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9η Μπιενάλε Σύγχρονης Τέχνης Θεσσαλονίκης | Πρόγραμμα τελευταίας εβδομάδας λειτουργίας

cleo.gousiou — Mon, 29 Jun 2026 09:26:48 +0000

9th Thessaloniki Biennale of Contemporary Art | Last week Closing Program cleo.gousiou Mon, 06/29/2026 - 12:37

Biennale 9 is announcing the program of events that will be concluding its implementation period. The program of its last week of operation, from Tuesday, June 30 until Sunday, July 5, is comprised by special opening hours, admission free days, screenings' program, performances and a DJ set Closing Party

Find the program and the descriptions of the performances and the screenings in the attached files below.

Final Week Exhibition Visiting Hours

Visiting hours are extended until 11 p.m. More precisely:

Tuesday, June 30 to Friday, July 3 4–11 p.m.
Saturday & Sunday, July 4 & 5 2–11 p.m.

Admission to the exhibition will be free for the public on Wednesday, July 1 and Sunday, July 5, 2026.

Program of Performances

Saturday, July 4, 6:30–7:30 p.m.
MOMUS-Museum of Contemporary Art “Xanthippi Ηoipel” Auditorium

Marina Gioti
Shipwreck Psychogeographies; Mapping the oceanic unconscious
Performance Lecture, 45’

Saturday, July 4, 9:30–10:00 p.m.
TIF-HELEXPO, Pavilion 2, 1st floor

Dimitris Ameladiotis
the ha(l)lophyte
Performance, 30’

Program of Screenings

The following films are screened MOMUS-Museum of Contemporary Art “Xanthippi Ηoipel” Auditorium, unless otherwise stated next to the screening time.

Tuesday, June 30, 5–11 p.m.

The following series of films will be screened twice: time slots 5–8 p.m. and 8–11 p.m.

TIF: The Pavilion of the City by Alexandros Litsardakis (Greece, 2026, 33′)

U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025, 23′)

A sickness with no cure. Panos Koutrouboussis by George and Iraklis Mavroidis (Greece, 2022, 22′34″)

From one bouzoukia place to the next by Panos Koutrouboussis (Greece, 1962, 13′)

Koursal by Nikos Theodosiou (Greece, 2006, 60′)

Follow Them: Teos Romvos & Chara Pelekanou by Evi Kalogiropoulou (Greece, 2020, 25′)

Wednesday, July 1, 5–11 p.m.

TIF: The Pavilion of the City by Alexandros Litsardakis (Greece, 2026, 33′)

U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025, 23′)

Starting at 6 p.m. is a tribute to filmmaker, set designer, costume designer and artist of the Czech New Wave Ester Krumbachová, with an introduction by Biennale 9 curator Nadja Argyropoulou, and a screening of three films to which Krumbachová contributed in various capacities [the only feature film she directed, Murdering the Devil (1970, 75′), was screened in December 2025, in the context of the 14th Athens Avant-Garde Film Festival, through a collaboration of Biennale 9 with the Ester Krumbachová Archive, the Czech National Film Archive in Prague, and the Greek Film Archive, as well as during the Biennale’s opening weekend, on May 24]. The tribute to Krumbachová, continued on July 2, is realized in cooperation with the Czech National Film Archive, Prague, and curator Sylva Poláková (who has also written the films’ descriptions):

Ikarie XB 1 by Jindřich Polák (Czechoslovakia, 1963, 88′)

Daisies [Sedmikrásky] by Věra Chytilová (Czechoslovakia, 1966, 73′)

We Eat the Fruit of the Trees of Paradise [Ovoce stromů rajských jíme] by Věra Chytilová (Czechoslovakia, Belgium, 1969, 96′)

Thursday, July 2, 5–11 p.m.

The second part of the tribute to Ester Krumbachová includes the screening of the following two more films, to which she contributed in various capacities:

Diamonds of the Night [Démanty noci] by Jan Němec (Czechoslovakia, 1964, 67′)

The Party and the Guests [O slavnosti a hostec] by Jan Němec (Czechoslovakia, 1966, 71′)

Return to Bog Walk by Cecilia Bengolea (2025–26, 26′)

Surrealist Happening by Dimos Theos (Greece, 1983, 144′)

Thursday, July 2, 8:45–9:45 p.m. at Apollon Open-air Movie Theater

TIF: The Pavilion of the City by Alexandros Litsardakis (Greece, 2026, 33′)

The screening will be followed by a Q&A session with the creator and Biennale 9 curator Nadja Argyropoulou.

Friday, July 3, 5–11 p.m.

A sickness with no cure. Panos Koutrouboussis by George and Iraklis Mavroidis (Greece, 2022, 22′34″)

From one bouzoukia place to the next by Panos Koutrouboussis (Greece, 1962, 13′)

Koursal by Nikos Theodosiou (Greece, 2006, 60′)

Acts and Intermissions by Abigail Child (USA, 2017, 56′)

The Encampments by Michael T Workman and Kei Pritsker (USA/Palestine, 2025, 83′)

We Are Making A Film About Mark Fisher by Simon Poulter and Sophie Mellor (UK, 2025, 65′)

Saturday, July 4, 3–6 p.m. and 8–11 p.m.

TIF: The Pavilion of the City by Alexandros Litsardakis (Greece, 2026, 33′)

U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025, 23′)

Daphni by Angelos Prokopiou & George Hoyningen-Huene (Greece, 1951, 17′)

L’Apocalypse a déjà eu lieu (Whispers of Extinction) by Stany Cambot / Echelle Inconnue (France, 2025, 54’)

[6–8 p.m. screenings are interrupted for the performance lecture]

Daphni by Angelos Prokopiou & George Hoyningen-Huene (Greece, 1951, 17′)

Surrealist Happening by Dimos Theos (Greece, 1983, 144′)

Sunday, July 5, 4–11 p.m.

