiba Music: Bogumił Misala Video, Lighting Collaboration: Bartosz Nalazek Animations: Kamil Polak Makeup & Hair: Monika Kaleta Cast: Bożena Baranowska, Bartosz Bielenia / Maciej Charyton, Małgorzata Gorol, Anna Ilczuk, Mikołaj Jodliński, Andrzej Kłak, Dariusz Maj, Michał Opaliński, Marcin Pempuś, Halina Rasiakówna, Piotr Skiba, Ewa Skibińska, Adam Szczyszczaj, Andrzej Szeremeta, Wojciech Ziemiański, Marta Zięba, Ewelina Żak Chief Producer: Nowy Teatr Producers: Studio teatrgaleria; Teatr Powszechny; TR Warszawa; Le Quai Centre Dramatique National Angers Pays de la Loire Co-producers: Kunstenfestivaldesarts, Bruxelles; Printemps des Comédiens, Montpellier; Odéon-Théâtre de l’Europe, Paris; Festival d’Automne à Paris; La Filature, Scène nationale – Mulhouse; Théâtre du Nord, Lille; La rose des vents Scène nationale Lille Métropole Villeneuved’Ascq; HELLERAU - Europäisches Zentrum der Künste Dresden; Onassis Stegi Partner: Teatr Polski w Podziemiu Co-financed by: Miasto Stołeczne Warszawa

9.3.2019 | UPPER STAGE | 21:00

MUSIC

L’ENSEMBLE ENSEMBLE

Eve Risser

A unique musical quintet. Compositions that seek to liberate musical expression and enjoyment, with rhythms

L’ENSEMBLE and dreamy sounds, from the most daring representative of contemporary French improvisation

Eve Risser: piano, prepared piano, alto flute Marie Kvien Brunvoll: vocals, electronics George Dumitriù: violin, viola Kim Myhr: guitar, effects Toma Gouband: percussion

108

IMPROVISATION, COLLECTIVITY, AND MUSICAL INTENSITIES

ENSEMBLE French pianist and composer Eve Risser is one of the most distinctive and authentic creators of contemporary French improvised music. Drawing inspiration from personal experiences and images, she transforms the interior of a piano into a peculiar, mystical instrument, which sounds sometimes like a trumpet or saxophone, and other times like drums. In “L’Ensemble ensEmble,” Risser is surrounded by four notable musicians of different geographic and aesthetic backgrounds.

The electronic experiments and Norwegian folk of Mari Kvien-Bruvoll (vocals) and Kim Myhr (guitar), encounter the improvised jazz of Romanian composer Georges Dumitriu (violin) and the inventive style of Toma Gouband (drums), in a heterogenous aural amalgamation. Their collaboration creates enigmatic compositions, whose rhythms and harmonies are based less on the classical rules of music, than on a sense of collectivity, one whose moving intensity electrifies the atmosphere.

17.3.2019 | IN & OUT OF THE ONASSIS STEGI

MUSIC OPEN DAY

OPEN OPEN OPEN

110

The Onassis Stegi invites us to see contemporary art through the eyes of the East, in a subversive musical ramble.

DAY DAY DAY

“Heterotopies”, the first part of a cycle investigating different artistic standpoints, examine the never-ending dialogue between East and West in a “reverse” way. Performers and composers from all over the world find in Wester n art an innovative force, a direction towards the redefinition and evolution of their cultures. At the same time, the fresh viewpoint that develops “off-centre” changes the Wester n musical languages and creates new and fascinating idioms of sound. Musical performances, projections and happenings, in a kaleidoscope of sounds, shapes and aesthetics, will give people of all ages an opportunity to strike their personal course, through “out of this world” places of contemporary art. Like in a game, visitors are invited to reminisce, express wishes, look up names, search for signs and eventually construct their own narrative and viewpoint on the complex, bidirectional experience of the encounter of civilisations.

Concept, Composition, Musicological & Directorial Oversight, Realisations, Orchestrations, Organization: Anargyros Deniozos Musical Direction: Andreas Levisianos Lighting: Elina Sfountouri Organizational Oversight: Valia Rassa Curator: Sergios Sinanis Production Management: Dimitra Dernikou, Christina Pitouli With: Ensemble Continuum (@Athens) Ionian Festival Ensemble

MUSIC

THE HELLENIC PROJECT

/ /

112

C Y C L E T R A N S F O R M AT I O N S

21.3.2019 | UPPER STAGE | 21:00

/ /

Curated by: Rallou Vogiatzi, Dimitris Papadimitriou, Tasos Rosopoulos

THE HELLENIC PROJECT

28.3.2019 | UPPER STAGE | 21:00

113

DIOTIMA QUARTET

MUSIC

“THE NEW RUINS OF ATHENS”: WORKS BY BÉLA BARTÓK AND ALEXANDROS MARKEAS

B é la B a r t ók's six st r ing qua r t e t s, of w hic h w e w ill be list e ning t o t he fir st t w o, br ing t oge t he r t he most c ha r a c t e r ist ic music a l innov a t ions of t he fir st ha lf of t he 20t h c e nt ur y. At t he sa me t ime , t he y a lso ha v e a lot in c ommon w it h B e e t hov e n's la st qua r t e t s: t he ir music a l ma t e r ia l is produc e d w it h e xe mpla r y e c onomy out of a fe w music a l 'c e lls', sha pe d in a fre e a nd or ga nic w a y, induc ing int e nse c onc e nt r a t ion in t he list e ne r, w ho e nt e r s a profoundly int ima t e w or ld.

Diotima Quartet Yun-Peng Zhao: violin Constance Ronzatti: violin Franck Chevalier: viola Pierre Morlet: cello Programme Béla Bartók: “Quartet no. 2” (1917) Alexandros Markeas: “The new ruins of Athens” (2018), Greek premiere Béla Bartók: “Quartet No. 1” (1909)

Ale xa ndros Ma r ke a s re la t e s t o B e e t hov e n in a diffe re nt w a y : w it h humour, t ha t v e r ge s some t ime s t o bit t e r, he pa r a phr a se s t he t it le of t he G e r ma n c ompose r ’s huge ly popula r inc ide nt a l music “ The R uins of At he ns” ( 1811) , in w hic h t he godde ss At he na c oe xist s w it h c ha r a c t e r s from O t t oma n At he ns. Wha t is, for t he G re e k c ompose r, t he sound of t he ne w r uins of his c it y, w ha t me mor ie s do t he y br ing t o t he sur fa c e , a nd how do t he y c oe xist a longside t hose ot he r r uins w hic h sur round us for c e nt ur ie s?

