Cyprus TODAY Volume LI, No 2, April-June 2013

Contents

Editorial ...... 2 International Museum Day ...... 4 Makarios and the Fine Arts ...... 15 The World of Cyprus ...... 18 Cyprus Spring ...... 22 Yiannis Katsouris ...... 26 Costas Gavras ...... 28 Cyprus Film Days ...... 31 George Kepolas ...... 35 Di-Egy Fest ...... 40 Storybox exhibition ...... 43 Maria Loizidou ...... 46 13th International Pharos Chamber Music Festival ...... 48 Gethsemane ...... 57 Catharsis/Rebirth ...... 60 Coloureceivers exhibition ...... 63

Volume LI, No 2, April-June 2013

A quarterly cultural review of the Ministry of Education and Editorial Supervision: Culture published and distributed by the Press and Information Miltos Miltiadou (PΙΟ) Office (PIO), Ministry of Interior, Nicosia, Cyprus. [email protected] Address: Editorial Assistance: Ministry of Education and Culture Maria Lantidou (PΙΟ) Kimonos & Thoukydides Corner, 1434 Nicosia, Cyprus [email protected] Website: http://www.moec.gov.cy Maria Georgiou (PIO) [email protected] Press and Information Office Michaela Mobley Apellis Street, 1456 Nicosia, Cyprus [email protected] Website: http://www.moi.gov.cy/pio Design: GNORA COMMUNICATION CONSULTANTS EDITORIAL BOARD Printed by: Printco Ltd Chairperson: Front cover: Exhibit from Antonis Tziarrides’ Storybox Pavlos Paraskevas, Director of Cultural Services, exhibition at Gallery Kypriaki Gonia in Larnaca Ministry of Education and Culture Chief Editor: Back cover: Scene from Reis Çelik’s fi lm Night of Silence, Jacqueline Agathocleous which won the Best Film Award at the Cyprus Film Days 2013 [email protected] Festival GNORA COMMUNICATION CONSULTANTS PIO 175/2013 - 7.000 (website: www.gnora.com) ISSN (print) 0045-9429 Tel: +357 22441922 Fax: +357 22519743 ISSN (online) 1986-2547

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What better way to celebrate art and culture than by looking back on the countless events and exhibitions that took place to mark International Museum Day on 18 May? For 2013, the day was celebrated under the theme Museums (Memory + Creativity) = Social Change, and Cyprus Today was truly spoilt for choice with the island’s wealth of history and abundance of museums and antiquities, ensuring a multitude of special events were on offer. The EOKA Museum in Nicosia took visitors on guided tours, before projecting a short documentary on the national anti-colonial struggle of 1955-1959, while the Byzantine Museum and Art Gallery (Archbishop Makarios III Foun- dation) offered three different educational programmes, all aimed at children. The Cyprus Museum combined celebrations of International Museum Day and European Night of Museums with guided tours of the museum in Greek and English, followed by the exhibition entitled Fragments: Ceramic finds from Byzantine and Medieval Nicosia. One exhibition that was presented on International Museum Day and which will continue throughout the year, is entitled Makarios and the Fine Arts. The exhibition is organised at the Art Gallery of the Archbishop Makarios III Foundation as part of a series of events to honour the centenary of the birth of Archbishop Makarios III. For their part, the Cyprus Folk Art Museum and the Kallinikeio Municipal Museum of Athienou embraced the cel- ebrations by holding activities specially dedicated to children as a means to encourage them to participate and create their own art. No cultural publication could possibly be complete without mentioning the return of the great Cypriot painter Ada- mantios Diamantis’ painting The World of Cyprus to its birthplace – the artist’s studio on Onasagorou Street in Nico- sia. The amazing piece of artwork was brought to Cyprus by the Anastasios G. Leventis Foundation. Speaking of significant cultural figures, the Cultural Services of the Ministry of Education and Culture published a book dedicated to the work of the late Cypriot writer, Yiannis Katsouris. The book and more about the great intellect can be found in our issue. In March, Cyprus was hit with the Eurogroup’s unprecedented decision to dictate a haircut on all bank accounts in the island’s banks with immediate effect. Many saw Cyprus as a “guinea pig” for an EU-imposed experiment and talked about Germany’s infl uence over Cyprus’ fate. Nonetheless, Cyprus Spring 2013, a series of cultural events promot- ing Cypriot artists in Munich, was welcomed with open arms for the eighth year running, proving that the world of art and culture can find opportunity where others see obstacles. The 13th International Pharos Chamber Music Festival went ahead as planned in May, with a baroque recital, piano recital and five further concerts. Theatre lovers got the chance to enjoy the play Gethsemane by famous English playwright David Hare, which was brought to the stage by the Cyprus Theatre Organisation, with parallel shows in Larnaca, Limassol and Paphos. A visit from Costas Gavras, the world-renowned Greek film director could not go unnoticed either, especially when this visit followed the University of Cyprus’ decision to bestow the title of Honorary Professor upon the artist. On the subject of films, cinema lovers got the chance to enjoy outstanding cinematic gems in the 11th edition of Cyprus Film Days 2013, which hit the big screens of Zena Palace Cinema in Nicosia and Rialto Theatre in Limassol in April. A number of the most awarded films of the year alongside new voices and established filmmakers from the international independent cinema were shown, some for the first time. Our issue also takes a look at the work of the well-known mosaic artist George Kepolas, Antonis Tziarrides’ first solo exhibition entitled Storybox, Savvinos Paraskevas’ first solo exhibition Coloureceivers and artist Maria Loizidou’s Collective Autobiography. Cyprus has further participated in the first Digital Art Festival in Egypt – better known as Di-Egy Festival 0.1 – where Cypriot artists Achilleas Kentonis and Maria Papacharalambous presented their work. Our issue wraps with a digital project of work by seven Cypriot artists, entitled Catharsis/Rebirth, which was pro- jected alongside an exhibition by the renowned Italian artist Michelangelo Pistoletto at the Louvre Museum, France in May, entitled Année1 - Le Paradis sur Terre (Year 1 – Earthly Paradise).

2 Erratum In our previous issue of Cyprus Today (January-March 2013), we mistakenly mentioned that the photo of an embroidered cloth from Phoiti on page 42 (Elements of the Intangible Cultural Heritage of Cyprus) was provided by the Cyprus Handicraft Service Archive of the Ministry of Commerce, Industry and Tourism. The photo is in fact part of the collection of Maria Eleftheriou Gkafi ero, exhibited at the Cyprus Folk Art Museum – Society of Cypriot Studies.

3 International Museum Day

18 May 2013

yprus’ wealth of history, along with its abun- means of cultural exchange, enrichment of cultures Cdance of museums and antiquities, ensure the and development of mutual understanding, coop- island generates a plethora of events marking celebra- eration and peace among peoples.” tions of International Museum Day (IMD) organised The IMD theme is proposed by ICOM’s Advisory world-wide around 18 May each year. Given the high Committee and aims to promote museum issues number of countries involved, the events can last a within society. The museum community decided day, a weekend, a week or even a month, yet tradi- to celebrate the day in 2013 around the theme: Mu- tionally IMD is organised on 18 May. seums (Memory + Creativity) = Social Change. The Cyprus Museum arranged a reception and an The Best in Heritage states that “The richness of evening of live jazz in its gardens for the exhibi- our historical heritage, preserved and displayed by tion anThrOPOS – Faces of Cyprus Through the Ages. The Byzantine Museum and Art Gallery museums, together with the inventiveness and vi- (Archbishop Makarios III Foundation) offered tality that have characterised the museum sector’s three different educational programmes, all aimed action in recent years, are where the strength of at children, while the Cyprus Folk Art Museum museum institutions lies today. Reconciling their created a living museum. These were only a few traditional mission of conservation with the crea- of the events that took place all over the island to tivity necessary for their revival and the develop- celebrate the day. ment of their audiences - this is the evolution that The International Council of Museums (ICOM) museums are trying to undertake, with the strong established International Museum Day in 1977 to belief that their presence and actions can transform increase public awareness of the role of museums society constructively. in the development of society. In 2012, International This truly optimistic theme in the form of an equa- Museum Day (IMD) saw almost 32,000 museums tion dynamically gathers several concepts that are hosting events in more than 129 countries. essential to defining what a museum is today, high- According to The Best in Heritage (in partnership lighting the universal nature of those institutions with EUROPA NOSTRA) – the world’s only annual and their positive infl uence on society. It summa- survey of awarded museum, heritage and conser- rises the complexity of museum tasks and recalls vation projects – the objective is to meet at the mu- that they are meant to contribute to community seum with the motto: “Museums are an important development and gathering together.”

4 Children’s artwork from the educational programme Journey through Byzantine Art

Trip to Kids Art

Byzantine Museum and Art Gallery familiar with Byzantine art and appreciate the (Archbishop Makarios III Foundation) Museum’s rich collection of masterworks, includ- The Byzantine Museum and Art Gallery (Arch- ing stolen treasures from our occupied churches, th th bishop Makarios III Foundation) opened an ex- icons from the 9 to 19 centuries, as well as th hibition of artwork on 17 May entitled Trip to murals from the 10 century among others. The Kids Art created by schoolchildren who partici- Journey ends when experts teach these young pated in three educational programmes: Jour- travellers how ancient icons and manuscripts are ney through Byzantine Art, Hymn to Freedom preserved and restored; a skilled task which takes and Motherhood – The children’s world of the place at the preservation workshop of the Holy Gallery (2012-2013). Archbishopric of Cyprus. The exhibition is organised by the Archbishop The Museum’s programme Hymn to Freedom Makarios III Foundation, in collaboration with is based on works by romantic artists of the 19th the Directorate of Primary School Education of century, inspired by the Greek revolution. Chil- the Ministry of Education and Culture, and will dren’s work is subsequently inspired by the heroic run until 17 September 2013. lives of Greek fighters and Cypriot defenders of The Journey through Byzantine Art programme, freedom during the revolution, and is moti- implemented since 2007 as part of the Depart- vated by the value of freedom and Cypriots’ ment of Primary Education curriculum, aims to anticipation for the reunification of the coun- teach children about Byzantine art and Cypriot try, which is still under occupation after nearly cultural heritage. The Journey traverses children four decades. through the fascinating world of the museum and Lastly, Motherhood – The children’s world of the by participating in organised tours, pupils become Gallery programme presents artwork paying trib-

5 ute to Motherhood and the mother/child rela- “The journey traverses children through tionship. the fascinating world of the museum”

The Byzantine Museum educational programmes in co-operation with the The Byzantine Museum of the Archbishop Maka- Ministry of Education and Culture, and through rios III Foundation, which opened in 1982, is the lectures, tours, radio and television broadcasts for fruit of many years of hard work by the Church the broader Cypriot public and for foreign visitors of Cyprus to preserve and promote the Byzan- to the Museum; to project the issue of the plun- tine and post-Byzantine heritage of our country. dered treasures to corresponding museums abroad The role of the Byzantine Museum, as custodian through seminars and exhibitions in co-operation of our cultural heritage, covers four axes: to con- serve and preserve the existing treasures, as well with the Department of Antiquities and by pro- as those that are gradually being repatriated from viding information to interested parties; to act as abroad, in co-operation with the Conservation an informal observatory with a view to locating Laboratory of the Archbishopric, the Department plundered treasures abroad in order to report the of Antiquities, and conservation laboratories matter and raise awareness among public opinion. abroad; to project and promote this heritage within The Museum is open daily from 9:00 am until 4:30 the education process with a view to raise aware- pm. Further information on the Byzantine Museum ness and inform younger generations through is provided at www.makariosfoundation.org.cy.

Children’s artwork from the Motherhood educational programme Children’s sculptures

Children’s artwork from the Hymn to Freedom educational programme

6 Night view of the Cyprus Museum

Cyprus Museum

Cyprus Museum combined celebrations of In- ternational Museum Day and European Night of Museums, with guided tours of the building in Greek and English on the evening of 18 May. The tours were followed by the exhibition Frag- ments: Ceramic finds from Byzantine and Me- dieval Nicosia, opened at the Cyprus Museum’s Temporary Exhibition Hall (in collaboration with the Leventis Municipal Museum) on 18 May. The exhibition will run until 6 February 2014. The capital of the island moved inland to Nicosia for the first time around the 10th century AD, possi- bly for reasons of security as well as for its location in the centre of Mesaoria, the island’s most fertile plain. However, the excavations of the last few years, both within and outside the walls of Nicosia, have contributed considerably to knowledge on the topography and history of the city, which until re- cently depended more on written sources and tradi- here, in an attempt to trace the history of Nico- tions rather than on archaeological data. sia during the Byzantine period (330-1191). The Ceramic finds from recent and older excava- ceramics, in combination with other evidence, tions, in association with accidental finds or provide valuable information on the city’s de- finds from rescue excavations are exhibited velopment during the Frankish (Lusignan) pe-

7 riod (1192-1489) and the intentional reduction of direction of the museum. The continuously grow- the city’s extent by the Venetians (1489-1571), ing number of finds from systematic excavations, necessitated by the new defensive system. As a which were mainly undertaken by foreign missions result, the remains of the Byzantine and Lusig- such as the Swedish Archaeological School mis- nan periods were seriously compromised. sion directed by Professor Einar Gjerstad, forced The ceramic fragments of glazed wares, lo- the museum’s committee to look for new premises cally made or imported, the cooking and plain for the exhibition and the storage of the finds. wares found in the city’s quarters, monaster- The voting in 1935 of a new Archaeological ies and cemeteries within or on the fringes of Law and the creation of the Department of An- the city, tell us its story and provide evidence tiquities gave the opportunity for the Museum for daily life, the private needs of the inhabit- to become fully official. Many significant ex- ants, their aesthetic preferences, their religious cavations were undertaken by Cypriot research- habits, burial customs, commercial and cultural ers and brought to light some of the earliest interconnections or links, and thus portray the phases of settlement in the island, establishing cosmopolitan nature of the city of Nicosia. the historical evolution of Cyprus and enriching the collections of the Museum with important Reviewing the history of the Cyprus Museum finds. With the island’s independence in 1960, The first Archaeological Museum of Nicosia Cypriot archaeology further fl ourished since it was housed in a building on Victoria Street in was at last possible for it to confront its relative old Nicosia, in the occupied part of the town. It isolation and to confirm its position in the front was founded in 1888 as a privately run institu- line of international archaeological research. tion to protect the finds that started to come to The Archaeological Museum of Nicosia con- light during the first legal excavations under- sists of fourteen rooms surrounding a square taken during the British rule of the island. central area and comprises exhibition spaces, The first law concerning archaeology was voted offices, a library, storerooms and areas for pre- in 1905 and was the first essential step towards the serving and studying items in the collection. establishment of archaeology in Cyprus. A commit- The objects in the rooms follow a chronological tee, chaired by the British governor, undertook the and a thematic succession.