TIF: The Pavilion of the City by Alexandros Litsardakis (Greece, 2026, 33′)

U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025, 23′)

Starting at 5 p.m.is a tribute to Greek filmmaker Kostas Sfikas, with an introduction by Biennale 9 curator Nadja Argyropoulou, and a screening of five of his films (the first one in its public premiere) and an interview of the director:

The Battle of Prague by Kostas Sfikas (Greece, 2000, 12′30″)

Voices and haunts of Rebetiko by Kostas Sfikas (Greece, 1981, 20′)

The Poetry of Andreas Empirikos by Kostas Sfikas (Greece, 1982, 25′)

Lament for Jani Christou by Kostas Sfikas (Greece, 1980, 19′)

Interview of Kostas Sfikas (Greece, 40′25″)

Model by Kostas Sfikas (Greece, 1974, 90′)

Acts and Intermissions by Abigail Child (USA, 2017, 56′)

Sunday, July 5, 10 p.m. at TIF-HELEXPO, Pavilion 2, ground floor (ring area)

Playing Otherwise. The Film (the prelude) by Iria Vrettou (Greece, 2025, 13′17″)

Playing Otherwise, The Film by Vera Chotzoglou (Greece, 2026, 45′)

Closing Party

Sunday, July 5, 11 p.m.

TIF-HELEXPO, outside Pavilion 2

After the completion of the screenings inside Pavilion 2 at TIF-HELEXPO, the Closing Party outside the pavilion will feature a DJ set by UROK. UROK, aka Urok Shirhan, is an Athens-based artist, researcher and DJ working at the intersection of performance, visual arts and critical theory.

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Attachments

RIS9_Final Week Program Outline ENG.pdf (1.53 MB)

RIS9_Final Week Program Descriptions ENG.pdf (1.66 MB)

ΛΙΑΚΑΔΑ – Η καλοκαιρινή γιορτή του MOMUS για τις δημιουργικές φωνές της πόλης!

dimitra.samsaki — Mon, 22 Jun 2026 11:29:43 +0000

LIAKADA – MOMUS’ summer celebration for the city’s creative voices cleo.gousiou Thu, 06/25/2026 - 11:58

Wednesday, 1 July 2026, from 18:00 to midnight

The gardens of MOMUS-Museum of Contemporary Art at TIF-HELEXPO are filled with art, music and people who co-shape the contemporary cultural identity of Thessaloniki, as another… sunshine, on Wednesday, 1 July 2026, from 18:00 to midnight, in an open invitation to all!

LIAKADA (sunshine) is a new summer initiative of MOMUS that aspires to become an annual event, bringing together the creative voices of the city in an open celebration of encounter, inclusion and contemporary creation. On the occasion of the emblematic work “Umbrellas” by Georgios’ Zongolopoulos, contemporary artists of Thessaloniki present their works in a pop-up exhibition in the gardens of the MOMUS- Museum of Contemporary Art, along with live visual and interactive performances that transform the museum’s outdoor space into a vibrant field of artistic expression.

On Wednesday, 1 July, entrance to MOMUS-Museum of Contemporary Art will be free for the public, from 16:00 to 22:00, and visitors will have the opportunity to tour the museum's permanent exhibition and the spaces where the 9th Thessaloniki Biennale of Contemporary Art is presented, in the museum and in Pavilions 2 & 3. From 18:00 to midnight, the MOMUS Art Café takes over the cool drinks and musical programme of the evening, enhancing the relaxed, summer atmosphere.

LIAKADA draws its inspiration from the iconic “Umbrellas” by Georgios Zongolopoulos and the idea of the “artistic umbrella” as an open space for meeting, hosting and exchanging experiences. Through this new initiative, MOMUS opens its gardens to the Museum of Contemporary Art and embraces the contemporary artists of Thessaloniki, highlighting the city’s vibrant creative community and inviting the public to get to know it firsthand.

LIAKADA brings together different generations, practices and voices of contemporary art, in a celebration that places artists at the center and strengthens the role of the museum as an open, vibrant meeting place for the entire city.

The exhibition is curated and the creative direction of the event is taken by artist and curator Eleni Simoni.

Participatinga artists: 40 Roomors, Ornella C. Akrivopoulou, Christos Alaveras, Nina Andreadou, Giannis Argyriadis, Asod, Ariadni Vitastali, Athina Voudouri, Borislava Georgitseli, Theano Giannezi, Vassilis Gogtzilas, Athanasios Dapis, Nikos Iosif, Kyriakos Kampartinas, Myrto Karagiannidou, Dimitris Karlaftopoulos, Sofia Kiousi Christos Kraniotis, Nikos Kryonidis, Achilleas Mesaikos, Foivos Miggas , Konstantinos Nikolakakis, Efharis Leontopoulou Dobrou, Athina Pappa, SOKIN, Andreas Tzanoudakis, Athanasios Tsatsis

The work “Umbrellas” by Georgios Zongolopoulos was restored in June 2026 with the kind support of EYATH S.A. the Foundation Papageorgiou Foundation, Deloitte Greece, Stavros Andreadis and Tsaligopoulos Foundations E.E.

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Εγκαινιάστηκε το MOMUS Air στο Αεροδρόμιο Θεσσαλονίκης «Μακεδονία»

dimitra.samsaki — Thu, 22 Jan 2026 13:17:38 +0000

MOMUS Air Inaugurated at Thessaloniki Airport “Makedonia” dimitra.samsaki Thu, 01/22/2026 - 15:22

Deputy Minister of Culture, responsible for Contemporary Culture, Iason Fotilas inaugurated the new art and culture space.

In the presence of the Deputy Minister of Culture, responsible for Contemporary Culture, Mr Iason Fotilas, the official inauguration of MOMUS Air, the new contemporary art and culture space located at Thessaloniki Airport “Makedonia”, took place on Thursday, January 22, 2026. The initiative is part of Fraport Greece’s strategic partnership with the Metropolitan Organisation of Museums of Visual Arts of Thessaloniki-MOMUS, a body supervised by the Ministry of Culture.

The inauguration was attended by representatives from the Region of Central Macedonia and the Municipality of Thessaloniki, as well as from the city’s business and cultural sector, emphasising the significance of the initiative for Thessaloniki and reinforcing the airport’s role as a cultural hub.

MOMUS Air, which is already in operation and freely accessible to travellers, is a contemporary 163 sq. m. space within the airport where art, technology, and travel experience coexist. Through visual works—both originals and reproductions—digital applications, and documentaries, visitors encounter selected material from the collections of the five MOMUS museums, creating an unexpected yet meaningful engagement with contemporary culture.

