Volume L, No 3, July-September 2012

Cyprus TODAY Volume L, No 3, July-September 2012

Contents

EDITORIAL ...... 4 Kypria International Festival 2012 ...... 6 Mapping Cyprus: Crusaders, Traders and Explorers ...... 14 Maniera Cypria ...... 19 4th Cypriot Film Directors Festival ...... 22 4th International Pharos Contemporary Music Festival ..28 16th International Festival of Ancient Greek Drama ...... 36 Cyprus Medical Museum ...... 41 Pafos Aphrodite Festival 2012 ...... 44 Terra Mediterranea-In Crisis ...... 48 Cypriot Armenian Artists Exhibition ...... 52 United States of Europe ...... 56 Bokoros “Odos Eleftherias” ...... 63 The World Youth Choir in Cyprus ...... 65

A quarterly cultural review of the Ministry of Education and Editorial Supervision: Culture published and distributed by the Press and Information Miltos Miltiadou (PΙΟ) Ofﬁ ce (PIO), Ministry of Interior, Nicosia, Cyprus. E-mail: [email protected] Address: Editorial Assistance: Ministry of Education and Culture Maria Georgiou (PΙΟ) Kimonos & Thoukydides Corner, 1434 Nicosia, Cyprus E-mail: [email protected] Website: http://www.moec.gov.cy David A. Porter E-mail: [email protected] Press and Information Ofﬁ ce Apellis Street, 1456 Nicosia, Cyprus Design: GNORA COMMUNICATION CONSULTANTS Website: http://www.moi.gov.cy/pio Printed by: Konos Ltd EDITORIAL BOARD Front cover: General view of the exhibition Maniera Cypria: Lemesos, Fabula, Historia, Memoria Chairperson: th Pavlos Paraskevas, Director of Cultural Services, Back cover: A scene from Electra & Orestes at the 16 Ministry of Education and Culture International Festival of Ancient Greek Drama Chief Editor: Jacqueline Agathocleous [email protected] GNORA COMMUNICATION CONSULTANTS PIO 416/2012 – 10000 (website: www.gnora.com) ISSN (print) 0045-9429 Tel: +357 22441922 Fax: +357 22519743 ISSN (online) 1986-2547

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3 Editorial

he Cyprus Presidency of the Council of the European Union in the second half of 2012 features strongly Tin this issue of Cyprus Today, starting off with the KYPRIA 2012 International Festival, which presented music, theatre and dance events of considerable renown throughout the island. The Festival started off with a concert, Towards a Europe of Peace, by the Cyprus Youth Symphony. The easternmost member of the EU, Cyprus, has always been strategically important to foreign powers wishing to infl uence or control the Eastern Mediterranean. The exhibition Mapping Cyprus: 1191-2012 Crusaders, Traders and Explorers, held at the BOZAR Centre for Fine Arts in Brussels, examined a long period in the turbulent history of the island. Lovers of antiquities will enjoy reading about the Maniera Cypria exhibition in Limassol, which presented archaeological fi ndings unearthed in the district and its vicinity displayed side by side in a fascinating discourse with contemporary art at the Evagoras Lanitis Centre. This issue also takes a look at the 4th Cypriot Film Directors Festival, which presented works by seven acclaimed fi lm directors. For the fi rst time ever, the screenings took place “under the stars” at the Constantia Open Air Cinema. The 4th International Pharos Contemporary Music Festival was dedicated to the promotion of new music, both the established masterpieces of the contemporary music literature of the 20th century and a great number of premieres by leading young composers from all over the world who were commissioned by the Pharos Arts Foundation to write new works especially for the Festival. In July, theatre lovers from around the world attended the 16th International Festival of Ancient Greek Drama 2012. The Festival opened with a production of Agamemnon’s Children by the Hessian State Thea- tre of Wiesbaden, Germany, while other works included Electra and Orestes, The Trial; The Eumenides, and Antigone. Also taking pride of place in this issue is the Cyprus Medical Museum, a venture which few people took seriously some 25 years ago when the Committee of the Limassol Medical Association announced its decision to collect and exhibit antique medical equipment. Thanks to a number of valuable donations from doctors and their families, photographs of which are included in this issue, the museum is now a reality, bringing an enormous collection of valuable medical artefacts to the people of Cyprus and to visitors to the island with an interest in medicine. The 14th Pafos Aphrodite Festival raised its curtain this year on the Slovak National Theatre’s performance of Verdi’s Otello, at the Medieval Castle of Pafos in Pafos Harbour. The adaptation of William Shake- speare’s tragedy was set at the Castle of Famagusta in the 15th century, with Otello serving as the recently appointed governor of Cyprus. Also featured in this issue is the contemporary art program Terra Mediterranea–In Crisis, which included a second contemporary art exhibition, [at Maroudia’s], curated by the Re Aphrodite team at the Ethnological Museum–House of Hadjigeorgakis Kornesios. The Armenian Representative, Vartkes Mahdessian, organised a unique exhibition within the framework of the Cyprus Presidency featuring works by nine Armenian painters and six Armenian photographers. The Painting and Photography Exhibition by Cypriot Armenian Artists is also featured in this issue. Do you feel European? Does Mr O’Keeffe in Ireland feel more or less European than Mrs Stylianou in Cyprus? And if so, why? The United States of Europe (U.S.E) project, presented outdoors at Pharos Arts Foundation, offered various refl ections on such questions. In another exhibition related to borders, painter Christos Bokoros attempted direct conversation with spaces, buildings and roads which are adjacent to or which lead to the Green Line in Nicosia with a series of paintings titled “Odos Eleftherias”. Finally, for the fi rst time ever in Cyprus, we got the chance to enjoy concerts by the World Youth Choir. The choir performed three a cappella concerts, in Pedoulas, in Pafos and in Ayia Napa.