Exhibits at the Cyprus Museum (Copyright Cyprus Tourism Organisation)

8 The Cyprus Folk Art Museum

Cyprus Folk Art Museum celebrates International Museum Day

Alongside many exciting activities to mark Inter- shops and demonstrations. national Museum Day, an outstanding interactive Most notable among the activities was the shadow event was held at the Cyprus Folk Art Museum. puppet workshop and show, based on the much- As one of Cyprus’ most fascinating historical es- loved Karagiozis character, run by esteemed ex- tablishments, the museum falls under the auspices ponents of the art Christodoulos Paphios and Lena of the Society of Cypriot Studies, and is housed in Spanou. The children were able to make their own a 15th century monastery on the premises of the old marionettes and then participate in the shadow Archbishopric Palace in Nicosia. theatres entitled Karagiozis goes to Eurovision To celebrate the occasion, the Museum Director, and The engagements of Karagiozis. Ms Eleni Christou and her team of staff (all volun- A crochet workshop was led by Kyriaki Kosta teers and members of the Society of Cypriot Stud- in which participants were invited to bring their ies), created a living museum, a place where both children and adults could have fun and be inspired own work and seek expert advice, while Andreas by the exhibits in their bid to make their own ex- Fasoulidis, Rolandos Loucaides and Katerina amples of folk art. Athienitou hosted an interactive handicraft work- shop, inviting visitors to share in traditional crafts Highlights of the day featured guided tours of such as pottery, lace making and the art of the the museum in both Greek and English; activi- loom. ties for children such as a Storytelling Event of time-honoured Cypriot tales related by well- A musical demonstration by Charalambos Char- known actors Pambos Charalambous, Constanti- alambous illustrated to the visitors how to make nos Tsiolis and Skevi Papamiltiadous; traditional and play the traditional fl ute, or pithkiavli, while Cypriot games such as Zizeros; an exhibition of renowned artisan Antonitsa Constantinou present- artwork from school groups who had visited the ed hand-made and painted pottery from the village museum during the academic year, plus work- of Kaminaria in the Limassol district.

9 Plate with painted decoration

Wood carved chair - folk art

The history of the Cyprus Folk Art Museum The Cyprus Folk Art Museum was founded by a few keen members of the Society of Cypriot Stud- ies in 1937 and is housed in the premises of the old Archbishopric Palace. In 1961, the seat of the Archbishop of Cyprus was moved to the new pal- ace. The Society then approached the Archbishop who graciously handed over the whole of the premises of the old Archbishopric to the Society to Urban costume “Sarka” jacket inner silk shirt and silk skirt be used for its activities. It was at that time (1962 others were bought either directly from the vil- -1964) that extensive reconstruction of the build- lagers or from private collections. Most of the ing was carried out, at the great expense of the items were made in areas that are now occupied Society and with the help of His Beatitude Arch- by Turkish troops. Samples of weaving, pottery, bishop Makarios III. embroidery, lace, costumes, metalwork, wood- The building of the museum dates back to the 15th carving, basketry, leatherwork, naïve painting, ag- century and is Gothic with earlier additions. The ricultural and weaving tools are to be found in the Greek Orthodox Church began using it sometime museum collections. An important item is the door before the Ottoman occupation of Cyprus (1571- of St Mamas Church (19th century), which inspired 1878). The richly decorated Gothic arch with the the novel poet, George Seferis. The poet refers to 16th century fresco of the Annunciation, which the little owl of the door in his poem Little things bears the end of a Greek inscription, was uncov- of Cyprus. The poem is dedicated to his friend and ered in 1950. The fresco was conserved in 1995 first Director of the Museum, the great Cypriot by the Society and the Department of Antiquities. painter Adamantios Diamantis. Today the number Many of the items of this museum were donated, of items catalogued is over 5,000.

10 Exhibit from the National Struggle Museum EOKA 1955-1959

The National Struggle Museum EOKA 1955-1959

The National Struggle Museum EOKA 1955- exploited its wealth. 1959 in Nicosia honoured International Museum In 1878, Britain signed a secret agreement with Day on 18 May by projecting a short documentary the Ottomans, whereby they would rent Cyprus on the National Liberation Movement of 1955- from the Ottomans in return for protecting the latter 1959 and organising guided tours for its visitors. against Russia. Britain’s main motive in acquiring The 25-minute film, written by Yiannis Chr. the island was to combat Russian infl uence in the Spanos and directed by Andy Roditis, took visi- Mediterranean and to protect its route to India. After tors step by step through the historical fight put the end of First World War and under the terms of up by our national heroes against the British rule. the Treaty of Lausanne of 1923, the new Republic The documentary was supported by the Cultural of Turkey ceded Cyprus to Britain and renounced all Services of the Ministry of Education and Culture claims over territories under its former jurisdiction. and the Council of Historical Memory of the Lib- In 1925, Britain declared Cyprus a Crown Colony. The take-over of Cyprus by the British rekindled the eration Struggle of EOKA 1955-1959. hopes of Cypriots for liberation and Enosis (Union) with Greece. Yet, the optimism of Cypriots for eno- The National Liberation Movement sis proved to be sadly misplaced. Cyprus endured continuous subjugation for During the Second World War, calls for union with almost eight centuries (1191-1960 AD), fol- Greece began again and increased in strength after lowing its conquest by the King of England the Dodecanese were handed to Greece in 1947. In Richard the Lionheart, who had taken part in 1950, the Church of Cyprus organised a plebiscite the Third Crusade for the liberation of the Holy among the Greek Christian Orthodox on enosis, Land. The Knight Templars, the Lusignans, the with 96 percent voting in favour. The Greek gov- Venetians, the Ottomans and the British were ernment had been dealing with Britain bilaterally the ruling powers that oppressed its people and on the issue, but following British Foreign Min-

11 ister Anthony Eden’s refusal to even discuss with ary 1961 and was published in the Cyprus Gov- Greece Cyprus’ self-determination, matters began ernment Gazette on 23 February of the same year. to come to a head, and the Greek government took The Museum is now housed at its new premises, the question to the UN General Assembly. In the inaugurated on 30 April 2001. The expenses for meantime, the charismatic Archbishop Makarios building the museum were covered by the Holy III assumed the political leadership of the anti-co- Archbishopric of Cyprus and the Cyprus Ministry lonial struggle. Colonel Georghios Grivas Digenis of Education and Culture. In 2011, the museum launched and led a guerrilla campaign through the welcomed 27,000 visitors. underground EOKA on 1 April 1955, to oust the British and achieve enosis. Keeping the memory alive Britain’s response to the liberation campaign was to work secretly with the Turkish Cypriot leader- The newly designed museum is effectively a ship and Turkey, helping the latter to refine its historical-scientific centre, which through its new propaganda and encouraging them to demand par- technology and multimedia, comprise an informa- tition. In February 1959, British, Greek and Turk- tion centre. The museum was designed as a tribute ish Prime Ministers met in Zurich and agreed on and a reminder of the duties of future generations the 1959 Zurich and London Agreements for the of Cypriots, with the aim of spreading the memory independence of Cyprus under a Greek Cypriot of the National Liberation Movement. and a Turkish Cypriot President and Vice-President The EOKA Museum interprets and brings to life, respectively. These agreements ended 82 years of in the most vivid manner, the EOKA movement British rule following many years of a national lib- and the liberation campaign. The effective mouth- eration movement. piece of this live impression is the depiction of events through exhibited photographs, combined The Museum with texts, either from leafl ets, commands, orders The museum is located in the square near the Holy and instructions by the Organisation, or through Archbishopric of Cyprus in Nicosia and displays personal experiences, national concerns and reli- documents, photographic material, personal belong- gious convictions. The projection of films on Cy- ings of the heroes and other memorabilia related to prus’ history, with special reference to the EOKA the liberation movement against the British rule. period, is also part of the museum’s technological The museum was founded two years after the end services. of the 1955-1959 National Liberation Movement Entry to the museum is free. Opening hours are by EOKA fighter Christodoulos Papachrysosto- Monday-Friday 8:00-14:00; Thursday: 15:30- mou, following a decision by the Greek Commu- 17:30; closed Saturday and Sunday (no afternoons nal Chamber. The decision was taken on 26 Janu- in July and August).

The gallows where the EOKA fighters were hanged The National Struggle Museum EOKA 1955-1959

12 Children view their artwork at the Kallinikeio Municipal Museum of Athienou

Athienou village joins in with International Museum Day celebrations

The Kallinikeio Municipal Museum of For the Achaeological Treasures and Creativity Athienou, Larnaca, marked International Mu- and Mosaic Art programmes, children created seum Day with a series of events inspired works inspired by the museum’s collections, us- by this year’s theme “Museums (Memory + ing cardboard boxes, fabrics, buttons, ribbons, Creativity) = Social Change”. The Museum, tesserae, stones and other materials. familiar with this annual festivity, has been For the programme The fl our mill and the bread participating in the International Museum Day of Athienou, the museum organised a visit to celebrations since its first year of operation in the traditional Andreas Hadjitheocharous mill 2009. “The Mill of Kagiafou”, which was recently This year’s events, which commenced on 29 renovated by the Department of Town Plan- April and culminated on 9 May, included archae- ning and Housing. In this setting, children, as ological treasures and creativity programme, an young actors, starred in the play Athienou of the educational programme on traditional bread 1950s, resulting in the creation of an amateur making named The fl our mill and the bread of movie called From ear to bread. Athienou, mosaic making, classes on Athienou All the children’s work, along with other works lace and programmes on traditional architecture. by the Public and Community Nursery School On 15 May, the museum also organised an event of Athienou, are presented in an exhibition that under the theme Painting for the World’s Culture opened on 18 May and will continue until 30 for children and young people. August 2013.

13 The history of the Museum The creation of the Kallinikeio Municipal Mu- seum of Athienou was only a matter of time for the municipality, stemming from a place rich in cultural heritage whose existence dates back to the ancient times. The museum, which stands out due to its modern architecture, was named after monk Kallinikos Stavrovouniotis, a son and benefactor of Athienou and an excellent icon painter. The museum hosts an Archaeological Collec- tion, a Collection of Ecclesiastical Art and an Ethnographic Collection. It is housed in the Kal- linikeio Municipal Hall of Athienou, alongside the town’s municipality building. The aim of the museum is to operate as a centre of communication with visitors, as a source of Minister of Communications and Works, Mr Ni- knowledge for both adults and children, to recall cos Nicolaides. memories of the past, to attract tourists and to The museum is open Monday to Friday, from give people the opportunity to become aware of 8:00 am until 3:00 pm, while it can also open local and national history and culture. on Saturdays and Sundays, though this is subject The inauguration ceremony of the museum was to prior timely notice. The museum is closed on held on 3 July 2009 and performed by the former public holidays.

14 Makarios and the Fine Arts Exhibition

6 April-31 December 2013

ear 2013 marks the centenary of the birth The exhibition was opened by his Beatitude Yof Archbishop Makarios III, the primate of Archbishop Chrysostomos II on 6 April and is the Autocephalous Greek Orthodox Church of divided into four sections: Cyprus from 1950 until 1977 and the first Presi- dent of the Republic of Cyprus (1960-1974 and Photographic exhibition on the life of Arch- 1974-1977), who was born on 13 August 1913 bishop Makarios III and undoubtedly, is one of the leading figures of Cyprus’ political history. The exhibition displays the late Archbishop’s The exhibition entitled Makarios and the Fine fight for freedom and survival of Cypriot Hel- Arts is organised at the Art Gallery of the Arch- lenism, while showcasing the historical path bishop Makarios III Foundation, as part of a taken by Cyprus’ most eminent spiritual and series of events taking place from 6 April until political leader, as well as his love for culture 31 December 2013, to mark the celebrations for and especially fine arts. the centenary of the late Archbishop’s birth. Exhibition of relics belonging to Archbishop The collection highlights Makarios’ Makarios III love of arts and culture, and his desire An exhibition of relics belonging to Archbishop to endow the newly-established Makarios III, such as manuscripts, documents and books, provided by individuals from his Republic of Cyprus with cultural immediate environment, collaborators, friends, infrastructure. admirers and those who continued his work

15 Archbishop Chrysostomos II inaugurates the exhibition

16 after his passing in 1977. The presentation of classicism and Romanticism. The collection the exhibits elaborates a unique ambiance for includes landscapes and portraits, as well as visitors to feel the Archbishop’s physical and works with themes from the Bible and mythol- spiritual presence and takes them back through ogy. The works, mainly oil paintings, were cre- time and Cyprus’ history. The robe he wore on ated by artists of the major Western European the day of the coup d’état in 1974, three burnt schools, such as the Italian, French, Flemish, manuscripts, a painting and a book riddled with German and Spanish. bullets, are some of the exhibits which stand The exhibition is open at the Archbishop Ma- out by themselves. karios III Foundation on Archbishop Kypri- anou Avenue in old town Nicosia, from 9:00 Makarios and the Fine Arts through paint- am until 1:00 pm and 2:00 pm until 4:30 pm. ings, drawings, sculptures and photographs Further information on the Foundation is pro- Archbishop Makarios III was well-known for vided at www.makariosfoundation.org.cy. his love of Art. On his visits to exhibitions in Cyprus or abroad, he used to buy paintings and sculptures in his bid to support artistic creativ- ity. Feeling the force of his love and support, and inspired by his diverse work and power- ful persona, artists reciprocated by creating art depicting the Archbishop as a visionary leader for his people. With their compositions, artists transformed Makarios into a symbol of unity and struggle. This section includes works donated by artists and state leaders, such as the Chinese communist revolutionary, Mao Zedong, to the late Archbishop himself. The exhibition also presents cultural works that were of particular interest to Makarios, such as the Rhodian am- phora from the Kyrenia ship wreck.