Q U A R T E T

31.3.2019 | MAIN STAGE

DANCE - EDUCATION

DANCING TO CONNECT

114

Think you know nothing about contemporary dance? That you’d fall flat on your face if you had to walk across the stage? Then you’re just what we are looking for. Because in “Dancing to Connect” we’re not looking for talented dancers—what we want are daring teenagers who want to express themselves.

CONTEMPORARY DANCE ENTERS SCHOOLS Members of the group of dancers who have participated over the past years: Ioanna Apostolou, Nikoleta Karmiri, Candy Karra, Alexander Laskaratos, Androniki Marathaki, Yiannis Nikolaidis, Aris Papadopoulos, Martha Pasakopoulou, Demokritos Sifakis, Elena Stavropoulou, Antonis Strouzas, Maria Fountouli, Ilias Hatzigeorgiou

For t he 7t h y e a r in a row, da nc e w ill be inv a ding t he sc hoolrooms a nd c a r r y ing us a w a y. Te e ns w ho t hink t he y know not hing a bout da nc e w ill quic kly c ha nge t he ir minds a ft e r t he fir st re he a r sa l. B e c a use da nc ing is a bout disc ov e r ing t ha t y ou c a n c ommunic a t e w it h ot he r s w it hout w ords, a bout t r a nsc e nding y our limit a t ions.

P h ot o: Ki k i P a p ad o p o u lo u

Profe ssiona l da nc e r s v isit sc hools t o sha re t he ir know le dge a nd he lp st ude nt s t o e xpre ss t he mse lv e s t hrough mov e me nt . All t he st ude nt s ha v e t o do is put on a t r a c ksuit a nd sha re t he ir high spir it s a nd c re a t iv it y. Ca n y ou fe e l t he pa ssion a nd t he e ne r gy ? “ Da nc ing t o Conne c t ” is t he br a inc hild of Ne w Yor k's B a t t e r y Da nc e Compa ny, w hose mot t o is t his: a c hore ogr a phy ma y be a ll it t a ke s t o ge t pe ople c ommunic a t ing hone st ly a nd t o do a w a y w it h pre judic e a nd bully ing. So, le t ’s e njoy some gre a t t e e na ge r s se t t ing t he st a ge a light w it h t he ir e le c t r ify ing e ne r gy.

3-4.4.2019 | EXHIBITION HALL -1

MUSIC

DATA MINING / LIVE SCORING

116

Alexandros Drymonitis – ARTéfacts ensemble

The raw material of the performance is a selected topical issue; its content, the comments, reactions and social media posts it provokes. An algorithm draws on data and analyzes inter net users’ activity in real time to create scores for each of the six musicians in the ARTéfacts contemporary music ensemble. The algorithm also ‘directs’ the lighting, giving the audience a holistic experience which combines sound and vision. Viewers can wander among the musicians, and the process by which on-line data is transformed into scores is illustrated on screens. If they want to, viewers can also leave their own trace on the algorithm's feed, and hence on the performance. AN INTERACTIVE MULTIMEDIA PERFORMANCE WHICH COMBINES NEW TECHNOLOGIES WITH ACOUSTIC MUSIC, THE RANDOM WITH THE TOPICAL.

Programming / Creation of the algorithm: Alexandros Drymonitis Music Composer: Nicoleta Chatzopoulou Lighting Design: Melina Mascha ARTéfacts ensemble Louizos Aslanidis: direction / visuals Laertis Kokolanis: violin Ilias Sdoukos: viola Spyros Tzekos: clarinet Guido De Flaviis: saxophone Kostas Ceremetis: percussion Theo Vazakas: percussion

O M

D L

A I

R D

E L

W E

O C

A N

N G

D O

N T

A L

T N

M C

T Î¤

M L

/ D

D H

Borderline Borderline

5-7.4.2019 | IN AND OUT OF THE ONASSIS STEGI

119

BORDERLINE FESTIVAL 2019

MUSIC

This inter national festival, which questions borders and boundaries of all sorts, continues for its 9th year to expand our aural horizons. This year, in collaboration with the Irtijal Festival of experimental music in Beirut and with its gaze tur ned toward both East and West, Borderline presents yet another adventurous programme both at the Onassis Stegi and beyond.

BORDERLINE 2019 TRAVELS FROM BEIRUT TO ATHENS AND EXPLORES THE MUSICAL AVANT-GARDES THAT UNITE EAST AND WEST.

Curated by: Michalis Moschoutis Production Management: Christina Pitouli In collaboration with Irtijal Festival in Beirut

The festival includes collaborations between Greek and foreign artists, installations, dj sets, screenings and talks that explore contemporary, experimental trends in music and sound art. Experimentation and the interplay between the random and the prepared, and between musicians and audience, are central to all the festivalâ&#x20AC;&#x2122;s events.

FOR EVER MORE IMAGES?

TALKS & THOUGHTS

9-24.4.2019 | EXHIBITION HALL -1

121

DESIGNING A CYBERMACHINE FOR THE 21 ST CENTURY

In 1977, the Voyager I and II spacecraft began their interstellar journey. On board, they were carrying audiovisual archives of a sort: golden records recording a message to possible extragalactic recipients, a time capsule for the future encoding and communicating mankind's existence and achievements on planet Earth.

Curated by: Eduardo Cadava, Yorgos Karailias, Yorgos Prinos, Pasqua Vorgia

But what would we send today, 40 years on? And what would the images placed inside a similar time capsule mean today? Could they perhaps serve as an alarm message about our planet's uncertain future? The "For Ever More Images?" project addresses this question at a time when the images we create and distribute are primarily determined by programming routines, algorithms and automated behaviours. An exhibition-installation, an interactive cyber-mechanism which constructs time capsules, and a series of lectures and workshops, invite us to take a fresh look at the way we produce, consume, understand and signify the images of our 21st century.