4 5 Kypria International Festival 2012

ight from its inception in 1993, the Kypria RInternational Festival has provided Cypriots and visitors alike with a variety of cultural events of the highest possible standard. Launched in a period characterised by a drought of important cultural events, the Kypria International Festival became the catalyst for the creation of an unprecedented cultural movement. The Cultural Services of the Ministry of Education and Culture continually seek to improve and upgrade the Festival, not only the character of the programme’s events but also the conception and future course of the Festival.

20 Years of History Throughout its twenty-year history, the Festival has presented acclaimed Cypriot and foreign artists from various disciplines to its audience. The selection committee strives to the greatest possible extent to William Shakespeare: Pericles make the work of Cypriot artists and groups elemen- tal to the Festival while still maintaining its interna- Celebrated Music Ensembles tional character. The Kypria International Festival has also host- Over the past two decades, the Kypria International ed a number of internationally renowned music Festival has hosted an array of distinguished artists ensembles, including the English National Sym- and ensembles from the ﬁ elds of cinema, dance, phony Orchestra, the Madrigalisti di Venezia, music, theatre and the visual arts. The Festival has the European Union Baroque Orchestra, the Phi- welcomed esteemed international dance companies larmonic Chamber Orchestra of Salzburg, the to its stages, including the Rhine Ballet, the National Popular Orchestra of Mikis Theodorakis and the Ballet of Cuba, Omada Edafous by Demetris Pa- State Orchestra of Greek Music, conducted dur- paioannou and the Batsheva Dance Company. ing its Kypria Festival appearance by Dionysis Savvopoulos. Theatre Performances by Prominent Directors Theatre performances by prominent directors Programme featuring distinguished actors and theatre groups In 2012 the Cultural Services of the Ministry of Ed- of worldwide renown have always been at the ucation and Culture maintained the Festival’s high forefront of the Festival, including the Nation- standards by creating the following programme: al Theatre of Greece, the Greek Art Theatre of Karolos Koun and Spyros Evangelatos Amphi- Towards a Europe of Peace theatre. One of the Festival´s most recent high- The Cyprus Youth Symphony Orchestra in collabo- lights was John Malkovich´s outstanding per- ration with the World Youth Choir. formance in The Infernal Comedy: Confessions Strovolos Municipal Theatre, Nicosia. 30 and 31 of a Serial Killer in 2011. August.

6 Love Songs from Smyrna meet Cyprus Tradition

Moliere: Amphitryon and Maria Farantouri. The National Theatre of Greece. The performance highlighted the creative evolu- Makarios III Amphitheatre, Strovolos, Nicosia. 7 tion of the musical heritage of the Mediterranean September. and its amalgamation with world music and Eth- no-Jazz. William Shakespeare: Pericles Strovolos Municipal Theatre, Nicosia. 15 Septem- The National Theatre of Greece. ber. Makarios III Amphitheatre, Strovolos, Nicosia. 8 Rialto Theatre, Limassol. 16 September. September. Love Songs from Smyrna meet Cyprus Tradition Othello’s Tower in Music: Four Musical Views on Giannis Kotsiras and the group Estoudiantina with the Shakespearian Drama the collaboration of Michalis Terlikkas. The concert Featuring works by Dvořák, Khachaturian, Rossini featured works that herald the beginning of “rebe- and Verdi. tiko” and which left their mark on the musical cul- The Cyprus Symphony Orchestra. ture of the 1920´s. Municipal Garden Theatre, Limassol. 13 September. Makarios III Amphitheatre, Strovolos, Nicosia. 27 Strovolos Municipal Theatre, Nicosia. 14 Sep- September. tember. Rossini Cards and Cantata Mediterranean Express A Dance performance by Italy´s largest dance group, A joint production of the music group En Chordais Fondazione Nazionale della Danza Aterballeto.