Collection of paintings acquired by Archbishop Makarios III in the 1960s This section presents a collection of western Makarios by George Mavroides, 1977, oil, Αrt Gallery AMF European oil paintings from the 16th-19th cen- turies, purchased by Archbishop Makarios III in the 1960s from the famous collector and an- tiquity lover, Nicos Dikaios, Consul of Cyprus in Lyon, France. The collection highlights Ma- karios’ love of arts and culture, and his desire to endow the newly-established Republic of Cyprus with cultural infrastructure. His vision was to create an art gallery as part of a cultur- al centre, which was achieved a year after his passing with the establishment of the Archbish- op Makarios III Foundation in January 1978. Part of the collection covers the major stylistic art trends of the 16th-19th centuries, such as Re- naissance, Mannerism, Baroque, Rococo, Neo- The Death of Makarios (Thanatos Makariou), Rhea Bailey

17 The World of Cyprus

24 April-6 October 2013

he unique painting, The World of Cyprus fee shop somewhere on the Mesaoria Plain, Tby renowned Cypriot artist Adamantios in Lysis, or in Assia or even somewhere near Diamantis, has finally returned to its roots in Lefkara. The people sit silently contemplating Nicosia, not a hundred metres from the place the years gone by and looking to the years to where it was created in the studio of the artist come. Do they know what happened in 1974, on 18 Onasagorou Street. and what is happening today? The amazing piece of artwork was brought And what of the citizens of today? Those who to Cyprus by the A.G. Leventis Foundation, come here to welcome them, become one with which is hosting the exhibit at the Leventis the Cypriots from another older era, in a con- Municipal Museum of Nicosia and later at the versation, a continuity of life. A.G. Leventis Gallery, from 24 April through There is something symbolic about the pres- to 6 October 2013. ence of The World of Cyprus among us; it gives The work was produced through 1967-1972, at us a kind of strength that springs from an older Diamantis’ studio in Nicosia and was exhibited age, from the traditional, time-honored values by the artist himself in Nicosia in 1975, just a of our homeland. few months after the Turkish invasion. It then The Leventis Municipal Museum of Nicosia went to the National Gallery in Athens and was is delighted to welcome Τhe World of Cyprus subsequently acquired by the Teloglion Arts home after almost 37 years.” Foundation of Thessaloniki University. The painting came back to Cyprus follow- Monumental work ing a decision by the Teloglion Arts Founda- tion of Thessaloniki and in the framework of By Eleni S. Nikita an agreement between the Teloglion and the Adamantios Diamantis painted this monumental A.G Leventis Gallery for exchanges of exhibi- work between 1967 and 1972. As he reveals in his tions, works of art and educational and research book The World of Cyprus, A Narrative, the paint- projects with the A.G. Leventis Gallery and the ing was created out of an imperative inner need. Leventis Municipal Museum of Nicosia. Over years of wandering all over the island he had The A.G. Leventis Foundation believes that the made hundreds of sketches in which he imprinted return of the work to its birthplace will give a all the elements that made up the character of the sense of strength to Cyprus today in the midst landscape and of the people of his homeland. “It of the crisis, with the constant, firm and time- was the best world I knew. Rough, heavy, and less values of its characters and characteristics, sure of what was right and wrong, it carried its as they were portrayed by Diamantis on canvas, ancient heritage on its shoulders”. This treasure and in the book entitled The World of Cyprus, trove had to be deposited somewhere in order to A Narrative, which accompanies the painting. set free and preserve the memory of the world he had discovered and painted ‘either as visitor or worshipper’. A world which ‘created a full and In the words of the Leventis measured life, with all the difficulties and narrow Municipal Museum of Nicosia limits of its means’. “The work, set out as its creator imagined it, This inspired and far-reaching composition appears to depict a group of people from the is made up of 67 figures. Sixty-one of these Cypriot countryside gathered in a square, a cof- were based on life sketches made by the art-

18 It is clear that through this work, Diamantis attempted to serve an idea, to give shape to the spirit of an age and a particular world

19 The work was produced through 1967-1972 at Diamantis’ studio in Nicosia ist between 1931 and 1959 in various Cypriot and completed the spacious houses…” In this villages. Only six of the figures were drawn work, women appear discreetly at a second directly from the artist’s imagination. Twenty- level: accurately refl ecting their presence in five older drawings done in various parts of the this traditional society. Women’s lives were de- island were used for the background landscape. voted exclusively to the family and they were always at the margins of social and political life The long narrow shape and large dimensions of “with the great strength of the mother always the work (17.5mx1.75m), as well as the syn- alive and dominant”. thetic structure with its carefully designed al- ternation of human figures, give it the form of a The work is made up of eleven canvases. The frieze: A frieze of the life of traditional Cyprus. artist unfolds his composition, moving symmetri- cally from the centre to the two edges, using the Despite the fact that the artist used recognisable pyramid-shaped layout of the themes which de- forms as his starting point, he transcended the velop along the width and/or depth of the paint- usual features of individual portraiture and in- ing, and the figures are portrayed freely in curved stead gave human types, symbolic forms that lines and organised in ovoid or cyclic forms. made up the world he knew and loved, and thus One of the greatest problems which he had to he moved from the individual to the universal. deal with was the colour-scheme of the work. The world of Diamantis is the world of the tra- After much thought and trial, he came to the de- ditional patriarchal society of the first half of cision to align his aesthetic approach to the outer the 20th century. “In these people I perceived and inner truth of this world. He therefore, chose the importance of a man who created a house- black and white as his basic colours. Indeed, hold, with a wife and sons and daughters, and black was the colour of the clothes the enslaved daughters-in-law and grandchildren who filled rayiades (all the Orthodox population under the

20 The amazing piece of artwork was brought to Cyprus by the A.G. Leventis Foundation.

world and on projecting the inner and spiritual content of his subject-matter. Diamantis stopped working on the painting in late 1972. Knowing how difficult it is to equate inspi- ration with expression, he decided to pull away, since the work had now acquired the strength and autonomy to continue its own independent life in an on-going dialogue with the viewer. It is clear that through this work, Diamantis at- tempted to serve an idea, to give shape to the spirit of an age and a particular world. The Turkish invasion and occupation of the island in 1974 put an end to the blissful serenity of the world of Cyprus. Villages were destroyed, people were uprooted from their homes, way of life and customs changed. This work, which Diamantis managed to create at just the right time, has now become a covenant, an ark, a monument which connects us to the pure un- Sultan) were legally obliged to wear. These two adulterated world “which broadened the feel- ascetic colours soon became part of the tradi- ings” for Greece of the poet Seferis - the man tion and consciousness of the Greek Cypriots. from whom Diamantis confessed that he bor- After centuries of life under the will of foreign rowed the title of his monumental work. conquerors, the people of Cyprus learned to live In 1975 (21 May-8 June), Diamantis exhibited the simply and frugally without luxuries and frip- work for the first time at the Cyprus Folk Art Mu- peries. The Cypriots withdrew into their own seum in Nicosia. The exhibition became a place world and made every effort to maintain all the of popular pilgrimage. Andreas Christofides de- characteristics of their race and continue their scribed it as “the recasting and overview of the na- existence, while at the same time reinforcing tional identity”. One year later, in 1976, the work their own national traditions. Against the garish was put on show at the National Gallery of Greece colours with which they identified the heathen as part of a retrospective of the artist and it was ac- conquerors, they set their own inner virtues. quired by the Teloglion Art Foundation for the Uni- Black and white, with all tonal hues between versity of Thessaloniki. A verbal promise was then the two, make up the basic colours of the work made to Diamantis: The work will return to Cyprus and give it its harmonious unity. To these two when conditions on the island made it safe to do so. colours Diamantis added a third, an earthy Due to the agreement between the Teloglion brown in order to give the necessary warmth to Art Foundation and the A.G. Leventis Founda- his composition. tion for the exchange of exhibitions and educa- Through his succinct and perspicacious draw- tional programmes, the work has come home ings, his refusal of any narrative, descriptive at a critical moment in our history. It has come or decorative elements and his chromatic aus- back so that, as the artist himself said, the fig- terity, the artist focused on the essence of this ures can talk about the wisdom of their world.

21 Cyprus Spring 2013

12-25 April 2013 - Munich

hen Cyprus was negotiating a rescue not affected by the economic crisis Cyprus is Wpackage for its economy in March, it ap- currently experiencing,” Mr Hadjimichael said. peared that there was no love lost between the The programme started off with the jazz con- island and fellow EU counterpart Germany. cert In the words of jasmine. Pianist Marios Ta- Less than a month later, the world of art and koushis and bassist Gabriel Karapatakis offered culture came to challenge this perception. the audience an array of well-known, but also Many were unsure of whether Cyprus Spring less-known melodies. The rich traditions and 2013 – a series of cultural events promoting timbres of the Eastern Mediterranean, along Cypriot artists, held for the eighth year running with traditional Cypriot melodies in differing at Munich’s vast and impressive Gasteig Cul- forms contrived to keep their authenticity, came tural Centre – would be welcomed as readily to coexist with modern jazz, offering the audi- as before. ence a unique musical experience. However, the reception was even better, accord- ing to Georgea Solomontos, Cultural Attaché A photo exhibition that captured more than at the Embassy of the Republic of Cyprus in just scenery Germany, which organises the institution every year in a bid to promote Cypriot art in Germany Visitors also enjoyed a photo exhibition, held at 2 and bring the local Cypriot community closer the Cultural Centre’s foyer, entitled 9,251 km . to its roots, and to its adopted homeland. The two participating photographers, George Pantazis and Nicholas Michael, traipsed the This year’s Cyprus Spring was marked by the entire area of the island, spanning 9,251 km², participation of renowned Greek and Cypriot in their bid to create this special dedication to artists, such as Alkinoos Ioannides, Savvas their homeland. Savva, George Kaloudis and Irene Demetria- dou, as well as the projection of award-winning The two artists not only captured scenery, sea, short movies by Cypriot directors. wild nature and the island’s history, but also feelings and emotions hidden behind unique moments. Cyprus Spring opening – a great turnout “Through their work, you will become ac- The series opened with great success on 12 quainted with the unrivalled beauty of the is- April, with some 200 people in attendance – land, from end to end, because art knows no German and Cypriot – including the Ambas- artificial boundaries,” Mr Hadjimichael ex- sador of the Republic of Cyprus to Germany, plained. “These photographs, through this truly Mr Minas Hadjimichael and Ms Brigitte von amazing display, demonstrate the unity and Welser, Managing Director of Gasteig Cultural lasting continuity of the Cypriot state.” Centre. Speaking at the launch, Mr Hadjimichael thanked the participating artists for their active Short Film Panorama role in making this year’s Cyprus Spring a real- The series continued with the Short Film Pano- ity and thus enabling continuation of the tradi- rama, a programme prepared specially for Cy- tion, despite the economic difficulties and par- prus Spring 2013 by the International Short ticularities. “The culture of a country, its natu- Film Festival of Cyprus in cooperation with Ms ral beauties, is one of the few things that are Solomontos. Visitors got the chance to view

22 “Art knows no artificial boundaries”

Irini Demetriadou and Savvas Savva - Whispers of the South

23 Marios Takoushis (left), Gabriel Karapatakis (right) movies, such as No Parking by Soteris Chris- Georgea Solomontos: The woman behind tou, Eleni’s Olives by Yianna Americanou, Cyprus Spring Anna by Spyros Charalambous and Pharmakon “With the Cyprus Spring series, we have man- by Ioakim Mylonas. aged to create a cultural institution, which holds The Panorama was followed by a concert with a special place in the cultural scene of Munich. Alkinoos Ioannides, the world-renowned Cyp- When I organised the series for the first time in riot singer, songwriter, musician and composer, 2006, I knew that in order to project Cyprus, our who was accompanied by his musical partner culture and our artists, we would have to create Yiorgos Kaloudis. The series of cultural events something with continuity, because without it we closed on 25 April with the musical night Whis- would just be creating a bubble and nothing else,” pers from the South. This is the most recent Georgea Solomontos noted. work by the Cypriot composer and virtuoso, “In Munich, all cultural events are held at the Savvas Savva, comprising atmospheric, peri- Gasteig Cultural Centre, which hosts chamber phrastic melodies in a unique open musical music concerts, theatre, jazz music, movie pro- form for piano and cello. On the cello, young jections and has areas large enough to host big musician Irene Demetriadou gave an outstand- concerts. Our reasoning was that by having this ing performance. multi-area, which can accommodate everything Cyprus Spring has now become an established with the help of a successful programme, we institution in the Bavarian capital. In its eight would win the audience of the area itself. And this years of existence, it has hosted some 160 art- is exactly what happened. The main audience of ists, with all themes involving Cyprus. Cyprus Spring, as strange as it may seem, is the

24 “We have managed to charm, excite, enthral and win over the German public, which we can now describe as Cyprus-friendly”

German public; the audience that we basically member-states of the European Union. And this aimed to approach.” is precisely what makes our cultural presence in Ms Solomontos added, “Over the past two years, Germany so special and unique,” Ms Solomontos we have also started to attract the interest, slowly stated. and reservedly, of the Greek public. The Greek The initial small number of visitors has now community in Germany appreciates the fact that reached 200 to 300, while the programmes (ap- we are not just presenting the customary events proved in prior by the Cultural Services of the preferred by various other Greek bodies abroad, Ministry of Education and Culture) year by year which are aimed at the communities simply be- receive a warmer welcome by the audience. Peo- cause there is the feeling that only thus will they ple in Munich still talk about Othello’s Revenge, be able to offer a sense and taste of the homeland.” directed by George Rodosthenous with actors from London, which was presented in Cyprus Spring in 2011. Raising the cultural stakes In its eight years of existence, the Cyprus Spring Cyprus and Germany: friends not foes series of cultural events has presented shows by “With the Cyprus Spring series that we organise around 160 artists from Cyprus, Germany and every spring in Munich; Cyprus Moments or- elsewhere, the themes of which revolve around ganised every November in Cologne and Bonn; Cyprus. the new institution we launched this year in Ber- “I would like to highlight how important it is lin – late February, early March – called Cyprus for us to have the participation of foreign art- Miniatures, as well as our regular appearances in ists. With their contribution, Cyprus Spring has other German towns, we have managed to charm, succeeded in building bridges and overcoming excite, enthral and win over the German public, nationalist boundaries, which unfortunately con- which we can now describe as Cyprus-friendly,” tinue to maintain a strong presence in Europe and Georgea Solomontos further noted.

Alkinoos Ioannides Irini Demetriadou - Whispers of the South

25 Culture: A Life Affair

Publication dedicated to Yiannis Katsouris

The edition Yiannis Katsouris. Culture: A Life Affair

he literary world of Cyprus was deeply Services of the Ministry of Education and Culture Tsaddened when news emerged of the great published a book with the literary’s work, with intellect Yiannis Katsouris’ passing on 5 July, the help of his devoted wife Dina, entitled Yiannis 2010. Katsouris. Culture: A Life Affair. The man who was hailed as one of Cyprus’ Yiannis Katsouris was born in Nicosia in 1935 and after studying literature at the University most significant literary and cultural figures is of Athens and acquiring a doctorate from the sorely missed and always remembered for his University of Thessaloniki, he returned to his contribution to the island’s cultural scene. homeland and began working his way towards In its bid to honour and remember, the Cultural bringing culture to the forefront.