The first exhibition hosted explores the concept of flight, which for centuries has served as a symbol of the desire to escape, social rupture, spiritual uplift, and utopianism. The exhibition features reproductions of works by avant-garde artists from Russia and Eastern Europe in the early 20th century, such as Alexei Morgunov, Liubov Popova, and Vladimir Tatlin, alongside constructions, short documentaries, and works by contemporary artists and photographers, including Yannis Moralis, Achilleas Aperghis, Stephen Antonakos, Socrates Iordanidis, Alexis Akrithakis, and Lena Athanasopoulou. In this context, flight is not presented merely as an upward movement, but also as a metaphorical negotiation of forces that resist, shape, or momentarily support our desire to rise.

The next exhibition at MOMUS Air will be related to the 9th Thessaloniki Biennale of Contemporary Art, scheduled to take place next May.

This initiative forms part of Fraport Greece’s broader strategy to continuously enhance the travellers’ experience and strengthen the connection between airports and local communities, while showcasing the identity and cultural richness of each destination.

The Deputy Minister of Culture, responsible for Contemporary Culture, Mr Iason Fotilas, noted: "MOMUS Air is a contemporary and dynamic proposal for how culture can be integrated into public spaces and accompany the travel experience. The collaboration between the Ministry of Culture, through MOMUS, and Fraport Greece proves that when public and private entities share a common vision, projects with a significant cultural and social impact can be created. It fully embraces and justifies the policy of extroversion and dissemination of culture pursued by the ministry and our Minister, Lina Mendoni. Thessaloniki is gaining a new cultural hub, where contemporary art meets the world, at the very moment of transition and travel.

Fraport Greece CEO, Mr Alexander Zinell, stated: “MOMUS Air expresses, in the most meaningful way, our philosophy that airports should be places of experience and connection with the destinations they serve. In Thessaloniki, a city with a strong cultural identity, we aimed for the airport to become an integral part of this narrative. We warmly thank the Ministry of Culture and MOMUS for the cooperation and shared vision that have become a reality today.”

The Chairman of the Management Board of MOMUS, Mr Epaminondas Christophilopoulos, mentioned: “The creation of MOMUS Air within Thessaloniki Airport ‘Makedonia’ may, at first glance, seem almost self-evident: culture in a space of constant movement, waiting, and transition. However, developing a museum exhibition space within an airport is a technically, institutionally, and operationally complex undertaking, and not simply a matter of spatial choice. It is an exercise in balance between different worlds, each with its own priorities, rules, and responsibilities. The inauguration of MOMUS Air today clearly reflects the determination of the teams at Fraport Greece and MOMUS to overcome challenges and implement an idea with a clear international, cultural, and social footprint.”

Fraport Greece Chief Operating Officer (COO), Mr Panagiotis Spyratos, stated: “When culture meets tourism, travelling gains added value and visitors come closer to the identity of the city. MOMUS Air offers travellers an authentic introduction to contemporary Greek creativity and positions Thessaloniki Airport as a space that prioritises the quality of the overall travel experience. It is further proof of our ongoing commitment to positively surprise passengers and bring them closer to the destinations they visit.”

The event was moderated by Mrs Fani Tsatsaia, General Director of MOMUS, and Mr Savvas Karagiannis, Head of Corporate Communications Department at Fraport Greece.

MOMUS Air is part of the project ‘Enhancing Digital Projects and Cultural Exports – MOMUS’ and is implemented within the framework of the National Recovery and Resilience Plan ‘Greece 2.0’, funded by the European Union – NextGenerationEU.

The contractor for the MOMUS Air project was TETRAGON Design and Construction Company, which was responsible for the overall design and implementation of the Digital Museum.

Photo Captions:

1. MOMUS Air, the new contemporary art and culture space located at Thessaloniki Airport “Makedonia”

2. Deputy Minister of Culture, responsible for Contemporary Culture, Mr Iason Fotilas

3. Fraport Greece Chief Operating Officer (COO), Mr Panagiotis Spyratos

4. Chairman of the Management Board of MOMUS, Mr Epaminondas Christophilopoulos

5. General Director of MOMUS, Mrs Fani Tsatsaia, and Head of Corporate Communications Department at Fraport Greece, Mr Savvas Karagiannis.

6. From left: Head of Corporate Communications Department at Fraport Greece, Mr Savvas Karagiannis, President, Development Office of the Region of Central Macedonia, Mr Thanos Begas, Chairman of the Management Board of MOMUS, Mr Epameinondas Christofilopoulos, Fraport Greece Chief Operating Officer (COO), Mr Panagiotis Spyratos, General Director of MOMUS, Mrs Fani Tsatsaia, Deputy Minister of Culture responsible for Contemporary Culture, Mr Iason Fotilas, Deputy Governor of Tourism, Mrs Vicky Hatzivassiliou, Deputy Governor of Culture and Sports, Mr Christos Mittas and Deputy Mayor for Culture, Tourism Development and Intermunicipal Cooperation, Mr Vasileios Gakis.

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Το Υπουργείο Πολιτισμού, η Fraport Greece και το MOMUS παρουσιάζουν το MOMUS Air

dimitra.samsaki — Tue, 16 Dec 2025 14:46:57 +0000

The Ministry of Culture, Fraport Greece and MOMUS present MOMUS Air dimitra.samsaki Tue, 12/16/2025 - 17:02

A new cultural space is now operating at Thessaloniki Airport “Makedonia”

The Ministry of Culture, the Metropolitan Organization of Museums of Visual Arts of Thessaloniki-MOMUS and Fraport Greece are pleased to announce the official opening of MOMUS Air, a new museum located at Thessaloniki Airport “Makedonia”, now operating in the airport’s departures area.

This strategic partnership between MOMUS and Fraport Greece aims to establish a new cultural hub within the airport, enriching the overall city image and offering travellers a unique experience. Entry for visitors is free.

The airport as a modern destination

MOMUS Air introduces a fresh and original cultural experience that brings together art, technology, and contemporary lifestyle, right at the point where every journey begins or ends. In a 163 sq m. space designed with modern aesthetics and advanced audiovisual technology, MOMUS Air showcases visual artworks, digital installations, video walls, and documentaries featuring material from all five MOMUS museums.

The museum elevates the travel experience, transforming it into a creative and enjoyable moment that adds a new dimension to the passenger journey. With the launch of MOMUS Air at Thessaloniki Airport “Makedonia”, Fraport Greece further strengthens its vision of airports as not only gateways, but also destinations of culture and memorable experiences. With MOMUS Air, the Ministry of Culture once again confirms its political priority, namely the extroversion of its supervised entities, through actions and activities aimed at ever-new and growing audiences.