ΧΟΡΟΣ

122

12-14.4.2019 | MAIN STAGE | 20:30

123

FADED

DANCE

Ioannis Mandafounis WHAT MATERIALS MAKE UP A DANCER’S LIFE? IOANNIS MANDAFOUNIS STAGES HIS OWN GRAND FINALE, WITH AUTOBIOGRAPHICAL ELEMENTS AND TOUCHES OF HUMOR, OFFERING A SECRET PEEK AT THE LIFE ONSTAGE AND BEHIND THE SCENES.

Concept & Interpretation: Ioannis Mandafounis Teacher & Musician: Antigone Frida Dramaturg: Eri Kyrgia Coaching: Smaralia Karakosta Light: David Kretonic Sound: David Scrufari Administration & Communication: Mélanie Fréguin Production Management: Erin O’Reilly Line Production: Cie Ioannis Mandafounis Co-production: City of Vernier – communication department, Theater Freiburg, STEPS International Dance Festival of Migros Cultural Percentage, Onassis Stegi Supported by: City of Geneva, State of Geneva, Swiss Arts Council Pro Helvetia With the support: Duncan Dance Research Center Thanks to: École de danse de Genève – Patrice Delay και Sean Wood

In the eyes of the public a dancer’s career may seem like a sprint, but in fact it is a marathon of challenges, beginning with training at a young age and coming to a close with the final bow. As a career wanes, every dancer is called upon to refute the obvious: the body, exhausted by the constant technical demands, has to resist decline and continue to shine before the triumphant exit. Classically trained dancer Ioannis Mandafounis, who has performed with inter nationally recognized moder n dance troupes, retur ns in this work to his “first love,” ballet, paying it a final tribute. The piece plays with the overblown sentimentality of the farewells of the “étoiles,” the great ballet stars, while also retaining its own sentimentality, as well as humor. An evening that takes us behind the scenes to show how ballet routines are lear ned, offering a commentary on the superhuman struggle hiding behind the seemingly painless art of dance. Antigone Frida plays the role of teacher-musician.

WERNER HERZOG

15.4.2019 | MAIN STAGE | 19:00

TALKS & THOUGHTS

WERNER HERZOG

A CONVERSATION EVERY BIT AS UNPREDICTABLE AS THE CAREER OF THE 76-YEAR-OLD MASTER.

124

In conversation with Paul Holdengräber

Versatile, impossible to pigeon-hole and always artistically unorthodox, Werner Herzog has never stopped finding ways to breathe new life into the conversation around film. He grew up in a village in Bavaria, cut off from culture and without access to television or cinema. He made his first phone call at the age of 17 and his first film at 19. Self-taught, a visionary with an inexhaustible supply of inspiration, he built himself a highly eclectic career as a filmmaker (Aguirre—the Wrath of God, Grizzly Man, Bad Lieutenant: Port of Call New Orleans ), has acted alongside Tom Cruise,

taught aspiring film-makers, saved Joaquin Phoenix's life (in reality, not in the movies), directed opera and eaten his shoe (when he lost a bet he made in a documentary). Following on from the conversation the two had about ancient Greek literature three years ago at an event co-produced by the Onassis Foundation in New York, this April will see Herzog meet up again with the master of live interviews and founder of the LIVE lecture series from New York Public Library, Paul Holdengräber, for a conversation every bit as unpredictable as the 76-year-old master's career.

GILGAMESH EPIC

127

GILGAMESH EPIC

MUSIC

19-20.4.2019 | MAIN STAGE | 20:30

Zad Moultaka

Ensembles Mezwej / Direction: Zad Moultaka Sokratis Sinopoulos: lyra Evgenios Voulgaris: yali tanbur Harris Lambrakis: ney Stefanos Dorbarakis: kanun Vangelis Pashalidis: santuri Claudio Bettinelli: percussions Andreas Linos & Christina Plubeau: viols (viola da gamba) Co-production: Onassis Stegi, La Cité musicale-Metz, Mezwej / association art moderne with the support of DRAC Provence Alpes Côte d’Azur

The “Gilgamesh Epic” is one of the oldest surviving texts in the history of humanity. Its provenance remains unknown despite abundant theorizing. The expressive austerity and the way it descends into the deepest abyss of existence calls to mind the Aeschylean tragedies – it is no accident that the previous work of the composer of this remarkable opera was based on ŠamaŠ, the mesopotamian god of the sun. Lebanese composer Zad Moultaka chose to give Gilgamesh a voice through Mezwej, a musical ensemble made up of influential musicians from Greece, the Middle East and Italy. Singers are absent from this opera, voices and speech emanate by the musicians themselves. They are the mirror of our own inner voices, our personal heroes. The video transforms their shadows into strange, autonomous figures.

ONE OF THE OLDEST TEXTS IN HISTORY BECOMES AN OPERA. THE STORY OF THE SUMERIAN KING INSPIRES A LEBANESE COMPOSER

O N A S S I S

Y O U T H

F E S T I V A L

ONASSIS YOUTH FESTIVAL

19-21.4.2019 | UPPER STAGE

129

P h o t o : Ki k i P a p a d op o u l ou

“And now, I have an idea,” said Aristotle Onassis just before leaving his job as a night phone operator in Buenos Aires. In the Onassis Stegi, ideas find their home and teenagers find their festival. For three hours per week, in a frenzy of ideas, improvisation, exercise and intensive rehearsals with influential Greek artists, the students create the most invigorating festival. This year, their inspiration will be the triangle of three amazing, rebellious cities with a wealth of culture and history: Athens, Alexandria, Beirut.

THEATRE FOR TEENS – EDUCATION

Students leave the schoolroom and hit the stage. They are “taught” by artists instead of teachers. Adventurous teens are inspired by three adventurous cities: Athens, Alexandria, Beirut. Their vehicle is their own festival, Onassis Youth Festival, which comes to rock the stage.