26 Yiannis Katsouris: The driving force behind Cyprus’ cultural life By Pavlos Paraskevas Director of the Cultural Services of the Ministry of Education and Culture

Yiannis Katsouris was undoubtedly a significant figure for Cypriot letters and one of the main driv- ing forces behind Cyprus’ cultural life and creativ- ity for 50 whole years. An award-winning novelist, but also a passionate researcher of our country’s history of literature and theatre, he sealed our contemporary cultural profile with his intense personality. Having served as a Professor of Greek literature for almost a decade in secondary education, he later served at the Educational Service Commis- Yiannis Katsouris - Photo provided by the Union of Cyprus Writers sion (1968-1995). During his term, the Service was upgraded to a department and named Cultural Services of the Ministry of Education and Culture. port and willingness to cooperate in order to publi- cise this book, which is very aptly entitled Yiannis He was the first director of the Cultural Services Katsouris. Culture: A Life Affair. (1992-1995) and among his greatest achievements was the establishment of the Kypria International A great bulk of Yiannis Katsouris’ intellectual Festival, the creation of the House of Cyprus in work is presented in the book: studies, articles, Athens, the establishment of very important pub- feuilleton and other texts, which were separated lishing programmes – such as the series Greek into categories namely “For Art and intellectual Literature of Cyprus, Young Cypriot Writers and creation”, “Poetry”, “Prose Themes”, “Theatri- Memorial Lectures – as well as the implementation cal Studies”, “Book reviews and notes”, “For the of important conferences and symposiums on the world of yesterday: feuilleton” and “Articles”. The Greek literature of Cyprus. volume concludes with Yiannis Katsouris’ bibli- His contribution to the literary life and movement ography (non-monographs, first publications and in Cyprus was substantial, either through literary selected unpublished texts) and indexes for names, societies, such as the Union of Cyprus Writers, or terms a nd facts. as a member of the editorial team for magazines, The archival research and literary editing were car- such as the Kypriaka Chronika (Cyprus Chronicles, ried out with a lot of love and special care by phi- 1960-1972) and Aneu (Without, 2001-present); or lologist and writer Leonidas Galazis, to whom we as a tutor at the Satiriko Theatre’s Drama School. extend our congratulations and warm thanks for his Recognising the amplitude and weight of his intel- excellent work. lectual contribution to our contemporary cultural Thanks are also due to Senior Education Officer, profile and wishing to pay proper tribute, the Cul- Nicos Nicolaou, who was responsible for coordi- tural Services contacted his wife, Dina Katsouri, nating the whole effort, from the start through to and secured her approval and her unwavering sup- its completion. Yiannis Katsouris was Finally, I would like to extend warm gratitude to undoubtedly a significant Yiannis Katsouris’ partner in life, the poet Dina Katsouri, who embraced the venture with special figure for Cypriot letters. love and supported it in every possible way.

27 University of Cyprus honours Costas Gavras

9 April 2013

he Faculty of Letters, the Senate and the suffering the worst economic crisis in its history. It TCouncil of the University of Cyprus unani- is an “incredible coincidence to welcome the great mously bestowed the title of Honorary Professor political thinker, creator and artist to a Cyprus that upon Costas Gavras, a world-renowned Greek has been brought to its knees”. film director, scriptwriter, humanitarian and intel- lectual who has served the art of filmmaking for Humanity tested by systems and money half a century. Costas Gavras, better known by his professional name Costa-Gavras, has played a de- “Corruption over money had pushed humanity fining role in the development of filmmaking and into a global society, in which only capital is inter- is considered an important representative of the national and it imposes its own law. For as long as Greek culture and scholarship in the international capital prevails over human rights, humans will be enslaved to money and there will be no continuity. scene. Dedicating his life to Arts and Letters and Europe and its youths will have no future,” Costas being himself a champion of freedom, social jus- Gavras said among other statements in his accept- tice and politically minded, Costa-Gavras’ work is ance speech. consumed by a vigilant political conscience, com- batant refl ection, and sensitivity towards political “Human rights are already empty words for many. and social realities. […] I believed in resistance; resistance and inven- tiveness, which have saved Hellenism and Cyprus The work and persona of the university’s 80-year- through the centuries,” he noted. old honorary Professor were presented on 9 April by the Professor of the Department of Byzantine During an open discussion that followed, Costas and Modern Greek Studies of the University of Gavras referred to today’s economic crisis, not- Cyprus, Mr Michalis Pieris, who projected ex- ing that our own worst enemies are our systems, tracts from the filmmaker’s work. which he deemed hostile to democracy, and mon- ey, which he said had become a religion. “People are ready to do everything for money. This is what Not just a filmmaker needs to change and this is a matter of education “With his attention turned firmly on social and culture. The solution to the crisis is Europe it- problems and personal tragedies of everyday self, which however needs to redefine its values,” people, he often approaches his topics through he stated. the visual art of documentary,” Pieris said. “He not only wants to convince his audience, but The life of the great Costas Gavras also sensitise them politically, and resist be- Constantinos Gavras was born in Arcadia, coming indolent when hatches and abysses are Greece, in 1933. His family spent the Second opening around him, swallowing people, states World War in a village in the Peloponnese, mov- and countries.” ing to Athens after the war. His father was an But Costas Gavras is not merely a top figure in active and vocal left-winger who belonged to the political cinematography, Pieris pointed out; he is National Liberation Front (Ethniko Apelefthero- a key topical creator, because he refuses to run be- tiko Metopo, EAM). Due to his political beliefs, hind or alongside events, instead choosing to pre- he was jailed, lost his job and his family was pare for events to come. blacklisted. His father’s political blacklisting not Gavras’ arrival on the island could not have come only barred Costas Gravas from Greek universi- at a better time, the professor added, with Cyprus ty (the Greek junta was requisite for a Certificate

28 Costas Gavras of Good Conduct to attend a university and that He changed his name to Costa- was automatically unavailable to a boy from a left-wing background), but denied Costa-Gavras Gavras when he got into movies. a visa for US film school. That is why after high me. The future was closed. I belonged to a social school Costas Gavras went to France, where he class that did not have a lot of rights.” “What class began his law studies in 1951. was that?” the journalist asks. “The poor,” Gavras says simply. “Part of me is always Greek” Costas Gavras has lived in France, his adopt- “I didn’t go to France, I escaped to France,” he told ed country for the past six decades, though he local newspaper, the Cyprus Mail during his re- has never spurned his Greek roots. “I feel very cent visit to Cyprus. “Greece had nothing to offer Greek. I feel much attached to France because

29 “I believe in people being free. I believe in democracy, true democracy, not the kind we have today”

France gave me everything – but a part of me “I don’t think there is only one truth” is always Greek. You know, I’m from the Pelo- Despite his acute interest in politics, Gavras ponnese. The climate of Arcadia, the water of says he never became involved in the political Arcadia, it gives an energy!” scene, because he does not think there is only He changed his name to Costa-Gavras when one truth – as opposed to politicians who offer he got into movies. He is best known for politi- an ideology; a “truth”. cal movies like Z (1969) and Missing (1982), for He believes Europe’s downfall is due to the fact which he won an Oscar. In fact, Missing (a tale of that it is built on an economic foundation, instead a CIA involvement in the Chilean coup of 1973) of a political or cultural one and proclaims that it led to quite a controversy and prompted furious lacks a political ideology that binds it together. protest from the State Department. Gavras says he is not one for beliefs, though he That did not stop Gavras from embarking on a does have some. “Not what Christians say, that we successful career, directing the likes of Jessica have to love others as we love ourselves – that’s Lange and Dustin Hoffman in films like Music impossible, I only love a few people – the rest I Box (1989) and Mad City (1997). respect; I respect their dignity. I believe in that deeply. I believe in people being free. I believe in His latest film Le Capital (2012) takes view- democracy, true democracy, not the kind we have ers through the story of a European investment today,” he told the Cyprus Mail. bank, desperately clinging to power when an Even at 80, Costas Gavras is still always preparing American hedge fund company tries to buy projects or writing scripts. His wife Michèle Ray- them out. Gavras is his producer, while his children, Roman Looking back on the films he has made, Cos- and Julie, are both filmmakers. Costa-Gavras was tas Gavras boldly says, “There isn’t a single one president of the Cinémathèque Française from where I feel I was wrong.” 1982 to 1987, and again from 2007 to the present.

30 Cyprus Film Days 2013

inema lovers enjoyed outstanding cin- ed an international competition section entitled Cematic gems at the 11th edition of Cyprus Glocal Images, showcasing films from Cyprus Film Days 2013, which hit the big screens of and across the globe. All films in the competitive Rialto Theatre in Limassol and Zena Palace section were selected by the festival’s artistic Cinema in Nicosia, from 19 to 28 April 2013. committee, formed by Mr Adonis Florides (film Some of the most awarded films of the year director/writer), Dr Costas Constandinides (As- alongside new voices and established filmmak- sistant Professor of Film Studies) and Mr Con- ers from the international independent cinema stantinos Sarkas (Film Journalist). were screened. This year’s ten-day programme A special section in Cyprus Film Days was dedi- showcased local and international productions, cated to Viewfinder: A Close-up of Contempo- special tributes, parallel screenings, workshops rary International Cinema; a non-competitive and music events featuring some of the year’s section hosting awarded films of the past festival most talked about films, along with a series of year selected according to criteria set by the Ar- events that ran in parallel. tistic Committee. This year’s programme show- The 2013 edition of Cyprus Film Days also host- cased films whose common characteristic was The Best Film Award was presented to Reis Çelik from Ardahan in eastern Anatolia, for his film Night of Silence.

The award Replica of a human fi gurine from the neolithic settlement of Chirokitia

31 Oikopedo 12

the creative need and the advancement of critical The Special Jury Award was thought. All the films included in Glocal Images and Viewfinder premiered in Cyprus. given to Cypriot director Kyriakos Cyprus Film Days, co-organised by the Cul- Tofarides for his movie Block 12 tural Services of the Ministry of Education and (Oikopedo 12). Culture and Rialto Theatre, aims to promote Cypriot and international cinema by supporting Special Jury Award, Catalin Mitulescu. They and featuring the work of independent filmmak- awarded the prizes as follows: ers, showcasing emerging talent and becoming The Best Film Award was presented to Reis Çe- a meeting point for filmmakers from the three lik from Ardahan in eastern Anatolia, for his film continents surrounding the island of Cyprus. Night of Silence. The movie is set in a remote part of Turkey and focuses on arranged marriages, whereby neither the bride nor the groom is given Glocal Images Competition a choice, while it also looks at what happens when Glocal Images included films that depict local a much older man marries a young girl. Accord- nuances, while at the same time extracting sub- ing to the Jury, the film won the top prize “for the jects and stylistic choices from the dominant beautiful simplicity of a story told in a strong and forms of contemporary international cinema. tender cinematic way”. The three-member International Jury, which The Special Jury Award was given to Cypriot awarded the winning films from the Glocal director Kyriakos Tofarides for his movie Block Images competition, comprised the Israeli film 12 (Oikopedo 12), a film that delivers a unique producer Katriel Schory (President of the Jury), viewpoint on the issue of Cyprus’ natural re- the German film producer Marion Döring (Di- sources. The Jury awarded Tofarides “for tak- rector of the Secretariat and Executive Pro- ing up the challenge of portraying a society at ducer at the European Film Academy) and the a moment of severe crisis with a good dose of Romanian director and last year’s winner of the humour and sympathy”.

32 The Rialto Theatre in Limassol

The Glocal Images Awards

33 Night of Silence

Moussa Tourré’s film La pirogue, a story of a koitia constitutes the most impressive example group of people ready to risk everything for of the initial establishment of sedentary com- a better future, received the Glocal Images munities on the island and the development of Award. “The film takes on a journey full of an original civilisation: the Cypriot Aceramic perils, led by strong and well-defined charac- Neolithic. These communities originated from ters and provides an insight to the big issue of the neighbouring mainland and settled in Cy- migration nowadays,” the Jury said. prus at the end of the 7th millennium B.C. bring- Honorary distinction was awarded to The pas- ing with them plants and animals unknown un- sion of Michelangelo by Esteban Larraín, while til then to Cyprus. The particular figurine of the the Audience Award was given to The Angels’ Glocal Images awards derives from this period. Share by Ken Loach. The films Queen by Mo- Choirokoitia, Kalavassos-Tenta and Sotira are hammad Ali Bashe Ahangar and Boy Eating the the most representative Neolithic settlements. Bird’s Food by Ektoras Lygizos were awarded Τhe excavations in these settlements have un- equally with the Student Jury Award. earthed interesting evidence about the every- day life and the occupations of the Neolithic The story behind the Glocal Images Award settlers of the island. They have also revealed statuette clues about the worship of the goddess of fertil- ity, burial customs and the basic coordination Τhe Glocal Images Award presented by the In- of the inhabitants. ternational Jury to the winning films competing have, since 2012, depicted the shape of a stone The worship of the goddess of fertility was ar- human figurine from the Neolithic period, tistically expressed with the creation of small which was found at the Neolithic settlement in statuettes, known as figurines, with Neolithic Choirokoitia (Khirokitia), dated around 7,000 figurines constituting the first attempt to recon- – 6,000 BC. struct the human figure. The sculptors of the The Neolithic Period is considered one of the time created stone figurines, which carry ‘sim- most important periods in the island’s history. It plified and basic human characteristics’ . is during this time that prehistoric man upgrad- The site of Choirokoitia was discovered in 1934 ed his life; searching for permanent housing, by Porphyros Dikaios on behalf of the Depart- domesticating animals (mainly sheep and pigs), ment of Antiquities. In December 1998 the site cultivating the land, shaping the stone and cre- was inscribed on the UNESCO World Cultural ating pottery vessels. At the same time, Choiro- Heritage List.