An open, vibrant cultural space

MOMUS Air serves as a vibrant meeting point between art and the airport’s international audience, presenting exhibitions that address contemporary themes and utilise new technologies. It offers travellers, even those with only a few minutes to spare, a chance to be inspired and discover something new.

It is not simply an art display; it is an open “gateway to culture”, a museum without walls that accompanies passengers on their journey, offering a moment of reflection, beauty, and creativity.

The Minister of Culture, Mrs Lina Mendoni noted: “MOMUS Air is an excellent example of how culture can meet everyday life and accompany citizens even in the most unexpected places along their journey. This initiative enhances the extroversion of contemporary Greek creativity and makes Thessaloniki Airport a vibrant gateway to culture. The exhibition space transforms the departure area into a cultural landmark, linking travel with the experience of contemporary art. I congratulate and thank MOMUS and Fraport Greece for their important collaboration, which highlights Thessaloniki, a city that is steadily and systematically evolving into a leading cultural destination, as a place that invests in creativity, innovation, and the promotion of its strong multicultural identity."

Fraport Greece CEO, Mr Alexander Zinell, stated: “At Fraport Greece, we are committed to continuously enhancing the traveller experience at all the airports that we manage. Our partnership with MOMUS and the launch of MOMUS Air at Thessaloniki Airport “Makedonia” strengthens this effort, offering visitors a high-quality cultural space as part of their journey. Airports can be destinations in their own right, and MOMUS Air is a prime example of this approach.”

The President of MOMus, Mr Epaminondas Christophilopoulos, added: “MOMUS Air would not have become a reality without the practical support of the Ministry of Culture, which consistently supports our mission. Our warm thanks also go to Fraport Greece for the excellent collaboration and for granting such a prominent location in the largest airport of Northern Greece. With this new cultural gateway, MOMUS strengthens its extroversion, promotes contemporary Greek art to an international audience, and contributes significantly to enhancing the image of Thessaloniki.”

MOMUS Air is part of the project “Enhancing digital projects and cultural exports of MOMus,” implemented under the National Recovery and Resilience Plan “Greece 2.0” with funding from the European Union – NextGenerationEU.

The contractor for the MOMUS Air project was TETRAGON Design and Construction, which oversaw the full design and implementation of the Digital Museum.

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ΓΙΝΟΜΑΣΤΕ ΚΑΛΥΤΕΡΟΙ | ΑΝΑΚΟΙΝΩΣΗ

dimitra.samsaki — Tue, 08 Jul 2025 13:01:28 +0000

WE ARE BEING UPGRADED | ANNOUNCEMENT] dimitra.samsaki Tue, 07/08/2025 - 16:03

Due to a sceduled upgrade of our accounting systems, no financial transactions will be carried out at MOMus Museums in Thessaloniki and in Athens, from Tuesday, 8 to Sunday, 20 July 2025.

For this reason, during the same period:

Entry to all MOMus venues will be admission free for all visitors.
All sceduled guided tours will be admission free as well.
The eshop will remain on system, so purchases can take place exclusively on line.

We look forward to welcoming you in our exhibitions now on show in our venues, under summer cool temperatures!

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9η Μπιενάλε Σύγχρονης Τέχνης Θεσσαλονίκης | Πρόγραμμα Εγκαινίων

dimitra.samsaki — Sat, 23 May 2026 10:39:55 +0000

9th Thessaloniki Biennale of Contemporary Art | Οpening Program dimitra.samsaki Sat, 05/23/2026 - 14:04

9th Thessaloniki Biennale of Contemporary Art

“everything must change. Radical Intelligence. Thessaloniki 9”

Opening Program

Saturday, May 23

TIF-HELEXPO, Pavilions 2 & 3

19:00–24:00 Public opening & events

Performance “From Vardaris to Omonia” by VASKOS

Performance by Mochi Georgiou in Antigoni Tsagkaropoulou’s installation, “In the wild”

Program of film screenings

MOMUS-Museum of Contemporary Art

Acts and Intermissions by Abigail Child (USA, 2017)

BLKNWS: Terms and Conditions by Kahlil Joseph (USA, 2025)

The Encampments by Michael T Workman and Kei Pritsker (USA/Palestine, 2025)

Herbicidal Warfare in Gaza (2019) and No Traces of Life (2026)” by Forensic Architecture

U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025)

We Are Making A Film About Mark Fisher by Simon Poulter and Sophie Mellor (UK, 2025)

Murdering the Devil by Ester Krumbachová (Czechoslovakia, 1970)

TIF:The Pavilion of the City (Greece, 2026) by Alexandros Litsardakis

22:00

TIF-HELEXPO, Pavilion 10

Rap Riot feat. Dolly Vara, Ladele, Penny, Sara ATH, video by Iria

Sunday, May 24

10:30–13:00

HELEXPO, Pavilions 2 & 3

Gathering and talk among present artists, Biennale 9 curator Nadja Argyropoulou, and Professor and Biennale catalogue essayist T.J. Demos

14:00–19:30

Kardia Stadium

Three-sided football game as part of the project “Playing Otherwise”, featuring the self-organized teams FC Abalos, Becazzes FC, Faltsa FC, and Muhabeti FC, hosted by the Municipality of Thermi – National Youth Capital 2026

Special opening hours:

23 May: 19:00 – 24:00

24 May: 10:00 – 22:00

Curated by Nadia Argyropoulou

Free admission

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9η Μπιενάλε Σύγχρονης Τέχνης Θεσσαλονίκης | όλα πρέπει να αλλάξουν. ΡΝΣ9

dimitra.samsaki — Sun, 17 May 2026 07:28:42 +0000

9th Thessaloniki Biennale of Contemporary Art | everything must change. RIS9 dimitra.samsaki Sun, 05/17/2026 - 10:42

May 23 — July 5, 2026

curated by

Nadja Argyropoulou

Organized/implemented by

MOMUS–Metropolitan Organisation of Museums of Visual Arts of Thessaloniki

Venues
– Thessaloniki International Fair – HELEXPO, Pavilions 2 & 3, 154 Egnatia Av., 54636 Thessaloniki
– MOMUS-Museum of Contemporary Art, 154 Egnatia Av., TIF-HELEXPO premises, 54636 Thessaloniki
– Kalochori Lagoon, Axios Delta National Park, 57009 Thessaloniki