Through real stories of their citizens, memoirs, documents, historical evidence, through prose, theatre and interviews, students pick the stimuli that move them and their ideas become performances that fill the Onassis Stegi Upper Stage. Because the students and their ideas are the great superstars of the Onassis Youth Festival.

23.4.2019 | MAIN STAGE | 21:00

ΣΙΝΕΜΑ CINEMA

HFA 2019

AWARDS BY THE HELLENIC FILM ACADEMY 2019 IRIS – AWARD CEREMONY

130

131

The Greek cinema world dons its black tie just for this one night and competes on equal terms with great international award ceremonies, as the Hellenic Film Academy honours unforgettable films for yet another year, by giving away its Iris awards. Muchloved stars, talented creators and worthy associates will step onto the stage of the Onassis Stegi Main Stage to honour and

be honoured, reminding us that the magic of film does not disappear with the end credits. The most important institution of Greek film celebrates its 10th anniversary this year, by inviting many famous guests from home and abroad to come and wish it many happy returns, so that it can continue to make history through film images and faces that will forever keep us company.

AND THE (GREEK) OSCAR GOES TOâ&#x20AC;Ś

ONASSIS FAST FORWARD FESTIVAL 6

132

New forms of art, hybrid performances and installations, unexpected encounters, atypical spaces: The Onassis Fast Forward Festival tur ns its critical eye to the contemporary urgencies, commissioning inter national and local artists to produce site-specific works at the Athens city-center. This year, the FFF explores the notion of the commons and the collaborative models of artistic creation and education.

How to live together when we come from different social and cultural backgrounds? How do we coexist in the contemporary metropolis? How can we interact, and how can we talk about things that are foreign to us, unfamiliar, different? The 6th Onassis Fast Forward Festival once again disrupts our certainties about art and life, exploring the notion of the commons and of solidarity initiatives from several perspectives and fields of knowledge with the tools of art and culture. Hybrid performances, installations and video works, which arise from monthslong collaboration with experts and local communities, while also exploring atypical public and private spaces, are presented for two weeks in the heart of the city.

Curated by: Katia Arfara Production Management: Dimitra Dernikou

P h o t o : Ch r i s t o s S ar r i s

O N A S S IS

5-19.5.2019 | IN & OUT OF THE ONASSIS STEGI

FESTIVAL

FA S T

F O RWA R D

TU RE , TO DAY AN EY E TO TH E FU

F E S T IV A L

25-26.5.2019 | MULTIPLE STAGES

MUSIC – EDUCATION

BIG BANG FESTIVAL 5

134

Come through the doors of the Onassis Stegi and discover the wildest musical kaleidoscope. If your kids are between… 0 and 12 years old, there is a music festival made especially for them; sounds, tunes and beats that will intrigue them taking part into the adventure.

EXPERIENCE AN EXPLOSION OF MUSIC!

B IG B AN G F e s t i v a l i s a f e st i v e o d e t o a d v e n tu ro u s mu si c a n d s o u n d a r t f o r y ou n g au di e n c e s .

Curated by: Christos Carras, Myrto Lavda, Wouter van Looy

O u r m is s io n : To p re s e n t t h e r i c h n e ss of m u s ic in a n i ma g i n a t i v e a n d a d v e n t u rous w ay t h a t i s a c c e ssi b l e t o c h i l d re n . Ev e r y ye a r, mo re t h a n 3 .0 0 0 c h i l d re n a nd th e ir p a rent s f i n d t h e i r wa y t o t h e f e s t iv a l a n d d is c ov e r t h e r i c h n e ss a n d d i v e r sit y of th e w or ld o f m u s i c a n d s o u n d .

For the full festival programme visit our website. The programme will be announced in January 2019.

B IG B AN G i s a n e xc i t i n g mu si c f e st i va l for y ou n g au di e n c e s f o r wh o m we t r a n s f or m ou r v e n u e i n t o a n a d v e n t u ro u s mu si c a l la b y r in t h . On o u r j o u r n e y, t h e y o u n g a u d ie n c e i s f a c e d wi t h a n d wi l l e xp e r ie nc e a colourful musical programme of concerts, in s t a lla tion s a n d wo r k sh o p s . W i t h BI G B A N G m u s i c i a n s f ro m d i ff e re n t g e n res a nd s t y le s e x pl o re t h e b e st wa y t o p re s e nt th e ir m u s ic f o r c h i l d re n . B I G BA NG i s n ot ju s t a f e st i v a l f o r y o u n g a u d i e n c e s b u t als o inv o l v e s t h e m a s p a r t i c i p a n t s. C h ild re n s n e a k i n t o sc i e n t i s t s ’ l a b s or int o th e b elly o f a g u i t a r, r u b b a l l o o n s t o g e t he r, b e c om e orc h e st r a c o n d u c t o r s o r j u st p a r ad e th ro u g h t h e n e i g h b o r h o o d t o t he s ou n d of m u s i c . B IG B AN G c re a t e s a p l a t f o r m f o r a r t i st ic m od er n m u si c p ro g r a mmi n g sp e c i f i c a lly for c h ild re n , i n wh i c h c o n t e m p o r a r y s t y le s of m u s ic h a v e a p l a c e .

Co-funded by the Creative Europe programme of the European Union

Members: Onassis Stegi (GR), Fundacao Centro Cultural de Belém (PT), Espoon Kaupunki (FI), Opéra de Rouen (FR), Opéra de Lille (FR), Palais des Beaux Arts (BE), MotorMusic (BE), Insitituto de la Cultura y de las Artes Sevilla – ICAS (ES), The Childrens' Cultural Centre LTD- THE ARK (IR), De Twentse Schouwburg (NE), Eesti Kontsert (EST) Big Bang Festival is a coproduction of the Onassis Stegi and Zonzo Compagnie, and is part of the European Network of BIG BANG Music Festivals.

O MEDEA

30.5-2.6.2019 | MAIN STAGE |

DANCE

THE 7 FACES OF MEDEA

Trajal Harrell

136

A seven-person Chorus in the role of Medea re-reads the work’s ethical and political issues, revising them for a contemporary context. How would Medea speak, dance, and take her revenge in 2019?