34 George Kepolas

Artist George Kepolas

he artist George Kepolas, who specialises in says. “I said (to the German channel), in Cyprus it Tmosaic art, was recently contacted by the Ger- rained recently and it is a beautiful island with won- man state broadcaster on 26 March to discuss his derful fl owers and fresh fruit. So we are ok and we work and comment on recent developments in Cy- are happy. It gives out the message that life can be prus’ economy. The artist decided to respond using hard, but nature continues to thrive.” the words of a man close to German hearts, theatre Mother Courage and Lilies, along with a number th practitioner of the 20 century, Bertolt Brecht. In- of the artist’s other works, are being exhibited at spired by Brecht’s 1939 homonymous play, Mother the Byzantine Museum in Nicosia, from the start of Courage and Her Children, and the Blue Period of January until 31 July. Pablo Picasso, George Kepolas created his work: Mother Courage. But this is just a fraction of George Kepolas’ incred- ible work and his amazingly sound personality. “With all of this in mind, I started searching for the various colours of stone that would give me the abil- ity to create a mosaic that captures this haze that has Works of Patience crushed our country and its people,” the artist ex- George Kepolas does not know what his friends plains. criticise him for, but he believes that they have But George Kepolas was also eager to show there something good to say about his patience. In was a bright side to the whole affair. an excerpt from his book entitled The Works “I also made a picture of lilies to go with it, so as to of Patience, the artist explains where he draws not just give out the grim side of things,” Kepolas the strength and patience from to create his

35 George Kepolas’ book The works of patience

It is not all doom and gloom: George Kepolas’ Lilies

The mosaic Mother Courage amazingly detailed mosaics, with colourful As they grow, the pain and their burden become as stones hand-picked by himself on lengthy treks heavy as a mountain. He wants me to make him a through the western part of the island. mosaic, hoping for a miracle that is long overdue. “For endless hours, in the tight space of my work- I return to my workshop. Pambos on the radio keeps shop, amongst books, drawings, old diaries and me company, playing ‘Beautiful City’ by Mikis The- every kind of stone, I patiently create my works. odorakis. Music always has a way of transporting us The telephone rings. I set off for Mr Yianni’s house. to better worlds. A large photograph of his son, who died in a car ac- I review my drawings, organise my materials and cident, hangs on the wall. His other two children cut the stones in preparation for an adventure whose have an intellectual disability and are handicapped. outcome is always unknown to me. I do not com-

36 plain about my hands, but my eyes tire all the more where he wished to place a mosaic. easily as the years pass. I make some coffee and sit At the time, George was submerged in the books of outside in the garden. The bees and butterfl ies fl y the Holy Bible and the hymns of the Church in order freely, like the souls of dear lost friends. to find fitting verse, which would conjure images We once had a friend called Andros. Of the fifty and by extension, mosaics. He had already finished years that he lived, he spent thirty of them in a wheel- nine parables (1983-88) and had to begin the second chair. His mother passed away with grief on her lips phase with 16 smaller mosaics. and in her heart. Nova from the Philippines arrived, “I was worried. I lost my cool and peace of mind. as a housekeeper and later as a wife. ‘It was the hand I had never undertaken such a large mosaic, not of God’ softening the injustice that befell him. So we even with my teacher, Pavlos Sarfatis, when I was can draw courage from the anxiety of daily life. in Greece. Besides, for that particular space, a purely Despite these tragedies, Cyprus is a beautiful island. religious mosaic was not appropriate, but rather Its mountains, its beaches, its zivania, its fruits and something from the history of Cyprus. Indeed, the its wild fl owers have kept their fragrance; an endless dimensions of the work called for a journey in time,” source of inspiration and a continual shifting between the artist admits. the beauty that you cannot resist and the troubles of George Kepolas designed a mosaic that presented the people that you cannot bypass. the historical course of Cyprus from the 12th to the Night falls. I close my workshop and return home. 20th century, with the focal point being the image of On the way I pick up some bread and milk from the Panayia of Kykkos (Virgin Mary of Kykkos). For the bakery. We sit down for dinner and watch the news edging around the composition, he created a vine- on the television. War, earthquakes, storms, diseases yard with birds of Cyprus. and hunger for the greater part of the planet. An infi- “I designed the work with (his brother) Alkis’ nite ocean of pain, despair and patience. help. For the small space of our workshop, it was From this ocean, I took one drop of patience and it an enormous undertaking. I had to use the two was enough for me to create mosaics of a hundred large walls, for the complete mosaic in my mind, lifetimes.” there was no separation,” the artist says. “In creat- ing mosaics, and in contrast to painting, one must The Mosaics of Kykkos complete the work in one’s mind. Changes along the way are not impossible, but rather are very dif- In 1988, the Abbot of Kykkos, Archimandrite Niki- ficult and time-consuming.” foros, asked George Kepolas to view a space located in the conference centre, which was under construc- In fitting the mosaic pieces, he collaborated with tion next to the Archangelos Monastery in Nicosia. the mathematician, Nicos Christodoulides and with At the entrance of the building, there was a large wall Constandinos Christou. measuring three metres high by eight metres wide, “After two and a half years of daily labour, we com-

The arrival and carrying in procession of the Icon of Panayia tou Kykkou in Cyprus

37 pleted the work. I was not worried at all about the Troodos Mountains. mounting. The builder who helped me, Andreas “Driving down steep coasts and deep ravines, even Stylianou, and the blacksmith, Takis Christodoulou, with a four wheel drive, is difficult and has many were so good that they left no margin for error.” pitfalls. Often we have to walk several kilometres, Using 150 different colours and about 200,000 loaded with heavy stones, to return to the car; but, tesserae, the finished mosaic was handed over four what an unspeakable joy, to hear beside you the roar years after it was first requested, in May 1992. of the sea or the infinite gurgle of the river as they wash over their riches.” Searching for beautiful stones The stones that they usually find on a journey such The search for beautiful colourful stones in nature as this are red, yellow, ochre, green, black, white and is quite an adventurous matter, according to George grey, as well as shades of blue. Kepolas. “Like everything in the universe, it is a magical thing, The artist’s portrait as the poet would say. It is this magic that gives us George Kepolas was born in Athienou, Larnaca the strength and patience to rise before dawn, leav- in 1956 and is the second of six children of Evan- ing behind the warm comfort of the house and the thia and Costas Kepolas. After graduating from sweetness of morning sleep,” says the artist. the Pancyprian Gymnasium in Nicosia, Kepo- Having loaded his tools – axe, crowbar, hammer las set out to New York where he studied paint- and pick – into the car the previous day, he picks ing at the Academy of Fine Arts. In Athens, where his friend Antonis up (a friend and colleague who he lived for three years, he specialised in wall has a four-wheel drive pick-up truck) and heads painting and mosaics. In 1984 he established, off on the long journey to Paphos, Akamas and the together with Alkis Kepolas and Nicos Christo-

George Kepolas’ painting Sometime (Kapote)

38 doulides, the Icon Painting and Mosaics Workshop. calendar with thirteen mosaics. In 2007, his book Samples of his work are illustrated in Cyprus and Works of Patience was published in Greek, English, abroad. He has also illustrated the book Nicosia with German and Russian. poems by Michalis Hadjipieris and Nesie Yiasin and His wife is Flora Tsiola from Kontea and they have the collections of poems by Michalis Hadjipieris, A plait of sun and Where the dreams are silenced like two children, Constantinos and Panayiota. a sin. In 2006 he illustrated the Hellenic Bank wall www.kepolasmosaics.com

39 Cyprus in Di-Egy Festival 0.1

27 March-10 April 2013

he fi rst Digital Art Festival in Egypt – better space created to support in equal measure, the real, the Tknown as Di-Egy Festival 0.1 – is a festival surreal and the imaginable, creating new realities in a comprising a conference, exhibition and workshops, unique environment, which took advantage of all the which took place from 17 March to 10 April in Cai- potentials that digital technology has to offer today. ro, Egypt. In the artist’s words: “All is nothing but a storytell- Artists Achilleas Kentonis and Maria Papachar- ing. Waved stories with moving images create small alambous presented two digital works at the festival; ephemeral monuments of everyday life blended C.u.water and La Caravan De Mix Mots, respec- with the unexpected, small forgotten stories invad- tively. They also presented a paper at the conference, ing the virtual space via the collective imagination entitled Image as an Avatar and Metaphysical In- and memory. Maybe we are just images watching terfacing, which boldly attempts to experiment with us as images.” the metaphysical and turn image into action, with the simple use of a mathematical formula. C.u.water Achilleas Kentonis’ video installation / projection La Caravan De Mix Mots C.u.water is a mental exercise of a scenario where Maria Papacharalambous’ work, a five-minute innocence is confronted with the coexistence of looped video installation, is a poetic digital weaving, the opposites. The artist explains: “There are times which went far beyond the narratives of the context: A where distraction and a kid’s toy have the same aes- challenge with a challenge, a scene within a scene, a thetics; at least to the ‘eyes’ of the water. Like two space within a space and finally, a time within time. A incidents which are forced to coexist in the two-

Achilleas Kentonis presenting Image as an Avatar and Metaphysical Interfacing

40 Stills from Maria Papacharalambous’ installation La Caravan De Mix Mots Finally, it is all about storytelling. There are three pa- rameters that will always be the base of human evo- lution, say the artists: art, philosophy and religion. In order to explore the element of dilution which is always present in our relation with the image, a “mathematical formula” is being introduced in order to dare and experiment with the metaphysical ele- ment and turn image into action; a more telekinetic translation of an image. In this paper the results of years of exploration into scientific and artistic re- search in the field of body electromagnetics, geo- magnetics and the human thinking as energy and thoughts as chemistry in the body. Humanity is at a layered virtual space of a projection – a challenge cross point of its evolution and now is the best time to the digital language itself, describing the blend of to intervene into the thinking process and shift it to virtual and artificial. It is choreography of the two, the more anthropocentric. which becomes real when entered into the sphere of the personal narrative of the viewer; or maybe it’s The formula is as follows: not a viewer but a director instead.”

Image as an Avatar and Metaphysical Interfacing Starting from the fact that our natural sensors (our [GM] Global state of mind five or even six senses) are still limited in relation [F] Fluid image - a multi-interpretation of image to the existence of a multi-layered universe we live based on perception and beliefs of the user in, we have no other options than to develop an al- [Φ] Metaphysical variable - a variable based on the ternative way to excavate what is “true” and what ability and training of the user is “real” in relation to the human, the divine and the [BF] Information bio-feedback - experience in the intellectual. The artists would rather substitute the body can be looped, amplified or blocked word “fiction” with the word “mythology”, which is [I] Information saturation more real in the sense that it goes back thousands of years, unifying cultures by having common stories, [M] Mechanical or physical result common heroes and common questions. [E] Energy produced out of curiosity

41 Fine Arts in Athens, Greece and continued with post-graduate studies at the Faculdad de Bel- las Artes, Universidad Complutence in Madrid and at the Universidad de Castilla la Mancha, Cuenca, Spain. She completed her studies in Athens National Conservatory. As a researcher, she focuses on philosophy and alternative psychology, blending it with art, cre- ating socio-artistic and activistic work/ projects Stills from Achilleas Kentonis’ video installation / projection C.u.water and presenting them in galleries, alternative spaces, conferences and academic institutions. [email protected]

Maria and Achilleas together as visual artists Maria and Achilleas have collaborated in dif- ferent disciplines of artistic projects. Together or individually they have represented Cyprus in European and international Salons and ex- Achilleas Kentonis hibitions, such as Biennales and Triennales, in the fields of painting, photography, engraving, Achilleas Kentonis was born in1963 in Nicosia, where he lives and works. He studied Engineer- architecture, stage and costume design, instal- ing, Physics and Fine Arts at the University of lation, video art and short films (experimental, South Alabama, USA, and at the Universidad animation and documentary). They also or- de Castilla la Mancha in Spain. He also stud- ganised or participated in various international ied Mastering Innovation & Design Thinking cultural events, symposiums, conferences, at the Massachusetts Institute of Technology in seminars and lectures, where they presented ur- Boston, USA. ban interventions/actions, online projects, geo- political art, international projects and artistic As a researcher and scientist, he participated in publications. research programmes at NASA, the University of Cyprus and the University of the Aegean. They have collaborated with various theatri- cal groups and the Cyprus National Theatre as As a researcher and artist, he presents papers at stage and costume designers realising seven- conferences and in scientific journals related to electromagnetics of the human body, geopathic teen theatre plays. Since 1999, they have cre- stress, creation of new electro-acoustic musical ated more than 35 short films and videos and instruments, and research on the perpetual, tel- received distinctions and awards for different ekinesis, social and philosophical issues. kinds of creations. [email protected] / They are the founders and the directors of AR- www.achilleas-kentonis.net Tos Cultural and Research Foundation, a con- temporary arts and science centre dedicated to

research and creativity, which was awarded the Maria Papacharalambous University of Cyprus Award for its Contribu- Maria Papacharalambous was born in Nicosia tion to Culture and Society in 2008. ARTos has in 1964, where she still lives and works. She won a series of EU cultural programs and es- graduated with distinction from the School of tablished a strong European network.

42 Storybox

The artist Antonis Tziarrides

nnovative artist Antonis Tziarrides presented A portrait of Antonis Tziarrides his first solo exhibition of paintings entitled I Born in 1980 in Larnaca, Antonis Tziarrides grad- Storybox at Gallery Kypriaki Gonia in Larnaca uated from the Academy of Fine Arts in Rome. between 6 and 19 March 2013. He has participated in various group exhibitions in Cyprus and abroad and he is one of the two Through a unique creative method of making use artists who established the spyrA team in Larnaca. of old photographs and adding a burst of colour, Storybox offered art lovers a refreshing new ap- In 2004 and whilst still in study, Antonis Tz- proach to the world of art. “Antonis Tziarrides iarrides opened the Synarto Collection Gal- attempts to overcome the present and instigate a lery, organising various events of a pioneering transformation of memories by employing fairy nature, as well as a variety of exhibitions and tales with references and allusions to social history, video projections. In 2005, he co-organised a surrealism and a personal romanticism. Exploring decoration and a stage design seminar-work- the myths – such as that of Ariadne – he unfolds the shop in Larnaca in cooperation with the Gens clew with the viewer, taking creator and observer Italica Academy and the Municipality of Lar- on a journey through the world of memories,” says naca. He was also in charge of costume and art historian, Dr Tonia Loizou. scenography for The song of the dead brother,

43 a musical play produced in the same year. of interactive methods and emotional expres- sion at spyrA.art.studio. In 2006, Antonis managed and coordinated the lecture Child and art, a project on how art can impact on a child’s life. His work has been ex- A note from the artist hibited in Cyprus and Italy, where among many events, the artist took part in the Nuove proposte The whole idea of the exhibition started quite d’arte exhibition in Rome’s Gallery La Pigna, a a while ago when I happened to come across group exhibition on Peace at the Museo storico a box filled with photographs in an abandoned della Fanteria in Rome, the seminar Art and house. It is extremely interesting to take an old therapy at the Tor Vergata University in Rome, photo depicting people you do not know and and the Gothic Architecture exhibition in Prague. start creating stories. Today, his paintings grace the walls of a number This is how I began making my own narratives of private organisations and private collectors, or adjusting them to well-known stories and fairy while he also teaches art to children with the use tales. I started by putting imaginary stories, those

44 with humour and stories by others, in the box and to want to hear them time and time again. created a world filled with magic and dreams. I I generally believe that romanticism, magic and chose to work with a number of fairy tales, be- humour are the desired ingredients, especially cause for me they are directly connected with nowadays. It is beautiful to get carried away the past, just like the photographs. The past has with a story and it fills you with strength, while romanticism like fairy tales have magic and by at the same time providing you with the ability hearing them, we each automatically create our to dream and set your own goals. own images. This is why I also created a wall installation I remember my grandmother telling me stories, with yarn that says KEEP DREAMING; it is each time the same ones, two or three that she very important for everyone to be able to dream, knew. Imagine the kind of talent she had for us each in their own way.