Press and professional preview: May 22
Public opening events: May 23–24

Titled “everything must change. Radical Intelligence. Saloniki 9,” curated by independent curator Nadja Argyropoulou and organized by MOMUS, the 9th Thessaloniki Biennale of Contemporary Art is announcing its rationale, artists, participants, and events.

what

Biennale 9 engages with a common(place), yet (re)current, urgent and plural demand, “everything must change.” With its punchiness, it may feel like a revolutionary cry and echo like an empty slogan, ring like rage bait and work like a charm; there is something in it for everyone, and it does not belong to anyone exclusively. It is a phrase that is now, more than ever, wielded by social revolutionaries and technofeudalists alike, by persecuted activists and fascist-adjacent demagogues, by rival social classes and diametrically opposed collective forms of expression, by countercultures and institutional propaganda. It is being used to erase the gap between the home and the streets, the click and the walk, to highjack ambivalence and twist solidarity.

Biennale 9 engages with the incommensurability between our available vocabularies and that which we are asked to describe and live, as well as with art’s ambivalent place, central and marginal at the same time, in a world of violent shifts and widening inequalities. It engages with forms of playful resistance, with fugitive tactics of dismantling and solidarity, with the feedback loop of call and response, or what Arthur Jafa has described as the “quantum dimension of emancipation.”

It is cast as a para-biennale that acknowledges, integrates in its formation paradoxes of enclosure and escape, takes pleasure in errant paths and time warps, and sides with tactics of joyful militancy and the intimate labor of attending to the unrecognized and repressed, the peculiar and the eerie.

If indeed, “in the face of new tyrannies encroaching, we should use art not to ‘ask questions’ but to give audacious answers that nobody asked for” (as per Luce deLire), Βiennale 9 enters by experimenting with an anarchy of answers, refusing the proper and the proposed in outright censorship but also beyond its obvious mandates.

It suggests, through the works, its rationale, and the choice of its venues, a kind of radical intelligence (hence the shorthand “RI”), and sides with a non-fascist AI that does not reproduce forms of dominance but supports autonomy and freedom based on collective activity and suppressed knowledges.

If new solidarities and vocabularies, a “social otherwise,” need to be crafted in order to change life shaped by genocidal capitalism, then Biennale 9 wishes to explore the distance between the utterly improbable and the possible set forth by this need, experiment with the unfolding, metamorphic possibility of this shared refusal-in-solidarity, of the aesthetic sociality emerging as one possible response.

Thus, it chooses to be inspired by Saidiya Hartman on the small scale of Black life, where waywardness is “the avid longing for a world not ruled by master, man or the police . . . the social poesis that sustains the dispossessed . . . a short entry on the possible.”

The shorthand “S9” in Biennale 9’s title evokes a popular, older, eastern in origin, oral name of Thessaloniki (Saloniki), thereby inserting in the Biennale’s utterance a double movement, towards and away from the city, an attempt to foster a sense of togetherness — however temporarily — with Thessaloniki’s obscured, neglected spaces, agents, ghosts, and symbols of life, as well as to traverse the elements that link Assata Shakur’s letter to the Pope with Rimbaud’s poems, Dinos Christianopoulos’s Vardari with Emma Goldman, the critique of fascism as a politics of hate that is written in the language of love, as per Sara Ahmed, with the gallows humor of Beckett and the radicality of Pasolini, a creator that has been honored repeatedly in the north of the Greek south.

Through its shared utterances, visual frequencies and vibrations, terrible mixtures and abundance of f(r)ictions and glitches; through its peripheral and precarious position in the economies of the artworld, Biennale 9 employs a mode of close narration, embracing the stance of the (ins)urgent. It employs the method of critical fabulation and is formed improvisationally by what it proposes and explores.

The essayist of the catalogue of Biennale 9 and interlocutor of its curator, professor T. J. Demos, notes: “Speculative fabulations of emancipatory futurity take shape in the ruins. . . . These are sites of contradiction where the aesthetic becomes situational, tactical — a terrain for struggle. In the convergence of art and politics, the question is not whether resistance is possible, but how it will now be composed, at what cost, to whom. . . . Small steps matter, even when everything must change.”

If, as Gayatri Chakravorty Spivak notes, “the revolution is like housework — you have to do it every day,” then the 9th Biennale of Contemporary Art “everything must change. RIS9” wishes to be part of this every day and, while exploring it, to encompass a proposition for life itself.

how and with whom

Since its prelude in the fall of 2025 about the revolutionary and multifaceted possibilities of science fiction, Biennale 9 is comprised of all kinds of works that explore divergent, or even contradictory stories, ways to speak truth to power; works that suggest when to rant and how to whisper, when to laugh and how to love. The exhibition is primarily taking place in between them, instead of within each individual one, in their visible and invisible connections and collisions.

The exhibition features works by:

Basma al-Sharif, Minos Argyrakis (†1998), Meriem Bennani, Danielle Brathwaite-Shirley, The Callas (Lakis & Aris Ionas), Leonidas Christakis (†2009), Disobedience Archive, Sofia Dona, Errands Group, Stelios Faitakis (†2023), Alexis Fidetzis, Forensic Architecture, Matsi Hatzilazarou (†1987) with Andreas Embirikos (†1975), Pierre Huyghe, Arthur Jafa, Christos Karakolis, Maria Karavela (†2012), Dionisis Kavallieratos, Katerina Komianou, Dimitris Korres, Panos Koutrouboussis (†2019), Maria Kriara, Stefanos Levidis, Ligia Lewis, Le Nemesiache, Eva Papamargariti, Nikos Gravriil Pentzikis (†1993), Agnieszka Polska, Oliver Ressler, Ben Rivers, Kostas Sfikas (†2009), Jakob Steensen, Eleni Tomadaki, Antigoni Tsagkaropoulou, Nanos Valaoritis (†2019), VASKOS (Vassilis Noulas, Kostas Tzimoulis), Marina Velisioti, Lewis Walker, Phillip Warnell & Juri Akiyama, Marie Wilson (†2017), Anna Zemánková (†1986), and an anonymous work [Anon., Zante (?), 18th c., Three-Faced Christ, Loverdos Collection (L 434/CL 429), Byzantine and Christian Museum, Athens].*

The main part of the exhibition also includes the following installations:

Pan Daimonium. surrealism as a state of mind, with works by Samuel Beckett, Victor Brauner, André Breton, Nicolas Calas, Marcel Duchamp, Nikos Engonopoulos, Max Ernst, Wifredo Lam, André Masson, Mario Prassinos, Jean Tinguely, et. al. This section also features the largely unknown art film Daphni (1951, dir. Angelos Prokopiou & George Hoyningen-Huene) and Dimos Theos’s documentary Surrealist Happening (1983) about the movement in Greece.