WHAT CONNECTS MEDEA WITH THE CONCERNS OF CONTEMPORARY DANCE?

Medea always retur ns. Euripides’s emblematic heroine has, in her way, haunted all modes of artistic creation. From the big screen, to moder n dance, to opera, and even to the visual and plastic arts, no other figure has been so strongly influential through time. For apart from her undeniable “mythological” range, Medea also epitomizes the paradox of an inter nal schism: the Other within the Self. Celebrated choreographer Trajal Harrell retur ns to the Onassis Stegi with yet another work, part of a trilogy in the making. Through timely meditation on philosophical and political questions, “O Medea” focuses both on historical aspects of Medea and on representations of the female psyche that surpass the limits of time. The heroine’s dilemmas and the ritual element of myth are transformed into the personal narrations of a seven-member Chorus who activate the figure of Medea to express stories and issues of their own.

Performed by Trajal Harrell as Medea in tandem with the company of dancers: Titalayo Adebayo, Frances Chiaverini, Maria Silva, Vania Doutel Vaz et al. Dramaturgy: Debra Levine Lighting Design: Stéfane Perraud Set Design: Erik Flatmo and Trajal Harrell Music – Costume Design: Trajal Harrell “O Medea” is commissioned by Onassis Stegi, Manchester International Festival and Kampnagel (Hamburg) in association with The Arts Center at NYU Abu Dhabi. Produced by: Manchester International Festival World Premiere: Onassis Stegi

MUSIC

7-9.6.2019 | IN & OUT OF THE ONASSIS STEGI

T c

TECTONICS FESTIVAL 2019

138

e o

n s

Radical composer Ilan Volkov brings this festival to Athens for the second time, aiming to redefine the role of the Symphonic Orchestra in the 21st century, while bringing together various ways of making music. Improvisation, contemporary composition, sound art, traditional music, noise, and song, all meet, collide and complement one another in a three-day festival of tectonic pressures.

t i

Devoted to discovering and revealing valuable works and composers of yesterday and today, Ilan Volkov proposes an interpretation of music that crosses genres, epochs, and geography. Maintaining a constant reference to avant-garde movements and trends of the previous century, such as Fluxus from the 1960s and ’70s, the indeterminacy and randomness of John Cage, site-specific works, electroacoustic composition and no wave music, the second Athens edition of Tectonics explores the significance of “here and now” in music.

Concept – Conducting – Curated by: Ilan Volkov Co-curated by: Michalis Moschoutis

ATHENS â&#x20AC;&#x201C; BEI R U T

O N A S SI S P E OP LE

ALI CE POT T S

Alice Potts, a recent Royal College of Art (London) graduate, taught by Zowie Broach, now begins her residency fellowship programme for the Onassis Foundation. Alice is a Material Researcher that bridges a visual representation of the unseen beauty of perspiration with a natural process to “create our own accessories.” Her recent collection ‘perspire’, comprises of using athletes sweats and utilizes a “unique materialization [process]” to create crystallized items, composed by the act of sweating.

Focusing mainly on sustainable practices and Biomaterial, she aims to create a new way of thinking for fashion design in the future. As p a r t o f t h e “ O n a s s is Ar t is t ic R e s e a rc h F e llo w s h ip ” p ro g r a m m e f o r 2 0 1 9 , s h e w ill b e g in lo o k in g a t a d e e p e r c o n n e c t io n o f F a s h io n , Sc ie n c e a n d t h e h u m a n b o d y a n d c re a t in g t h e u n s e e n v is ib le .

DEMOS T HE NE S PAPAM A R K OS

Demosthenes Papamarkos is a historian, author and screenwriter. An Onassis Foundation scholar, he is currently a Ph.D. candidate in Ancient History at Oxford University. He published his first novel at the age of 15. “Gkiak”, his collection of short stories (Antipodes, 2014), won awards from both the Academy of Athens and “Anagnostis” magazine and has been adapted for the stage twice. He collaborated on the screenplay of Yannis Economides' new film “The Ballad of a Pierced Heart” and wrote the libretto for Nikos Kypourgos' opera “Peace”, which is based on Aristophanes' comedy of the same name. He writes the "Bare Bones" comic strip for Blue Comet magazine and is currently creating content on a Faliro House project for television. In the context of the “Onassis Artistic Research Fellowship”, he has undertaken to write an original play which takes place on an island.

MA NO LI S MA NO US A K I S

Manolis Manousakis is a composer, sound artist and member of the Medea Electronique collective, running Koumaria Residency, an independent arts space in Sellasia, Greece. His works include compositions for small ensembles, solos, electroacoustic compositions, video art and multimedia shows. He has also recorded extensively the landscape of Greece and has been involved in major sound projects like the “SoundscapesLandscapes”.

As part of the “Onassis Artistic Research Fellowship”, he will be resident at BAR (Beirut Art Residency). He will record the city of Beirut and its people, creating both an “anthology” of experiences presented and interconnected with the history of the city and a series of sound compositions inspired by them.

P h o t o : b e et ro ot

DIMI T R I S K A R A NT Z A S

Dimitris Karantzas is a director who has worked in theatre for the last decade. His research interests centre on the musicality of speech, movement and imagery. In the context of the "Onassis Artistic Research Fellowship", he will travel to cities and festivals during 2019 to meet people and explore potential collaborations. He will also be organizing residencies with his collaborators to explore particular works and themes.

FA R Z I N LO TFI- JA M Farzin Lotfi-Jam is principal of Farzin Farzin and faculty in The Irwin S. Chanin School of Architecture at the Cooper Union. He holds advanced degrees from Columbia University and RMIT University. He has been a Fellow at the Akademie Schloss Solitude in Stuttgart and was previously a Sanders Fellow at the University of Michigan. His research has been funded by the Veski organization and the Graham Foundation, and has been collected by the Centre Pompidou. He has been exhibited at Storefront for Art and Architecture, Museum of Contemporary Art Detroit, the Oslo Architecture Triennale, the Venice Architecture Biennale, and elsewhere. Through Farzin Farzin and other ventures, his research investigates how architecture and cities are transformed by digital technologies and their attendant power relations, looking at scales from the corporeal to the planetary.