45 Collective Autobiography Installation by Maria Loizidou

7 March-10 April 2013

rtist Maria Loizidou’s new installation space remaining wide open, in the same way ACollective Autobiography, a personal in- that a garment, or even better a glove, keeps the ner view of her work to date, was displayed form of its content even when it is turned inside at the National Museum of Contemporary Art out. This inversion reveals the inner pockets (EMST) in Athens from 7 March until 10 April. of the furniture, where different works (small Her homonymous monograph was presented at sculptures, drawings, videos, notebooks and the opening night by the University of Athens books) from the artist’s atelier are displayed, Psychology Professor, Mr Klimis Navridis. unfolding her body of work spanning the past The Collective Autobiography installation was three decades. developed when Maria Loizidou’s monograph By crucially using an architectural arrange- was about to be published. Her personal inner ment, the old space of the furniture is organised view on the whole of her work since 1981 until with the addition of new display cases. Thereby today, was what triggered her inspiration for the the new form becomes both a landscape and installation; the redevelopment of an old ward- a still life, offering viewers the possibility of robe made of cypress wood (220x160x140) of having a more personal experience and differ- the early 20th century, which served the needs of ent interpretations of its content. a rural family in a small province. In the words of Maria Loizidou: “Collective It is constructed in a way that allows the furni- Autobiography, both the installation and the ture to be disassembled and reset to its original monograph, refer to the way we perceive the form, while offering the option of its internal space around us and particularly refer to the

Maria Loizidou’s monograph Collective Autobiography Maria Loizidou

46 interpretations we give to it. For example, a Moderne de Saint Etienne Métropole in France, shuttered space can be interpreted as a horrible the National Museum of Contemporary Art of prison cell, or as a protective shell where new Salonika in 2010 and the Benaki Museum in ideas are tested, emphasising the elements that Athens in 2008. combine our world and belong in our emotional The artist collaborated with the Métissage rather than our empirical sphere. French programme of the Ministry of Culture Collective Autobiography attempts to approach in France, and Le Musée de Beaux Arts in the dark side of humans, their emotional expe- Lyon, on a project in 2005. riences, which allow them to recall feelings, memories and notions in order to deal with She also collaborated with architect Alexan- their own lives.” dros Tombazis in 2007 to create L’apparition des anges, an installation at the entrance of the Church of the Holy Trinity in Fatima, Portugal. About the artist Maria Loizidou has been a member of the Maria Loizidou is a visual artist who par- AA&U Partnership for Architecture, Art and ticipates in international exhibitions and pro- Urbanism since 2006. grammes. She represented Cyprus in the Venice Biennale in 1986 and Biennale of Cairo in 2010. She For more information, visit the artist’s web- also participated in the Architecture Biennale site http://www.marialoizidou.com/ or the of Venice in 2004 and 2006. She collaborated National Museum of Contemporary Art at with various museums, such as the Musée d’Art www.emst.gr

47 13th International Pharos Chamber Music Festival

21 May-1 June 2013

he International Pharos Chamber Music Fes- Ttival stood its ground and went ahead, despite the uneasy economic situation in Cyprus, with its annual classical music celebration. The Festival has established itself as the most important annual classical music event on the island and has gained international reputation for its quality concerts and magnificent settings. “Guided by a visionary spirit and dedicated to artistic excellence and innovation, the Festival attracts over 2,000 visitors every year. […] At a time when our country faces enormous economic, political and societal challenges, the necessity of serious cultural events is often neglected, yet it is precisely during these difficult times that we need the inspiration and beauty that only the arts and music can provide,” the Pharos Arts Foundation points out. The Festival maintains a strong tradition of com- museum, which records the rich history of hu- munity service, with educational concerts arranged man activity in the region from about 2800 BC for students of public schools and a number of to the present day. The Royal Manor House, master-classes for young instrumentalists. which is part of the Cyprus Tourism Organisa- Organised on 21 May until 1 June 2013, the 13th tion’s “Aphrodite’s Cultural Route”, is also a International Pharos Chamber Music Festival UNESCO World Heritage site. Palaipafos, or welcomed to Cyprus some of the most remarkable Old Pafos, was a city-kingdom of Cyprus and artists on the international music scene for eight one of the most celebrated pilgrimage centres of concerts in three of the island’s unique venues: the ancient Greek world. It was the site of a fa- The Royal Manor House in the ancient village of mous sanctuary of Aphrodite, the oldest remains th Kouklia, birthplace of the goddess Aphrodite; The of which date back to the 12 century BC. Shoe Factory, a contemporary recital venue situ- The Shoe Factory is situated in Old Nicosia, ated on Ermou Street near the buffer zone in Nico- near the UN buffer zone. With the Shoe Factory, sia; and The Olive Grove, a world-class, open-air the Pharos Arts Foundation is revitalising this venue surrounded by the idyllic forest of Deliki- beautiful and historic section of the capital by pos, Nicosia. attracting a wide and diverse younger audience. All concerts at the Shoe Factory are character- ised by a unique intimacy, and the music is per- The Venues formed in an exceptionally inspiring setting. The The Royal Manor House in Kouklia is one Shoe Factory is a modern venue decorated with of the finest surviving monuments to Frankish contemporary art by mainly local artists and of- architecture on the island and an unparalleled fers audiences the unique opportunity to sit with- venue for intimate chamber music performanc- in an amazing proximity to world famous artists es. The building also houses an archaeological and experience performances in a performance

48 Mahan Esfahani - harpsichord space like no other. Tuesday 21 May 2013 The Olive Grove is a world-class, open-air con- The Shoe Factory, Nicosia Baroque Recital cert venue. It is relaxed and informal, promoting Mahan Esfahani (harpsichord) a palpable intimacy between the artists and the Michala Petri (recorders) audience. The venue is surrounded by the idyllic forest of Delikipos and is adorned with wooden Programme decks, shallow pools of water, Zen landscaping G.F. Handel (1685 –1759): Sonata in D, HWV 367 and uniquely atmospheric lighting. Audience for recorder & basso continuo members can relax on chairs, blankets and pil- J.S. Bach (1685–1750): Partita in C-minor for un- lows and enjoy a glass of wine while listening accompanied alto recorder, BWV 1013 to world class musical performances. The Foun- dation’s vision for the Olive Grove is to make G.P. Telemann (1683–1767): Sonata in C-major contemporary art less intimidating by creating for recorder & basso continuo, from the ‘’Essercizi innovative events that are fun and appealing Musici’’ without compromising the quality and vision of Arcangelo Corelli (1653–1713): Sonata in D, Op. the musical performances. V no. 12, ‘’La Follia’’

49 Michala Petri - recorders Elisha Abas - piano

Interval Recent and future highlights include appear- J.S. Bach (1685–1750): Sonata in F for recorder & ances with the Academy of Ancient Music, basso continuo, BWV 1035 Die Hamburger Sinfoniker, the Prague Sym- Alessandro Scarlatti (1660–1725): Partite sopra la phony chamber concerts, New York’s Frick Follia di spagna Collection, and at the major recital halls of Co- J.S. Bach (1685–1750): Sonata in G for recorder & logne, Vienna, Vancouver, London, Tokyo, and basso continuo, BWV 1034 Nagoya. Esfahani studied as a President’s Scholar at Stanford Mahan Esfahani (harpsichord) University under the guidance of the musicologist George Houle. He later went on to study harpsi- Hailed as the “leading harpsichordist of his gen- chord and organ with Peter Watchorn and Lorenzo eration’’ (Opera Today), Mahan Esfahani was Ghielmi. He currently benefits from the teaching born in 1984 and is the first harpsichordist to and advice of the celebrated Czech harpsichordist be named a BBC New Generation Artist (2008- Zuzana Růžičková. 2010). In 2009, he gave his solo recital debut at the Wigmore Hall, London, thus launching a Michala Petri (recorder) major career as a recitalist, concerto soloist, and Since her concert debut at the Tivoli Concert Hall in more recently, conductor. 1969, Michala Petri has established herself as one of classical music’s most beloved performers and the leading exponent of her instrument, the record- er. She has toured extensively throughout Europe, North America, Israel, Australia and the Far East, performing with musicians such as Pinchas Zuker- man, James Galway, Joshua Bell, Maurice André, Keith Jarrett, Gidon Kremer and Claudio Abbado and has appeared as soloist with many of the world’s major chamber and symphony orchestras. In 2006, together with Lars Hannibal, Michala Petri launched OUR Recordings. To date, OUR Recordings has released more than a dozen titles including the two Grammy® nominated Move- The Shoe Factory, Nicosia Baroque Recital ments and Chinese Recorder Concertos and the

50 on-going Dialogue East meets West series. ed Nations in New York, at the Smolny Cathedral in St. Petersburg, Israel Radio’s Kol Hamusica Fes- Wednesday 22 May 2013 tival, and the New York Chamber Music Festival to The Shoe Factory, Nicosia which he will return again this year. His concerto Piano Recital appearances have included Mozart’s No.23 with Elisha Abas (piano) the Simon Bolivar Symphony Orchestra in Cara- cas on invitation by Gustavo Dudamel, and with Programme Mahler International Orchestra in Berlin. He has Frédéric Chopin (1810–1849): Polonaise in C- performed Brahms’ Piano Concerto No.1 with the sharp minor, Op.26. No.1 (1836) National Symphony Orchestra of Cuba, Chopin’s No.2 with the Symphony Orchestra of Karelia, and Nocturne No.20 in C-sharp minor, Op.posth. (1830) Gershwin’s Rhapsody in Blue with the Staatstheat- Robert Schumann (1810–1856): Arabesque in C er Orchestra Kassel, with which he will appear major, Op.18 (1839) again in 2014 for Rachmaninov’s No.3. Forthcom- Kinderszenen, Op.15 (1838) ing concerts include Beethoven’s Piano Concerto Franz Liszt (1811–1886): Funérailles (1849) No.3 with the Israel Symphony Orchestra, and Interval return visits to the Symphony Orchestra of Kare- Frédéric Chopin (1810–1849): lia and the Simon Bolivar Symphony Orchestra Mazurka in A minor, Op.7, No.2 (1830-31) under the direction of Gustavo Dudamel perform- Mazurka in F minor, Op.7, No.3 (1830-31) ing Brahms’ No.1, as well as recitals and chamber Mazurka in A minor, Op.17, No.4 (1833) music in Israel, Europe and the US. Mazurka in B minor, Op.33, No.4 (1838) George Gershwin (1898–1937): Rhapsody in Blue (1924) Five Chamber Concerts Monday 27 May-Friday 31 May 2013 Elisha Abas (piano) Royal Manor House, Kouklia The great-great grandson of composer Alexander Scriabin, pianist Elisha Abas was a child prodigy Some of the world’s leading soloists including Sergei who first appeared on the world stage at the age of Nakariakov (trumpet), Boris Brovtsyn (violin), the six. He was the life-long student of Pnina Salzman, concertmaster of the Berlin Philharmonic, Daishin and by the age of 11, he was performing with great Kashimoto, Marc Coppey (cello) and Ashley Wass masters such as Leonard Bernstein, Isaac Stern, (piano) joined forces for five unique chamber con- Zubin Mehta and Arthur Rubinstein, who then be- certs at The Royal Manor House, in Kouklia, Pafos came his mentor. one of the finest surviving monuments of Frankish Abas has achieved many awards throughout his ca- architecture on the island and a UNESCO World reer, having won the first prize in the America Israel Heritage site. Cultural Foundation Music Competition for eight consecutive years and the first prize in the Clare- mont Piano Competition. After nine busy years of touring the world, he took a break from performing in public, and became, in the meanwhile, a profes- sional footballer in Israel’s premier league. He also gained a degree in law before returning to the stage in 2004. In 2007, he returned to Carnegie Hall to great critical and public acclaim. He has given recitals throughout the world, amongst others a tribute recital to the memory of Royal Manor House, Kouklia the victims of the Holocaust organised by the Unit-

51 Monika Urbonaite - violin Marc Coppey - cello

The five concerts included the following works Recently he has played with the Orchestre de la Antonin Dvořák: Double-bass Quintet No.2 in G Suisse Romande in Geneva and Warsaw, the major Op.77 (Levon Chilingirian / violin, Charles Rundfunk-Sinfonieorchester Berlin, Utah Sym- Sewart / violin, William Coleman / viola, Alexan- phony Orchestra, and he has participated in the der Chaushian / cello, Hayk Khachatryan / double- Jerusalem Chamber Music Festival. bass) Franz Schubert: Piano Quintet in A major, D. Daishin Kashimoto (violin) 667 “Trout” Johannes Brahms: Horn Trio in E-fl at major, In 1988, Daishin Kashimoto gave his first recital Op.40 and Variations on a Theme by Schumann, as well as his first concert as a soloist with the Op.23, for piano 4 hands New York Symphonic Ensemble in New York. Robert Schumann: Fantasiestücke, Op.73 Since then, he has given recitals and solo appear- Joseph Haydn: Piano Trio No.39 in G major, ances in the USA, the Far East and in many Euro- Hob. XV/25 “Gypsy” pean countries. Daishin Kashimoto is first prize winner of re- th Boris Brovtsyn (violin) nowned competitions such as the 6 Menuhin International Junior Violin Competition (England, Born in 1977, Boris Brovtsyn graduated from 1993), the International Competition for Violinists Moscow´s Central Music School in 1994 when (Cologne, 1994), and, in 1996, as the youngest he entered the Moscow Tchaikovsky Conserva- winner in history of both the International Fritz tory to study with Maya Glezarova. During his Kreisler Violin Competition in Vienna and the time there, he became a laureate of international Marguerite Long-Jacques Thibaud International competitions, such as Georg Kulenkampff (1994, Competition for Piano and Violin in Paris. In 1994, Cologne), Transnet (1996, Pretoria) and Yehudi Daishin was awarded the Steigenberger Prize and Menuhin (1998). In 2001, he was a finalist at the the Davidoff Prize, as well as the Brahms Prize Queen Elizabeth Violin Competition and won the (Germany, 1999). 2001 Reuters Prize. The following year, he won the Tibor Varga International Violin Competition. In 1998, Brovtsyn made his UK debut with the Levon Chilingirian (violin) BBC Philharmonic conducted by Rumon Gamba. Levon Chilingirian was born in Cyprus to Arme- In 2000, he became a student of David Takeno at nian parents and was introduced to music from the Guildhall School of Music and Drama, and in a very early age through his pianist mother and 2004 he won the GSMD´s highest award, the Gold violinist great uncle. When the Chilingirian fam- Medal (past winners include Jacqueline du’Pre, ily immigrated to London in 1960, Levon concen- Tasmin Little and Bryn Terfel). trated on the violin, studying at the Royal College