The Museum of Friendship, with works from the collection of Jean-Marie Drot (1929–2015) as housed in the island of Ios.

Earth in Turmoil and Agitprop machines, with works of the Russian Avant-Garde from the G. Costakis Collection, MOMUS-Museum of Modern Art, Thessaloniki. This section also features the avant-garde animated film Interplanetary Revolution (1924) – the first film that was produced by the animation studio of the State Committee for Technical Cinematography (GosTechKino).

Flipper Zone. Playing against the spectacle, with original publications and reproductions by the Situationist International and Guy Debord, Jacqueline de Jong, Asger Jorn, Ivan Chtcheglov, and works in various media by Nikos Arvanitis, Echelle Inconnue, Experimental Jetset, Forensic Architecture, Marina Gioti (lecture performance), Maria Papanikolaou, Eva Stefani, Hito Steyerl. This section is co-curated by Nadja Argyropoulou and Vanessa Theodoropoulou.

Flights, a series of curated reading spaces within the exhibition, where visitors can read (or listen to) texts, graphic novels, poems, books, archives, verses. Among them, one space is dedicated to poet and author Katerina Gogou (1940–1993) and another to artist Maria-Electra Zoglopitou (1970–1997). There are also Flights curated by the Temporary Academy of Arts (PAT) under the title “ResigNation / A script on the dead,” and by Basma al-Sharif.

Time-based works include:

Rap Riot — a music work/event, commissioned by Biennale 9 to performers Ladelle, Dolly Vara, Sara ATH, Penny & Iria (in visuals) for the public opening on May 23 at 10 p.m.

Playing Otherwise — a project conceived by Biennale 9 and realized with Heinrich Böll Foundation - Thessaloniki Office and Another Football, aiming to claim the sport commons and celebrate the revolutionary potential of play. A game of 3-sided football will be realized among self-organized teams FC Abalos, Becazzes FC, Faltsa FC, Muhabeti FC on May 24, at 3:30–5:30 p.m., at the football stadium of Kardia, hosted by the Municipality of Thermi – National Youth Capital 2026.

Wayward Waters — a series of events (performances, lectures, public interventions) that will unfold over the course of the entire Biennale, starting on May 22 with the activation of public water fountains within the wider TIF-HELEXPO area via two performances: The DJ lecture In Overflow by Chara Stergiou and the lecture-performance Tap into it: water is personal by Chris Vrettos and VASKOS. The series is realized in cooperation with Greenpeace Greece and its broader “See you at the fountain” project, TIF-HELEXPO, and several other cultural platforms and civil society entities of Thessaloniki. The program includes a visit to the Biennale 9 venue of Kalochori Lagoon & Axios Delta National Park, a ride up to the Chalastra mussel farms, stops, walks, talks, performances, and interventions by cooperating entities, including iSea, Greek Biotope Wetland Centre (EKBY), and Thermaikos Gulf Protected Areas Management Authority.

Moving in Riot — a program of film screenings that was initiated at the Biennale prelude in October 2025, with collaborations with the Thessaloniki Film Festival and the Greek Film Archive, featuring works by: Cecilia Bengolea, George and Iraklis Mavroidis, Valentin Noujeim, Nikos Theodosiou, Dimos Theos, et al. The program will unfold throughout the duration of Biennale 9, at the MOMUS-Museum of Contemporary Art “Xanthippi Ηoipel” Auditorium, and will be announced progressively. Especially for the three days of the exhibition opening, it will include the following works: Acts and Intermissions by Abigail Child (USA, 2017), BLKNWS: Terms and Conditions by Kahlil Joseph (USA, 2025), The Encampments by Michael T Workman and Kei Pritsker (USA/Palestine, 2025), Herbicidal Warfare in Gaza (2019) and No Traces of Life (2026) by Forensic Architecture, U.F.O. Lost in HEAVEN by Errands Group (Greece, 2025), We Are Making A Film About Mark Fisher by Simon Poulter and Sophie Mellor (UK, 2025), Murdering the Devil by Ester Krumbachová (Czechoslovakia, 1970), and TIF: The Pavilion of the City (Greece, 2026) by Alexandros Litsardakis commissioned by Biennale 9.

In Motion is a program of performances inaugurated with the Aerites Dance Company intervention DETH arthó last October. It included Mephisto Me Studio’s live tagging of used art canvas bags with the Biennale logo, as well as events by the Mamagea Environmental Organization.

Dimitris Ameladiotis is participating in Biennale 9 with his performance the ha(l)lophyte, which will be initially presented at the Axios Delta National Park on May 23, to be repeated later during the Biennale.

The artistic duo VASKOS (Vassilis Noulas & Kostas Tzimoulis) will present their performance From Vardari to Omonoia, with the participation of college students from Thessaloniki (May 22 & 23, TIF-HELEXPO, Pavilion 2, ground floor). The performance is staged with the support of NEON Organization for Culture and Development.

During the opening, the audience will be able to see robotic and human performers in live interaction within the installation In the wild by Antigoni Tsagkaropoulou. Performer: Mochi Georgiou.

The program of enactments and work activations will be continued and enriched throughout the Biennale.

where

The venues that are activated by Biennale 9 co-create a crucial space of (d)rift:

• Buildings within the Thessaloniki International Fair – HELEXPO complex that highlight the site’s ties to modern Greece’s foundational socio-economic narratives and political ceremonies since the 1960s, as well as its current significance as the battleground of competing plans around the function and future of public space. Situated there and hosting part of the Biennale is also the MOMUS-Museum of Contemporary Art, home to the Alexander Iolas collection.