MA R K WAS I UTA Mark Wasiuta is an architect, curator, and writer who teaches at GSAPP Columbia University where he is Co-Director of the MS degree programme Critical, Curatorial and Conceptual Practices in Architecture. His research exhibitions focus on under-examined practices of the postwar period. Recent projects include “Environmental Communications: Contact High,” “Information Fall-Out: Buckminster Fuller’s World Game,” “Les Levine: Bio-Tech Rehearsals 1967-1973,” and “Control Syntax Songdo.” His work has been shown at the Graham Foundation, the Venice Architecture Biennale, LAXART, Het Nieuwe Instituut, and Storefront for Art and Architecture. He is co-author and co-editor of “Dan Graham’s New Jersey” and author of numerous articles. His upcoming publications include “The Archival Exhibition: A Decade of Research at the Arthur Ross Architecture Gallery”, “Documentary Remains”, and “Information Fall-Out: Buckminster Fuller’s World Game.”

Farzin Lotfi-Jam and Mark Wasiuta are 2019 “Onassis Artistic Research Fellows”. They are collaborating with the foundation on a research exhibition and publication that studies the computational urbanism of Greek architect Constantinos A. Doxiadis through the work of the Doxiadis Associates Computer Center. They will also retrace and update Doxiadis' inventive urban analysis project—The Human Community—by surveying patterns of inhabitation and immigration in contemporary Athens.

ZI A D A NTA R

Ziad Antar works with images. As part of the Onassis Foundationâ&#x20AC;&#x2122;s 2019 Artistic Research Fellowship, Ziad will continue to work with images, living in Athens.

MA R I NA G I OTI Marina Gioti is a filmmaker and visual artist. She was born in Athens, where she lives and works. Works of hers have been shown internationally in museums and at film festivals including Berlin and Toronto, as well as at three contemporary art biennials. Her recent participations include the screening of her first feature-length film “The Invisible Hands” at documenta 14. She studied Chemical Engineering and later Film, and has two master's degrees in, respectively, Environmental Management and Media & Communication. Placing film at the core of her practice, Giota explores issues of filmic narrative, technique and aesthetics through video, installations and media art. Her interests are largely focused on the intersection of art, science and the environment. As part of the “Onassis Artistic Research Fellowship”, Marina Gioti will be resident at BAR (Beirut Art Residency), early in 2019. www.marinagioti.net

ANTHONY DOWNEY Anthony Downey is an academic, editor, and writer. He is Professor of Visual Culture in the Middle East and North Africa within the Faculty of Arts, Design and Media at Birmingham City University. He is also the series editor for “Contemporary Visual Culture in the Middle East” (Ster nberg Press) and sits on the Editorial Board of “Third Text” (www.thirdtext.org). Recent publications include “Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K” (Walther König Books, 2017); “Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East” (Ster nberg Press, 2016); and “Art and Politics Now” (Thames and Hudson, 2014). In 2019, he will be working with the Onassis Foundation on a long-term research project involving cultural and educational practices in Athens and Beirut.

ST U D IO SA FA R Studio Safar is a Beirut-based design and art direction agency headed by creative directors Maya Moumne and Hatem Imam. They work in the kind of dynamic and exploratory environment evoked by the studio’s name (‘Safar’ being Arabic for travel). Their projects span different media and design frameworks such as publications, visual identities, communication strategies, exhibitions and sets, packaging, album artwork, and digital media.

P h o t o : Ta n ya Tr a b o ul s i

As opposed to having a signature style, they are committed to creating singular design approaches to each project. While they draw on a number of artistic and cultural influences and inspirations, questions of multilingualism and translation preoccupy and inform their practice, and research remains central to their design process. They work with a network of creatives from a wide array of fields including film, literature, music, illustration, fashion, and photography. Members of their team continue to take initiatives in starting a number of projects, such as “Annihaya” records and “Samandal” comics, which contribute to the rich local cultural scene and that have become part of international art and design networks. They also publish a graphic design and visual culture magazine, “Journal Safar” which comes out annually and bilingually (English and Arabic) in print form, collecting contributions from designers, thinkers, and artists around a chosen theme. Maya Moumne and Hatem Imam will be in Athens for 2019, as Onassis Fellows.

ONASSIS STEGI Options

ONASSIS STEGI

p ow e re d

ONASSIS STEGI

p o w e r e d

b y

ONASSIS STEGI

s u p p o r t e d

b y

ONASSIS STEGI

151

PEOPLE

ONASSIS FOUNDATION

BOARD OF DIRECTORS Anthony S. Papadimitriou President and Treasurer of the Board Constantinos Grammenos Vice-President of the Board Dennis M. Houston Vice-President of the Board Florian Marxer Vice-President of the Board Marianna Moschou Secretary of the Board Paul I. Ioannidis Honorary Vice-President / Life Member Stefanos P. Tamvakis Member of the Board Dimitri V. Nanopoulos Member of the Board Yorgos Loukos Member of the Board Michael Spyros Sotirhos Member of the Board Simon Critchley Member of the Board Karen Brooks Hopkins Member of the Board James Stavridis Member of the Board Paul Holdengräber Member of the Board Nikolaos Karamouzis Member of the Board

PEOPLE

152

CULTURE Afroditi Panagiotakou Director of Culture

ONASSIS STEGI MANAGEMENT

Onassis Group Communication & Marketing Department

Christos J. Carras General Manager

Demetres Drivas Communication & Marketing Manager

Despina Bourdeka Operations Manager

Haris Giakoumakis Campaign Manager

Nancy Dimakou Financial and Αdministrative Manager

Alexandros Morellas Campaign Manager | Media Officer (Onassis Health)

Artistic Programming

Elisavet Pantazi Campaign Manager

Christos J. Carras Curator of Music Programmes Katia Arfara Curator of Theatre & Dance