52 of Music. His early infl uences in music were his Thomas Riebl and Veronika Hagen, and at Bos- uncle, the violinist Manoug Parikian, his teacher ton’s New England Conservatory with Kim Kash- Hugh Bean, musicologist Hans Keller, and the kashian. In 2002, William joined the Kuss Quartet. Amadeus Quartet. Since then, the quartet has been a recipient of nu- His career as a recitalist was launched by winning merous prizes. the first prize in the 1969 BBC Beethoven Com- petition, followed by the Munich Duo first prize Diemut Poppen (viola) in 1971. Diemut Poppen is one of the finest viola players of her generation. Born into a musical family, Pop- Monika Urbonaite (violin) pen studied in Germany, USA and Paris with some Monika Urbonaite was born in Lithuania into a of the greatest viola players of her time, including musical family. From an early age, she played as Yuri Bashmet, Kim Kashkashian, Bruno Giuran- soloist with various orchestras and won numerous na and Peter Schidlof. Diemut Poppen has been competition awards both in her native Lithuania awarded several scholarships and prizes, among and abroad. After having won the Talent of Hope them the Studienstiftung des deutschen Volkes Award at the Heifetz competition in Vilnius, she and the renowned European Music Prize. Several was invited by Gidon Kremer to join the Kremer- composers have written new pieces for Diemut ata Baltica Chamber Orchestra. She spent the next Poppen, including solo works, as well as concer- six years there, touring the world and collaborating tos, sonatas and chamber music. with the likes of Martha Argerich, Mischa Maisky and Gustavo Dudamel. Monika Urbonaite has re- Sam Barsegian (cello) cently graduated from Trinity College of Music Samvel Barsegian was born in Armenia in 1971. where she was a recipient of numerous scholar- He started to play the violin at the age of six and ships and awards including the Leverhulme, the in 1987 he switched to the viola. He was accept- Founders and the TCM Trust. ed by the Yerevan State Conservatory in 1989 where he won the First Prize in the National Charles Sewart (violin) Competition. Between 1991 and 1997, he stud- With tours to over 40 countries as a member of the ied at the Freiburg School of Music in Germany Chilingirian and Mistry String Quartets, Charles with Professor Kim Kashkashian. In 1998, Sam- Sewart has, over twenty years, enjoyed a busy vel was appointed principal violist of the Flem- schedule of performing, recording and teaching at ish Fhilarmonic Orchestra in Antwerpen/Bel- some of the world’s most prestigious venues and gium, while in 2008 he moved to Lisbon/Por- festivals. Recordings for Virgin/EMI, Decca, Hy- tugal, where he was appointed principal violist perion and Chandos have received high acclaim. of the Gulbenkian Orchestra. Samvel Barsegian Charles is currently Head of Strings at the Purcell has conducted a number of European orchestras, School. and he is the founder of the Lisbon Chamber Or- chestra, of which he is the chief conductor and artistic director. William Coleman (viola) William Coleman has made many appearances as a chamber musician and soloist, and as the violist Alexander Chaushian (cello) of the acclaimed Berlin-based Kuss Quartet. His First Prize winner of the Premio Mozart Competi- schedule has included concerts at the Salzburg tion in Verona, Italy, in 1990 and the International and Edinburgh Festivals, as well as at the Berlin Music Competition in Holland in 1992, Alexander Philharmonie, Vienna Konzerthaus, Le Théâtre du Chaushian also received the Guilhermina Suggia Châtelet, Paris and Carnegie Hall. William stud- Gift in London - a grant awarded to outstanding ied at the University Mozarteum in Salzburg with string players - on three occasions. In 1997, he was

53 awarded the Orchestra of New England Soloist repertoire, and also brings to the public’s attention Prize, as well as the First Summis Auspiciis Prize works that are rarely heard. Performing and pro- of Young Concert Artists in New York. In 1999, moting contemporary music is very important to he was the recipient of the Anna Instone Memo- Marc Coppey. rial Award sponsored by Capital Radio. In 2001, Marc Coppey’s many recordings have received he was the joint recipient of the Pierre Fournier critical acclaim worldwide. They include works Award, while in 2002, he won the third prize in by Beethoven, Debussy, Emmanuel Fauré, Grieg the 12th International Tchaïkovsky Competition in and Strauss, produced by the labels Auvidis, Dec- Moscow. Chaushian was also awarded the third ca, Harmonia Mundi and K617. Marc Coppey prize and the Special Prize given by the Munich is also a professor at the Conservatoire National Chamber Orchestra at the Internationaler Musik- Supérieur de Musique de Paris and gives master- wettbewerb der ARD in Germany in September classes all over the world. He is the artistic director 2005. of the Colmar Chamber Music Festival. He is also Alexander Chaushian has appeared at prestigious the artistic director of the Zagreb Soloists since venues throughout the world, and as a soloist he 2011. has played with a number of renowned orches- tras, including the Vienna Chamber Orchestra at Hayk Khachatryan (double-bass) Vienna’s Konzerthaus and at the Bruchnerhaus in Linz. Since 2002, he has been acting as the ar- Born in 1973 in Armenia into a family of musi- tistic director of the Orpheus & Bacchus Festival cians, Hayk Khachatryan began taking lessons in Bordeaux, France and the International Pharos on the violin when he was seven. He entered the Chamber Music Festival in Cyprus. Yerevan State Conservatory in 1990 to study double-bass with Professor Vahe Terzyan and he graduated in 1997. Hayk has appeared as a solo- Marc Coppey (cello) ist under Emin Khachatryan with the Armenian French cellist Marc Coppey, winner of the two State Chamber Orchestra, with the Tibor Varga highest prizes at the 1988 Bach competition Leip- Festival Orchestra conducted by its namesake, zig at the age of 18, is considered to be one of the and the Orchestra La Folia with Mirion Glas. leading cellists of today. Lord Yehudi Menuhin While still a student, Hayk won the first prize in discovered Marc’s talent at an early age and sub- the chamber music competition Valentino Bucci sequently invited him to make his Moscow and and has appeared with such orchestras as the Ere- Paris debuts by performing the Tchaïkovsky Trio wan Symphony Orchestra, the Serenade Chamber with himself and Viktoria Postnikova, a collabora- Orchestra, the Armenian State Chamber Orches- tion documented on film by famous film director tra, the National Orchestra of Lyon, and the Bern Bruno Monsaingeon. In 1989, Mstislav Rostropo- Symphony Orchestra. vich invited Marc to the Evian Festival and from that moment on his solo career took off. Sergei Nakariakov (trumpet / fl ugelhorn) A frequent soloist with the leading orchestras of Born in Gorky in 1977, Sergei Nakariakov has today, Marc Coppey has collaborated with many broken through many of the perceived bounda- distinguished conductors such as Eliahu Inbal, ries framing the world of the trumpet in classical Emmanuel Krivine, Rafael Frühbeck de Burgos music. Dubbed “The Paganini of the trumpet” by and Asher Fisch. He has appeared in some of the the Finnish press after a performance at the Kor- most prestigious concert halls of the world such as sholm Festival when he was only 13 years old, Wigmore Hall in London, the Schauspielhaus in and in 1997 “Caruso of the Trumpet” by Musik Berlin and the Concertgebouw Amsterdam. und Theater, Sergei has developed a unique musi- Marc Coppey’s choice of repertoire is eclectic and cal voice, which is much more than a vehicle for innovative. He frequently plays the complete Bach astonishing virtuosity. His repertoire includes not Suites and other well-known and loved concert only the entire range of original literature for the

54 trumpet but is continually expanding into broader Since his début as a pianist, he has frequently territories, including many fascinating transcrip- appeared with some of the world’s most notable tions, while he searches for ever new means of orchestras including the Orchestre National de musical expression. At the same time, he has France, Orchestre de Paris, the Portugal Sym- single-handedly brought the fl ugelhorn to promi- phonic Orchestra and Orchestre de Cannes. He has nence on the concert platform. collaborated with conductors such as Kurt Masur, From the age of ten Sergei started to perform with Yuri Ahronovitch, Yutaka Sado, Juraj Valcuha, orchestras in major concert halls of the Soviet Un- Stefan Sanderling and Philippe Bender. He has ion. In 1988, he received a diploma at a brass com- performed recitals throughout Europe, America petition for adults. Sergei Nakariakov has been and Asia. collaborating with the world’s most feted musi- His numerous recordings, featuring music by Bach, cians, orchestras and conductors, such as Vladimir Händel, Schubert, Brahms and Liszt amongst oth- Spivakov, Christoph Eschenbach, Yury Bashmet, ers, have been highly acclaimed by critics and are Jiří Bělohlávek, Dmitry Sitkovetsky, Sir Neville regularly broadcast around the world. His recent Marriner and Valery Gergiev, amongst others. album Armenia – which is devoted to the classical music of Armenia – has received the Choc of the Nakariakov received the ECHO Klassik Award Year Award for 2007 by Le Monde de la Musique on ZDF as instrumentalist of the year from the magazine. German Phono-Academy, while in 2006, he pre- miered the work “ad absurdum” with the Mu- Vahan Mardirossian is simultaneously leading a nich Chamber Orchestra – a concerto specially promising career as a conductor. Since Septem- composed for him by Jörg Widmann, which ber 2010, he has been the Principal Conductor of features Nakariakov’s unusual circular breathing Caen Symphony Orchestra and the Musical Direc- capabilities. tor and Principal Conductor of National Chamber Orchestra of Armenia.

Ashley Wass (piano) Maria Meerovitch (piano) Described as an “endlessly fascinating artist”, Born in St. Petersburg, Maria Meerovitch be- Ashley Wass is firmly established as one of the gan her music education at the age of six. At leading performers of his generation. He is the the age of eight she performed at St. Petersburg only British winner of the London International Philharmonic Hall for the first time, where she Piano Competition, prize-winner at the Leeds Pi- was complimented by Grigory Sokolov, one of ano Competition, and a former BBC Radio 3 New Generation Artist. Ashley Wass is the Artistic Di- rector of the Lincolnshire International Chamber Music Festival and is currently a Professor of Pi- ano at the Royal College of Music, London, and is an Associate of the Royal Academy of Music.

Vahan Mardirossian (piano) Vahan Mardirossian was born in Armenia. Since 1993, he has been living in France, where he stud- ied with Jacques Rouvier at the Paris Conserva- toire. He graduated with distinction after being awarded the First Prize for Piano, the Chamber Music Prize and the Conservatoire’s highest diplo- ma, which enabled him to continue for postgradu- The Olive Grove, Delikipos (Copyright Ben Mobley) ate studies.

55 the greatest musicians of our time. She contin- The Pharos Arts Foundation ued her studies at St. Petersburg Conservatory’s The Pharos Arts Foundation is a non-profit cultural Junior Music Institute, and later at the Rimsky- and educational foundation based in Cyprus, dedi- Korsakov St. Petersburg State Conservatory, cated to the promotion of the arts and humanities. with piano as principal subject. In 1990, Meero- The Pharos Arts Foundation seeks to promote artis- vitch moved to Belgium after having received tic excellence by bringing audiences in Cyprus into a scholarship from “Fonds Alex de Vries” – Y. contact with some of the most exciting and talented Menuhin Foundation to study at the Royal Con- musicians and artists on the Cypriot and internation- servatory of Antwerp. al music scenes. She subsequently won first prizes at several interna- The Pharos Arts Foundation envisages to create tional competitions such as the G.B. Viotti in Italy a permanent home for the arts, culture and global and Ch. Hennen in the Netherlands. She has been dialogue in Cyprus by bringing artists, writers, musi- performing around the world ever since, with ap- cians, composers and philosophers together for crea- pearances in solo recitals and chamber music con- tive expression and exchange, particularly by taking certs in venues and festivals such as Concertgebouw advantage of the island’s unique cultural and geo- in Amsterdam, Bad-Kissingen Musik Festival, Sch- graphical location at the crossroads of Europe, Asia leswig-Holstein Musik Festival, Cité de la Musique and Africa and the European Union’s south-eastern in Paris, Opera City Hall in Tokyo and Musikhalle boundary. in Hamburg. The Pharos Arts Foundation has established a glo- bal reputation for its commitment to excellence and for promoting classical music in Cyprus, having Open-air concert for strings presented more than 500 concerts over the past fif- teen years. Outstanding musicians are hosted in the Saturday 1 June 2013 Pharos Arts Foundation’s Concert Series and in its The Olive Grove, Delikipos annual International Chamber Music Festival, with programmes ranging from ancient to contemporary. The last Festival concert took place at The Olive The recent acquisition by the Foundation of a beau- Grove in Delikipos and featured a programme of tiful harpsichord, made by O’Brien and Bandini of string quintets by Mozart and Brahms with violin- Italy, will give the Foundation the opportunity to ists Boris Brovtsyn and Levon Chilingirian, violists present more Baroque music. Diemut Poppen and Sam Barsegian, and cellist Al- The Pharos Centre for Contemporary Art (PCCA) exander Chaushian presents the work of major international artists. A va- riety of contemporary art forms are included in the Centre’s programme, including visual, performance, Programme photography and video, as well as lectures and dis- Johannes Brahms (1833–1897): String Quintet No.2 cussions. Exhibitions are in many cases individually in G major, Op.111 (1890) curated by internationally recognised curators from Boris Brovtsyn / violin, Levon Chilingirian / violin, all over Europe. William Coleman / viola, Sam Barsegian / viola, Al- The educational programmes are an important as- exander Chaushian / cello pect of the Foundation’s work, giving thousands of students from all communities in Cyprus the oppor- Interval tunity not only to hear music performed by some of W.A. Mozart (1756 –1791): String Quintet No.3 in the great artists who visit us, but also to learn from C major, K.515 (1787) them and develop a serious and deep enthusiasm for Levon Chilingirian / violin, Boris Brovtsyn / violin, classical music. Over the past five years more than Diemut Poppen / viola, William Coleman / viola, Al- 60,000 students have participated in the music edu- exander Chaushian / cello cation programme.

56 Gethsemane by David Hare

he Cyprus Theatre Organisation (THOC) pre- Tsented the play Gethsemane by famous English playwright David Hare from April until June, with parallel shows in Larnaca, Limassol and Paphos. The play, which premiered at the National Theatre of London in 2008, examines the involvement of the media and business world in politics. The main characters of the play are the Interior Minister, her teenage daughter, the country’s Prime Minister, a journalist, a public servant and his ideologist professor wife, and the Prime Min- ister’s ruthless “associate”, who secures financ- ing for the party. It is an ingenious and exquisitely provocative story on the merciless world of politics, which pushes one character after the other into their own personal “Gethsemane moment”.

Direction: Aliki Danezi-Knutchen Translation: Eri Kyrgia Set design: Kiki Pitta Costumes: Stelios F. Stylianou Movement: Alexis Vasiliou Music: Giorgos Christodoulides Editing: Manolis Dounias Lighting: Stavros Tartaris Live video design: Evripides Dikeos Actors: Margarita Zachariou, Alexandros Parisis, Marios Konstantinou, Varnavas Kyriazis, Elena fore His ordeal on the cross of Calvary. The Bible Papadopoulos, Niki Dragoumi, Christina Christo- says that Jesus was troubled and overwhelmed with fia, Andreas Koutsoumpas, Neoklis Neokleous. sorrow, to the point of sweating drops of blood. Three times Jesus prayed that if it were possible the cup of suffering would be taken from Him, but The play that the will of the Father would nevertheless be Gethsemane is a corruption into English of two done. It was in Gethsemane that the suffering of Hebrew words “Gat” and “Shmanim”, meaning Jesus began – his betrayal, arrest, trial and pillory. “the place where olive oil is pressed”. It most likely It was there that he received the Judas kiss, before originates from the olive groves and oil mills that being arrested by Pontius Pilate’s troops, the rabble existed in Israel. and the Pharisees. According to the New Testament, the Garden of In the words of David Hare, Gethsemane is when Gethsemane, on the side of the Mount of Olives in you experience a ‘night of doubt’, but decide to Jerusalem, was where Jesus Christ went to pray be- carry on. You don’t give up.