• The unique Kalochori Lagoon on Thessaloniki’s western outskirts, a landscape shaped by immigrant communities, industrial growth, and the gradual emergence of a wetland as a result of land subsidence, groundwater depletion, and the mixing of river and sea waters. Now part of the Axios Delta National Park, the lagoon is rich in rare biodiversity, hosts more-than-human activity, and participates in contradictory narratives of “symbiotic living” as the city inexorably expands to this side too.

TEXT & IMAGES

VIDEO

You may view/download the material by clicking the hyperlinks.

For the latest information on Biennale 9 participants, events, projects, etc., visit thessalonikibiennale.com

Curator: Nadja Argyropoulou
Visual Identity: studio precarity
Architectural Design: Y2K Architects
Curator’s Assistant: Evelyn Zempou
Lighting Design: Edeko Lighting Studio
Audiovisual Consultant: Makis Faros
Texts Copy-editing & Translation: Fotini Pipi
MOMUS Production Team: Angeliki Charistou, Eftychia Petridou, Silia Fasianou

The Thessaloniki Biennale of Contemporary Arts is co-funded by the European Union (NSRF – “Central Macedonia” Operational Program).

Visiting Hours:

Tuesday through Friday 16:00–22:00
Saturday & Sunday 14:00–22:00
Closed on Monday

Opening Special Visiting Hours:

May 22: 18:30–23:00 | May 23: 19:00–24:00 | May 24: 10:00–22:00

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Πάσχα 2026 | Ωράριο λειτουργίας των χώρων του MOMUS, 09-13.04.2026

cleo.gousiou — Mon, 30 Mar 2026 09:40:03 +0000

Easter 2026 | Opening Hours and Days of MOMUS venues, 09-13.04.2026 cleo.gousiou Mon, 03/30/2026 - 12:54

	Holy Thursday 09.04	Good Friday 10.04	Holy Saturday 11.04	Easter Sunday 12.04	Easter Monday 13.04
MOMUS-Museum of Modern Art	10:00-18:00	12:00-18:00	10:00-16:00	closed	closed
MOMUS-Museum of Contemporary Art	10:00-18:00	12:00-18:00	10:00-16:00	closed	closed
MOMUS-Thessaloniki Museum of Photography	10:00-18:00	12:00-18:00	10:00-16:00	closed	closed
MOMUS-Experimental Center for the Arts	10:00-18:00	12:00-18:00	10:00-16:00	closed	closed
MOMUS-Museum Alex Mylona	10:00-18:00	12:00-18:00	10:00-16:00	closed	closed

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Το MOMUS αποχαιρετά τον Αλέξανδρο Τζώνη

dimitra.samsaki — Wed, 04 Mar 2026 08:15:53 +0000

MOMUS bids farewell to Alexander Tzonis dimitra.samsaki Wed, 03/04/2026 - 10:21

With great sorrow, MOMUS announces the death of Alexander Tzonis.

Alexander Tzonis (Αλέξανδρος Τζώνης, 8 November 1937, Athens - 1 March 2026, Paris) was a distinguished and influential Greek-born architect, theorist, and educator known for integrating scientific and humanistic approaches in architectural theory, history, and design cognition. Educated at the National Technical University of Athens (1956–1961), he was influenced by Spyros Papaloukas and Dimitris Pikionis, and worked in stage design, contributing to Jules Dassin’s “Never on Sunday” (1960). In 1961 he moved to the United States studying at Yale under Paul Rudolph, Shadrach Woods, Robert Venturi, and Serge Chermayeff. He later taught at Yale and Harvard Graduate School of Design, where he introduced analytical design methods and co-developed applications of the ELECTRE evaluation system. His 1974 book “Towards a Non-oppressive Environment” critically examined the socio-environmental crisis of modern urbanism. In 1981 he became Crown Professor at Delft University of Technology, founding the Design Knowledge Systems (DKS) institute (1985–2005), focusing on architectural cognition and creative design by analogy. With Liane Lefaivre, his long-time partner and collaborator, he co-introduced the concept of Critical Regionalism and authored influential works on classical architecture and modern design thinking. Tzonis has held numerous international visiting professorships in Europe, America and Asia and received multiple honorary distinctions for his scholarly contributions.

Alexander Tzonis was a close friend and supporter of MOMUS-Museum of Modern Art. Through the “Tzonis - Lefaivre donations” the museum’s collections were enriched with an important corpus of early drawings by Chryssa (Vardea), with whom Alexander Tzonis shared a longstanding friendship. Among the donations is a significant body of photographs documenting everyday life in Greece during the 1960s. He also donated the architectural archive of his grandfather, Alexandros Tzonis (1877-1951), a renowned architect responsible for seminal buildings in Istanbul and Thessaloniki. MOMUS has organised two important exhibitions based on the Tzonis - Lefaivre collections: “Spring Torrents. Harvard Strike Posters. Spring 1969” (26.9.2018 – 7.4.2019) and “Light Negative Positive - The Greekness of Chryssa” (14.10.2022 – 9.1.2023).

MOMUS is also planning a publication dedicated to the life and architectural work of his grandfather, the distinguished architect Alexandros Tzonis, whose archive is preserved in the collections of MOMUS-Museum of Modern Art-Costakis Collection.

We extend our heartfelt condolences to his partner and collaborator, the architectural historian and theorist Liane Lefaivre.

Caption

From a talk event with Alexander Tzonis, Harvey Hacker and Liane Lefaivre, in the frame of the exhibition "Spring Torrents. Harvard Strike Posters. Spring 1969, Alexander Tzonis and Liane Lefaivre Collection", MOMUS-Museum of Modern Art, 24.10.2018.

Talk event with Alexander Tzonis in the frame of the exhibition “Light Negative Positive – The Greekness of Chryssa”, MOMUS-Museum Alex Mylona, 14.10.2022.

Alexander Tzonis (on the right) with the designer of the emblematic poster "The Fist", Harvey Hacker (on the left), MOMUS-Museum of Modern Art, 24.10.2018.

Alexander Tzonis, as professor at Harvard University, 1969.

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Πρόγραμμα προβολών της 9ης Μπιενάλε Σύγχρονης Τέχνης Θεσσαλονίκης «όλα πρέπει να αλλάξουν. ΡΝΣ9»

dimitra.samsaki — Thu, 12 Mar 2026 10:27:55 +0000

Screenings of the 9th Thessaloniki Biennale of Contemporary Art “everything must change. RIS9” dimitra.samsaki Fri, 02/20/2026 - 15:04

The 9th Thessaloniki Biennale of Contemporary Art meets the 28th Thessaloniki International Documentary Festival

March 12,13 & 14, 2026, 17.30
Cine MAKEDONIKON

curated by
Nadja Argyropoulou

“Anarchiving change” is the title of the conversation between the 9th Thessaloniki Biennale of Contemporary Art “everything must change. RIS9” and the 28th Thessaloniki International Documentary Festival and its 2026 theme: archives.