Kanella Psychogiou Campaign Manager Alexandra Chryssanthakopoulou PR Executive

Myrto Lavda Head of Educational Programmes

Creative

Pasqua Vorgia Talks & Thoughts Programme Coordinator

Nikos Athanasopoulos Creative Leader

Dimitra Dernikou Producer

Constantinos Chaidalis Senior Designer

Vassilis Panagiotakopoulos Producer

Theodoros Koveos Graphic Designer

Christina Pitouli Producer

Jilian Viglaki Graphic Designer

Konstantina Soulioti Producer

Content

Iliana Dimadi Dramaturg Estelle Papadimitriou Associate Dramaturg Christina Liata Head of International Co-Productions & Tours Eleanna Semitelou Educational Programmes Assistant Leonidas Panagopoulos Educational Programmes Assistant Marina Troupi Performing Arts Programme Assistant

Dimitris Theodoropoulos Content Leader Christina Kosmoglou Content Manager Elizampetta Ilia-Georgiadou Copy/Editor Margarita Grammatikou Copy/Editor Valia Papadimitraki Copy/Editor Giota Loura Website & Publications Editor

Commercial Department Nikos Rossolatos Commercial Manager Constantina Chryssanthakopoulou Sales & Customer Relations Coordinator Niovi Polychronidou Sales Executive Ioanna Margariti Conference & Events Executive Efi Karkani Box Office Manager Media Office Vaso Vasilatou Media Officer Katerina Chortaria-Tamvaki Media Officer Nefeli Kavalieratou Media Office Assistant Social Media Alexandros Roukoutakis Social Media Manager Vassilios Bibas Social Media Editor

Antonis Seitelmann Supplies Manager Pinelopi Kemerli Accountant Dimitris Tsokalis Accountant Vassia Filippopoulou Accountant Anna Hirceaga Accounting Assistant Myrto Giannakopoulou Accounting Assistant / Administrative Assistant Kostas Diamantis Software & Media Administrator Giannis Chazakis System & Network Administrator Nikos Mitilineos General Duties Strategy & Development Prodromos Tsiavos Head of Digital Policy & Development Iraklis Papatheodorou Digital Policy & Development Coordinator

Events

Dora Vougiouka Networking and Outreach Coordinator

Daniel Vergiadis Community Events Coordinator

Veroniki Petmeza Assistant in Networking Dpt

Elena Choremi Community Events Producer

Operations Department | Theatre Technical Department

Accounting & Administrative Services

Lefteris Karabilas Theatre Technical Manager

Nancy Dimakou Director Kostas Apollonios IT Manager Theofilos Nikolaou Accounting Manager

Philip Hills Deputy Technical & Touring Manager Rebecca Stamou Theatre Technical Department Administrative Assistant Giannis Dovas Giannis Kritikos Stage Managers

PEOPLE

154

Areti Antonatou Spyridoula Mylona Dressing Room & Hospitality

Panagiotis Hajisavas Efstratios Toganidis Production & Video Engineers

Fotis Andrianopoulos House Electrician

Efthimios Tikellis Assistant Production & Video Engineer

Kyriakos Xanthopoulos Assistant Electrician

Vassilis Chatzieleutheriou Anastasios Dimitroulakos Vladimir Iachimenco Sipitco Dimitru Ihor Davyda Stefan Dub General Duties

Alexis Politis Thodoris Tsachalos Giannis Gliatis Sound Technicians-Operators Panagiotis Pepas Stefanos Papoutsakis Alexander Tzovaras Assistant Sound Technicians-Operators Iakovos Darzentas Chief Theatre Engineer Vangelis Mittas Stelios Bourdis Stage Engineers

Operations Department | Line Production Despina Sifniadou Irilena Tsami Line Producers Iordanis Chatzivasilakis Backliner Operations Department | Facility Maintenance Department

Aggeliki Dimitrakopoulou Fly Operator-Programmer

Giorgos Raptis Facility Maintenance Department Manager

Alexandros Kinis Assistant Fly Operator

Andreas Branis Panagiotis Generalis Mechanical Engineers

Tasos Karathanos Alexis Kassianos Panagiotis Koutsoumanis Elias Martakis Panagiotis Matsioris Christos Mavros Kostas Petronanos Leonardo Cela Assistant Stage Engineers Kostas Alexiou Antonis Kokkoris Lighting Technicians-Operators Stavros Kariotoglou Bregu Markelian Pantelis Michas Vaggelis Mountrichas Michalis Nannos Pavlos Pappas Mohamed Ali Sobchy Assistant Lighting Technicians-Operators

Eleni Keratsa Administrative Assistant Nikos Issis Dimitris Bougioukos Electricians Vaios Mammos Plumber Petrit Moula Heracles Zervas Technicians Operations Department | Front of House Management Evangelos Constantis Front of House Manager Manos Chatzakis Front of House Services Assistant

Operations Department | Warehouse Management Dimitris Babiniotis Head of Warehouse Vassilis Korobilis Warehouse Assistant Fabio Bellis Warehouse Assistant Safety & Security Nikos Papalazarou Safety & Security Coordinator Theodoros Vavalekas Safety & Security Administrator Kostas Argiris Safety & Security Administrator

TICKET INFO

156

The Onassis Stegi supports unlimited access to culture for everyone. • more tickets at 7€ for selected productions • residents neighbouring areas to the Onassis Stegi are eligible for tickets at 7€ * • tickets for the unemployed and people with disabilities (AmeA) at 5€ for all productions • reduced ticket prices in all zones • significantly discounted tickets for groups of 5-9 individuals (small group) and 10+ (large group) • early bird tickets for selected productions • lower prices for combo tickets (i.e. combinations of productions) Reduced tickets for students in higher education, people aged 65+, Onassis Stegi Friends, groups, group tickets for societies and institutions, soldiers, holders of the European Youth Card, parents of three and more children. Special prices for the unemployed and their children (up to 17 years old), as well as for people with disabilities and their escorts. *Tickets for Our Neighbours The Onassis Stegi has special tickets for local residents who live in: Neos Kosmos, Koukaki, Nea Smyr ni, Palaio Faliro, Kallithea. The discount will be given on presentation of an amenity bill or certificate of residence from the municipality. T ickets can only be bought in person at the box office on presentation of ID and a utility bill in the local resident's name. Purchases are limited to what is available at the time of purchase; there are no limitations on the choice of seat. When the regular ticket for an event costs 7€ or less, the special local resident price is not available. Every local resident is entitled to purchase one (1) ticket per production. If a local resident wants to buy tickets for their family, he/she must bring a civil status document listing their family members with them to the

box office along with the public utility bill in their name. Each member of the family is entitled to one ticket per production. Local resident tickets cannot be booked over the phone or by email. Presale Tickets Presale begins 3 weeks before each event. For Onassis Stegi Friends, presale begins a week before the presale for the general public. If the presale arrangements for a particular production are different, an announcement will be made on our website. Early bird presale begins at the same time for both the public and Friends, approximately 2 months before the premiere. It applies to all productions open for Early Bird purchases. The above applies to all productions, unless stated otherwise in the Onassis Stegi programme or website. The dates on which tickets become available for presale are posted on the Onassis Stegi website.