57 Shows ran at the THOC New Theatre Building experimentation, both with form and theme. throughout April, May and June. The play was Hare also served as a resident dramatist for the also presented at the Rialto Theatre in Limassol, Royal Court Theatre in London from 1970 until the Markideio Theatre in Paphos and the Larnaca 1971, and for the Nottingham Playhouse in 1973, Municipal Theatre. while he has been a permanent contributor for the National Theatre since 1984. A portrait of David Hare For his first major play, entitled Slag (1970), he re- Born on 5 June, 1947 in Sussex, England, David ceived the Evening Standard Drama Award. Hare was educated at Lancing College, Sussex. He Among others, he has composed the works Knuckle went on to earn an MA in English from Jesus Col- (1974, Mail on Sunday Award/John Llewellyn Rhys lege, Cambridge, in 1968. Prize), Fanshen (1975, based on the book by Wil- After graduating, he co-founded the Portable Thea- liam Hinton), Teeth ‘n’ Smiles (1975), Plenty (1978), tre Company – a travelling theatre group – in 1968 Pravda: A Fleet Street Comedy (1985, in coopera- with Tony Bicât. The theatre played a defining role tion with Howard Brenton) and The Secret Rapture in the unconventional theatrical trend of the era. (1988). He also produced the trilogy Racing Demon Hare composed his first works for the Portable (1990), Murmuring Judges (1991), The Absence of Theatre, and was the theatre’s director from 1968 War (1993) and the works Skylight (1995), Amy’s until 1971. View (1997) and The Judas Kiss (1998). In 1974, he co-founded the Joint Stock Theatre David Hare’s most recent plays include My Zinc Company with Max Stafford-Clark and David Bed (2000), The Breath of Life (2002), The Perma- Aukin. He was the Company’s director from 1975 nent Way (2003), Stuff Happens (2004), The Verti- until 1980. Joint Stock Theatre Company was a cal Hour (2006), Gethsemane (2008), The Power pioneering theatrical team, which saw actors and of Yes (2009), as well as the scripts for the mov- writers work collectively to create theatrical texts ies The Reader, based on the novel by Bernhard through workshops. The team was characterised Schlink and The Corrections, from the novel by by its social and political concern, as well as bold Jonathan Franzen.

58 In 1998 and 2002, he performed his own work National Theatre, London. Via Dolorosa, a theatrical monologue on his In 1982, Hare founded a film company, Green- visit to Israel and Palestine. His experiences point Films. He has written several screenplays in- from this visit were gathered and presented in cluding Plenty (1985),Weatherby (1985), Strap- the form of a diary published in 1999, entitled less (1989), Paris By Night (1989), and Dam- Acting Up: A Diary. age (1992). He has also written several teleplays In addition to directing his own work, Hare has for the BBC including Licking Hitler (1978) directed many other plays including The Pleas- and Saigon: The Year of the Cat (1983). ure Principle (1973) by Snoo Wilson, Weapons of Happiness (1976) by Howard Brenton, and Devil’s Hare’s awards include the BAFTA Award (1979), Island (1977) by Tony Bicât. He also directed a the New York Drama Critics Circle Award (1983), production of King Lear for the National Theatre the Berlin Film Festival Golden Bear (1985), the which featured Anthony Hopkins as Lear. Since Olivier Award (1990), and the London Theatre 1984, Hare has served as associate director of the Critics’ Award (1990).

59 Catharsis/Rebirth

Seven Cypriot artists at The Louvre

digital body of work by seven Cypriot artists Awas projected alongside an exhibition by the renowned Italian artist Michelangelo Pistoletto at the Musée du Louvre entitled Année1 - Le Paradis sur Terre (Year 1 – Earthly Paradise). The exhibition was in response to an invitation sent in December 2012 from Pistoletto to artists world- wide to create an event concerning the concept of The Third Paradise. In Cyprus, the artists Nicolas Iordanou, Sylvia Nicolaides, Miriam Mc Connon Pistoletto with Nicolas Iordanou, Marianna Constanti, Sylvia Papageorgiou, Charis Paspallis, George Petrou, Nicolaides, Charis Paspallis, Yiannis Sakellis Yiannis Sakellis and Marianna Constanti, took ac- tion and organised the exhibition entitled Catharsis/ Rebirth, choosing a place that symbolises catharsis, rebirth and creation: The Ottoman Baths in Paphos. On 21 December, the chosen date to celebrate The First World-wide Day of Rebirth, the artists exhib- ited seven separate works in different media in an abstract interpretation of the Third Paradise, imply- ing and commenting on the responsibility of social change. In addition, the artists created a collective The artists’ collective installation installation which united all art pieces and worked letto, and also Marie-Laure Bernadac, the curator of as an immediate reference to the symbol of the Third Catharsis/Rebirth, the idea of the exhibition was to Paradise, raising the idea of a personal response to- record a documentary which would later travel to wards a collective and united experience. The Louvre by formal invitation. The digital pro- All individual artworks referred to the personal con- jection of the documentary, which was directed by cerns of each artist in relation to ideas in re-establish- Nicolas Iordanou and Sylvia Nicolaides, was incor- ing a world which needs re-thinking, re-phrasing, porated into Michelangelo Pistoletto’s retrospective re-evaluation and a purer re-start: Re-framing indi- exhibition Année1 - Le Paradis sur Terre. viduality in an integrated responsibility. For further information: http://www.facebook.com/ The idea of the Turkish baths is symbolically con- catharsisrebirth nected with the cathartic approach, where mixed identities gather and share common motives. The artists On 17 May, a documentary from the exhibition trav- Nicolas Iordanou was born in 1975 in Paphos, elled to and was exhibited at The Louvre, Paris, as Cyprus. He studied Fine Arts at Harold Washing- part of a video installation using digital projections ton College and Photography at Columbia College entitled The Third Paradise. This collective instal- Chicago. From 2001 until 2006 he worked as a pho- lation of digital projections was the inspiration of tojournalist, dealing with confl ict and post-war pho- Pistoletto. tography in Afghanistan, Pakistan, Iran, Palestine/ According to the artist Yiannis Sakellis, who was Israel, Uganda and Lebanon. In 2005 he was invited the contact between the group of artists and Pisto- by the Goethe Institut as a reviewer in the first Pho-

60 Being and Time by Nicolas Iordanou Rebuilding by Miriam Mc Connon Papageorgiou

Atitlo by Charis Paspallis Being and Time by Sylvia Nicolaides

tography Festival of Berlin. In 2007, he was assigned include: My Mackintosh Box, a solo painting ex- to photograph the international project Challenging hibition at The Talbot gallery, Dublin (2012), par- Walls in collaboration with Akademie der Künste - ticipation in The 8th Beijing Biennale at the Chinese Berlin, whose goal was to bring different confl icted Museum of contemporary Art (2012), International communities closer, having a common vision of drawing Biennale and Symposium, Pilsen, Czech peace and coexistence. He collaborates pro bono Republic, Biennale of Drawing, Wroclaw, Poland with the United Nations (UNHCR) and the Doctors (2012), The outdoor installation, The Megalo Tama, of the World. In 2010 he worked as a Director of commissioned for Cyprus’ Presidency of the EU in Photography in a film in Italy titled From Father’s September 2012 and The Touring Tama, an outdoor Eyes. In 2012 he co-directed the short film About Us installation to commemorate Ireland’s presidency of and the documentary Cementography. the EU (2013). Miriam currently lives in Cyprus. Miriam Mc Connon Papageorgiou was born in Charis Paspalis is a Cypriot artist based in Cyprus. Dublin, Ireland in 1977. She graduated from The He was born in Paphos in 1977. He graduated from National College of Art and Design, Dublin in 1999. the School of Fine Arts (1997-2002), in Athens, In 2000 she completed a postgraduate diploma at Greece, under the supervision of T. Patraskides and the Cyprus College of Art. Miriam’s recent projects D. Mitaras.

61 Peter’s Eagle & the Birth of Venus Memento Contraption by George Petrou Spiral by Yiannis Sakellis by Marianna Constanti He participaded in several exhibitions in Andorra, The idea of the Turkish baths is Brazil, Strasbourg, Paris (museum of Louvre), symbolically connected Moldova (Biennale), Romania (Bucharest), Spain (Madrid), Italy, Finland, Athens and Cyprus. with the cathartic approach, where Born in 1984, Sylvia Nicolaides originally trained mixed identities gather and share in education receiving her BA in Education from the common motives. University of Cyprus, specialising in Art Education. Yiannis Sakellis was born in Paphos (Cyprus) on She later received her BA (Hons) Fine Arts Degree 24 February 1983. He studied painting at the Fine from Chelsea College of Art and Design (University Arts Academy “Pietro Vannucci” in Perugia-Italy, of the Arts) London. She is currently enrolled in a where he graduated in 2007 with excellence. In Master’s programme for Audio-Visual Studies in the 2006 he won the annual “Adelmo Maribelli” prize, Academy of Performing Arts (AMU), in the Film from the academy of fine arts of Perugia. He is now and Television Department (FAMU), in Prague. She living and working in Paphos. participated in several group exhibitions in Cyprus, England, Austria, Bulgaria and Turkey. Marianna Constanti was born in Paphos in 1977. She holds an M.F.A. in Fine Arts from Central Saint George Petrou is a London-based artist, born in Martin’s College of Art & Design, London 1999- 1981 in Paphos, Cyprus. In 2008 he was awarded a 2000 and a B.A. in Fine Arts from Middlesex Univer- BA in Fine Art with honours from Chelsea College sity, London 1996-1999. Solo exhibitions/curating: of Art and Design and since July 2011 he holds an 2011: Photographic Reminiscence, Diatopos gallery, MA in Fine Art/Photography from the Royal Col- Nicosia; 2002: Catharsis, Turkish Baths, Paphos; lege of Art, London. Petrou mainly works with 2005: Jelly in a bowl, Pantheon Gallery, Nicosia; moving image, photography, sculpture, and video 2001: Within/without, St. Kentheas neighbourhood, installation. Alongside his individual practice he Paphos. Selected Group Exhibitions: 2013: Rebith- works and collaborates with the London Deanery day, Louvre Museum; Catharsis/rebirth, Turkish General Surgical Skills Programme, Imperial Col- Baths; 2012: InSite, Archeological sites Nea Paphos; lege London and develops Surgical Simulators. Maniera Cypria, Lemesos: Fabula, Historia, Memo- George has recently presented work at TedMed ria, Evagoras Lanitis Center, Limasol; the Open west, Live Athens 2013. In 2011 his video work When Gloucester Cathedral; 2010: Hunt for This Century’s We Split in Two was selected for the Bloomberg Leonardo da Vinci! International Art Triennale, Osa- New Contemporaries and was exhibited at the ka; 2008: Ficcions (de)construidas, Museo Centro de ICA, London. Other group exhibitions include Arte Tomay y Valiente, Madrid; 2007: D/ou viens- Shorts at Oxford - Modern Art Oxford (2011), Al- tu?, Fondation pour les Arts Visuels, Geneva; 2005: bum at Wolstenholme - Independents Liverpool 2nd Beijing International Biennal; 2004: Breaking Biennial (2011), Z-Time - Moscow Young Artist the mould, Helsinki; 2003: 22nd Biennale of Alexan- Biennial (2011), and Design Overtime - London dria, Museum of Fine Arts Alexandria. Commission: Design Museum (2010). Sense of place, Paphos International Airport, 2008.

62 Coloureceivers Exhibition

23 March-12 April 2013

rtist Savvinos Paraskevas presented his first glass mannequins and a variety of other materials, Asolo exhibition of paintings entitled Coloure- “Each mannequin has its own story and character,” ceivers 2003-2013 at Gallery Kypriaki Gonia in Savvinos explained, and it is through his creations Larnaca from 23 March until 12 April 2013. we see two contradicting views: The harmony and “In this exhibition I am presenting my latest art, cleanliness, which are replaced with dark uncertain- combining found objects (trash art) and transform- ty caused by the hardships suffered by humanity to- ing them into a new form of sculpture,” the artist day. The contradiction refl ects the artist’s deep sense explained. “My goal is to expand my artwork to of feeling that the good days are now long gone. the international contemporary field…We each Apart from painting, the artist likes to work with become a ‘Coloureceiver’ every day, with images- mixed media. He uses random objects and mate- commands-stimuli.” rials, which he transforms in a way that depends In the Coloureceivers exhibition, we see Savvinos’ on where his inspiration takes him. He is also well abstract paintings; linear maps of a course that known for his street art. started with his first works plus the infl uences he Savvinos Paraskevas was born in Limassol in brought with him from his studies in America, and 1977. He studied Fine Arts in Boston, USA for five concluded with a more balanced and aesthetically years. Following his studies, in 2003 he returned to organised presentation. Larnaca, where he had spent his childhood years, His exhibits for this show were based on fiber- and fulfilled his dream of establishing his personal

Mayor of Larnaca Andreas Louroudjiatis (left), Savvinos Paraskevas and Demetris Pierides

63 studio and gallery of modern art. participate in the annual Graffiti Festival entitled Tucked away in the narrow streets with Finikoudes Larnacan, now in its third year. beach close by, stands the magnificent building that Many reputable overseas artists from the UK, houses Savvinos Paraskevas’ Afydaton Gallery of Greece and Belgium also exhibited works at the re- Modern Art. This fabulous traditionally preserved cent 2013 Larnacan Festival, including artists such building, built in 1869, provides a strong contrast to as Steve Locatelli, Cazn, Reb, Rocket, Fauna, Jas- the modern pieces displayed within its walls. one, Inva, Ser, Rasl and Use Crew. Many of these artworks can be found at the Afydaton Gallery. On an island known traditionally for its Byzan- tine genre, Savvinos Paraskevas is today pushing Larnacan not only promotes Graffiti as an estab- boundaries, all in the name of art. lished, respected art form, it also best demonstrates Savvinos’ belief that art is and can be for all, with Savvinos’ artwork is very much infl uenced by glo- no need for the associated pomp and grandeur . bal issues such as wars, fl oods and political affairs. The festival is just part of Savvinos’ work on art His love and passion for art are evident throughout projects throughout the Larnaca region in associa- his evocative work of paintings and sculptures, in tion with the Larnaca Tourism Board. addition to his “trash art”, which involves the crea- Over the past three years, Savvinos’ gallery has de- tion of fascinating artistic displays from “found” veloped a more “urban” line. During this time, he objects, primarily disused mannequins. has also collaborated with other artists in creating A variety of his work can be found within the feature murals, or “street art” throughout Larnaca. gallery, from contemporary life size figures to Adding vibrant works of art to what may otherwise abstract paintings, street art, and more. Graffiti is be seen as dull and uninteresting sights, fulfilling also something that interests Savvinos, in fact, it is yet another ambition of creating an open gallery his love of this style that led him to organise and throughout the city. “We each become a ‘Coloureceiver’ every day, with images-commands-stimuli”

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