Compiled by Nadja Argyropoulou, curator of Biennale 9, this indicative body of short films includes works by Greek and foreign artists to be screened over a three-day period at the movie theater MAKEDONIKON. It is a gesture of anarchiving order, of oblique speculative probing into archives within archives within the boundaries, the economy, of a specified institutional framework such as that of the historic Festival, which is this year delving into the mechanisms of capturing memory.

Following the installation and screening of animation works at the prelude for Biennale 9 (October–November 2025), the works of this upcoming tribute also indicate and integrate the gradually emerging presence and errant movement of Biennale 9 leading up to the implementation of its main exhibition (May 23 – July 5, 2026). Besides, every archive, every collection and selection, is haunted by precisely that which is missing, so that what is happening cannot actually be said, belongs in the realm of disorder, opens up to the possibility of radical transformation.

Biennale 9 is inspired by the method of research and thought, the “critical fabulation” of prominent African-American theorist Saidiya Hartman, as well as by her study of the concept of refusal, of wayward movement as a strategy that disrupts the organizing violence of power and produces an opening towards the possibility of other ways of life, the possibility of inhabiting the world in ways that are radically and collectively just, free, and joyful.

Hartman confronts the archive as a “dead book,” a site of violence, erasure, and silence, animated only in order to record punishment, lynching and terror, the objectification and commodification of Black bodies. She tries, as she notes, to push the documents to their limits and thus retrieve from them what no one dared imagine about what they contain or exclude, to “exhume open rebellion from the case file, to untether waywardness.”

The works featured in the tribute “anarchiving change” detect the openness of such a movement by suggesting different utterances of the social otherwise and the exploration of what might be.

Thursday, March 12 | 17.30

The works Le Sibille and Witchhammer are presented, with a short preface by the curator of the tribute on the representation of witches in art and their persecution in real life, both historically and in the modern context of capitalist accumulation, colonial tradition and punishment of deviant bodies.

In Le Sibille (1977, 30’) by the pioneering trans-feminist collective Le Nemesiache (inspired by the punisher Nemesis), figures embodying manifestations of the prophetess Sibyl, in a séance in the landscapes of Naples, rebel against linear temporality to restore lost or neglected knowledge and to revalidate the subcultures of prophecy. The creative form known as psicofavola, introduced by Le Nemesiache in 1973, served as a vehicle for non-binary, free transformation, while all their performances, prepared through what they called their “poetry workshop” (bottega della poesia), became films in ways that positioned representation within the dynamic field of becoming-in-common, what they described as “creating consciousness through the camera.” Le Nemesiache’s cinema refused the gaze that fixes and excludes, and revealed a world of many worlds through a rebelliously fabulative political imagination that revived lost or marginalized traditions.

The film Witchhammer (1969, 105’) by Ester Krumbachová is a sample of the multidimensional practice of the largely unrecognized Czech creator that concerns Biennale 9 more broadly. In this film, based on a book by Václav Kaplický and borrowing its title from the notorious Malleus Maleficarum (1486), the medieval witch-hunting manual, Krumbachová did the production design, co-wrote the screenplay (with director Otakar Vávra), and composed the lyrics of the revolutionary song “Flandern”. The film revives — drawing an inventive connection with the “show trials” and regime propaganda in 1950s Czechoslovakia — the historical reality of one of the last witch trials in Europe of the Middle Ages. As we read in the archives of Krumbachová, her belief in “free art addressed to free people” is confirmed.

Friday, March 13 | 17.30

The works featured are: A sickness with no cure. Panos Koutrouboussis, Follow Them: Teos Romvos & Chara Pelekanou, and Koursal with a preface and Q&A session with Koursal director Nikos Theodosiou.

These works weave together the itinerant life and memories of creators of the Greek counterculture, who did not establish a protectorate in the margins they inhabited, but generously shared, with a sense of humor, ingenuity and solidarity practices, the restless materials of an aesthetic sociality. In times when symbolic and actual spaces of free thought are vanishing, it is a matter of memory and imagination, a matter of empowerment, to vibrantly (re)visit these stories.

In the film A sickness with no cure. Panos Koutrouboussis (2022, 22’34’’), directors George and Iraklis Mavroidis compile fragments of autobiographical confessions of their friend, subversive painter, writer, and creator of international comics and largely unknown films (such as the cult short From one bouzoukia place to the next) Panos Koutrouboussis.

The documentary Follow Them (2020, 25’) is a wandering visit to the memories, unconventional life and multifaceted work of Teos Romvos and Chara Pelekanou, commissioned by Nadja Argyropoulou to director Evi Kalogiropoulou for the exhibition “Trypa, stories of love, anarchy, care and extinction as told by Teos Romvos & Chara Pelekanou,” at the Plato Contemporary Art Center in Ostrava, Czech Republic.

The film Koursal (2006, 57’) by Nikos Theodosiou deals with the contested modernity of the first floating cinema in 1925 Thessaloniki, a city in social and political turmoil at the time, of the “motley barge” which, after being decommissioned, ended up operating as a floating Naval Cadet School in Palestine, and especially with the people who lived its story.

Saturday, March 14 | 17.30

The works Pacific Club (2022, 17’), Opera Omnia (2025, 10’) and Before She Forgets Heliopolis (2018, 23’) by artist and filmmaker Valentin Noujaïm are presented, in the presence of the artist and with a Q&A session with the curator of the tribute.

Valentin Noujaïm's films blur cinematic categories as a means of drawing attention to what must remain semi-visible or obscure. They summon the sense of occult visions of other worlds only to move complex realities about state, power and remembrance to the intimate terrain of everyday life. In his subtly invoked polemics-poetics, Noujaïm navigates the seas of archives lost and archives regained, in slow cinematic rituals amidst ruins past and ruins future and the haunting totemic presence of an urban commons that can equally crush and support social upheaval.

Caprtions:

Nikos Theodosiou, Koursal (still), 2006.

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