CONTACT, INFORMATION & TICKET SALE Tickets line T: +30 210 900 5 800 Monday-Sunday | 9:00-21:00 Onassis Stegi Friends line T: +30 213 017 8200 Monday-Sunday | 9:00-20:00 Online Ticket Sales For online ticket sales, please visit our website. Purchases can be made using credit and debit cards – Amex, Visa, MasterCard & Diners. Onassis Stegi Friends can buy tickets through their electronic profile. By logging in with their personal ID and password, they can unlock discounts and presale opportunities. Box Office Syngrou 107 Opening hours: Monday-Sunday | 9:00-21:00 infotickets@sgt.gr Purchases can be made using credit and debit cards - Amex, Visa, MasterCard & Diners.. Points of Sale outside the Onassis Stegi All branches of Public At the IANOS book store on Odos Stadiou (cash purchases only)

*For local residents who live in the neighbourhood of Stegi: Neos Kosmos, Koukaki, Nea Smyrni, Palaio Faliro, Kallithea.

TICKET INFORMATION

TICKETS CAN BE PICKED UP

e-ticket The service is available for purchasing tickets online and by phone. Save your e-ticket on your smartphone wherever you are, and you can proceed straight to the auditorium. (This service is not available for certain kinds of reduced-price tickets.) Kiosks for printing tickets Available on the first floor of the Onassis Stegi Monday to Sunday, 9:00 to 21:00 Both the credit card used to make the purchase and the reservation reference number are required.

more children, and members of the military are entitled to reduced-price tickets. • A discount is also available for the unemployed on presentation of an unemployment card at the Onassis Stegi Box office. The relevant identification (student IDs etc.) must be presented both when the tickets are bought and on entry into the auditorium. • Onassis Stegi Friends enjoy a discount. • Small groups of 5-9 people and large groups of 10+ are also entitled to special prices.

Onassis Stegi Box Office Monday to Sunday, 9:00 to 21:00

• There is a 20% discount for holders of a European Youth Card on all Onassis Stegi's productions (but not for third-party productions).

The credit card used to make the purchase, your identity card and the reservation reference number are required.

Seats for People with Disabilities: Seats are available in the stalls, the dress circle and the balcony.

For more information, visit www.sgt.gr or call T.: +30 210 900 5 800.

TICKET INFORMATION

GENERAL INFORMATION

Tickets can only be retur ned under certain conditions If a production, or part of it, is cancelled, an announcement on the Onassis Stegi website will include instructions on how to claim refunds.

Start times MAIN STAGE 20:30 UPPER STAGE 21:00

Tickets can only be cancelled or refunded up to 30 minutes before the start of the production for which they were purchased. On the day of a performance, on-line, telephone and third-party ticket sales end 30 minutes before the scheduled start time. During the last 30 minutes, tickets can only be purchased from the Onassis Stegi box office.

These times hold for all performances unless stated otherwise on the programme or the Onassis Stegi website. Entry to Talks & Thoughts events: Entrance to Talks and Thoughts event is free on a strictly first-come-first-served basis. The distribution of numbered entrance tickets begins one (1) hour before each event.

Reduced ticket prices • Reduced-price tickets are available for students enrolled at educational institutions, both public and private, in Greece and abroad. • Young people under 26, people with disabilities (PWD) and their escorts, people over 65, people registered as having three or

W ith the support:

Χορηγός Μετακινήσεων Transportation Sponsor

Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Transportation Sponsor Transportation Sponsor Transportation Χορηγός Μετακινήσεων Sponsor

Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων The Onassis Stegi is member of Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Transportation Sponsor Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Χορηγός Μετακινήσεων Χορηγός Μετακινήσεων Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Transportation Sponsor Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Transportation Sponsor Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Χορηγός Μετακινήσεων Transportation Sponsor Transportation Sponsor Transportation Sponsor

Χορηγός Μετακινήσεων Transportation Sponsor

Official Air Carrier Sponsor

Media Sponsors

Supported by

Hospitality Sponsor

Medical Cover

GETTING TO THE ONASSIS STEGI

By bus/trolley-bus: Take bus or trolley-bus and get off at ‘Panteion’. On the Metro: Take the ‘red line’ (Line 2: Anthoupoli -Elliniko) and get off at ‘Syngrou-Fix’. Follow the signs to “Exit to Syngrou/ Drakou” and you will emerge on Syngrou Avenue. From there, you can either take a bus or trolley-bus from the stop in front of the Metro escalators on Syngrou Avenue and get off 3 stops later at ‘Panteion’; ACCESSIBILITY Wheelchair access is via the ramp on the building’s side entrance at the corner of Leontiou and Syngrou. Upper storeys are accessible via the elevator, and there is wheelchair access to all the Centre’s auditoria and galleries. 107 Syngrou Avenue 117 45 Athens Τ: +30 213 017 8000 e-mail: info@sgt.gr sgt.gr

PUBLICATION CREDITS

Director of Culture, Onassis Foundation: Afroditi Panagiotakou

Editor: Christina Kosmoglou Coordination: Ismini Gatou, Giota Loura Creative Director: Stavros Karelis Art Director: Nikolay Biryukov Senior Graphic Designer: Georgia Leontara Content Implementation: Yorgos Rimenidis – Grid Office