7 Rossini Cards and Cantata A Slight Risk

Strovolos Municipal Theatre, Nicosia. 30 Sep- Famagusta Gate Moat, Nicosia. 12 October. tember. Municipal Garden Theatre, Limassol. 3 October. Iannis Xenakis: Oresteia-Aeschylus Suite The Centre of Vocal Arts performed the suite, the A Slight Risk ﬁ nal event of KYPRIA 2012. Xenakis drew his in- A theatre production by Fresh Target Theatre En- spiration for the suite from the Aeschylus trilogy of semble inspired by George Seferis´s poem Staperi- the same name. chora tis Keryneias (“In the Province of Keryneia”). Makarios III Amphitheatre, Strovolos. 20 October. Skali Aglantzias in Nicosia. 3 and 4 October. Further information regarding the KYPRIA 2012 programme can be found at www.kypria.org.cy. Vasos Argyrides´s Anthology A presentation of the composer´s work from Towards a Europe of Peace throughout his 25-year career. In honour of the Cyprus Presidency of the Council of Municipal Garden Theatre, Limassol. 4 October. the European Union, the Cyprus Youth Symphony Strovolos Municipal Theatre, 5 October. Orchestra’s programme, which was prepared during its International Summer Academy, juxtaposed Michalis Christodoulides´s Porfyromata in musical symbolism the catastrophic wars of the A musical performance by the Diastasis Cultural As- European past with the emerging brotherhood of na- sociation featuring the poetry of Hector Patriotis set tions and the hopeful future to which the European to music by Michalis Christodoulides. Union aspires. Makarios III Amphitheatre, Strovolos, Nicosia. 10 Two evening concerts were given under the direc- October. tion of Ayis Ioannides and soloists Margarita Elia Municipal Garden Theatre, Limassol. 12 October. (soprano), Vivien Cooksley (mezzosoprano), Kirli- anit Cortes (tenor) and Russi Nikoff (baritone). The Age of Now The concerts took place on 30 and 31 August at A concert featuring important Greek and Cypriot the Strovolos Municipal Theatre in Nicosia. The musicians by the group J. Kriste, Master of Disguise. ﬁ rst part of the programme comprised work by Rialto Theatre, Limassol. 11 October. Gustav Holst (1874-1934), Mars, The Bringer of

8 War (from The Planets), and Krzystof Penderecki hood of mankind under a heavenly God. Beethoven (1933- ), Lacrimosa (Soprano solo: Margarita Elia). brings both universal dimensions and deep mysti- The second part of the concert included Beethoven’s cism to Schiller’s text. The thematic ﬁ rst stanza was 9th Symphony in D minor, op. 125 (“Choral”). adopted in 1972 as the European Anthem.

The Programme The Artists Gustav Holst (1874-1934): Mars, The Bringer of Ayis Ioannides – Artistic Director and Conductor War (from The Planets). Ayis Ioannides has conducted a wide spectrum of The Planets, a suite for large orchestra with seven musical genres and has received tremendous critical parts, each dedicated to one of the planets, is the best acclaim around the world, both as a conductor and known and most popular work of English composer as a composer. He was a conductor at various Ger- Gustav Holst. Written between 1914 and 1916, it man opera houses for 10 years. He has been Chief begins with quiet march rhythms in the uncommon Conductor of the Vaasa City Orchestra in Finland measure of 5/4 and threatening motifs in the wind; and the fi rst Artistic Director of the Cyprus State Or- the composer builds enormous, terrifying climaxes. chestra. He has also been a guest conductor in many European countries, as well as in Australia, Egypt Krzystof Penderecki (1933- ): Lacrimosa. and the USA. Polish composer Krzystof Penderecki is one of the After fi rst obtaining his doctorate in neurophysiol- most important musical fi gures of our age. He wrote ogy, Ioannides studied in London at the Guildhall Lacrimosa in 1980 for the unveiling in Gdansk, Po- School of Music and Drama and at the National land, of a memorial to the victims of the brutal sup- Opera Studio, and he participated in master classes pression of anti-government riots in 1970. The work in Austria, the Netherlands and Germany. Especially was later included in his Polish Requiem, which is important was the experience he gained under the dedicated to the heroes and victims of wars through- maestros George Hurst, Vilem Tausky, Helmut Rill- out Polish history. ing and Sergiu Celibidache. His compositional activity developed especially in the late 90’s, and some Ludwig van Beethoven (1770-1827): Symphony no. of his works have been performed in Cyprus, Egypt, 9 in D minor, op. 125 (“Choral”) Austria, France (International Pablo Casals Festi- th Beethoven’s 9 Symphony, completed in 1824, has val), Germany, Finland, Sweden and the USA. become a key point in musical history, and not only because of its universally familiar choral part. In his last creative period, the composer abandoned the sharp contrasts typical of his middle period. In the 9th Symphony, drama dissolves into lyricism and canta- bile melody, with its variations constantly acquiring greater signifi cance. Truly majestic from every point of view is the fi rst movement, in which Beethoven makes a giant leap from his previous symphonies. Through his combination of a multitude of related motifs and a highly differentiated use of the orchestra, Beethoven created music of previously unknown texture and rhythmic and structural complexity. For the last choral movement, Beethoven sets Friedrich Schiller’s (1759-1805) Ode to Joy, a poem original- ly written in 1785 for a plaque in a Masonic lodge in Dresden, to music. The text is a hymn to the brother- Ayis Ioannides

9 sica Sacra” in Salzburg. Her appearances with the Cyprus Symphony Orchestra include Mozart’s Req- uiem and Schoenberg’s Lied der Waldtaube.

Kirlianit Cortes – Tenor Kirlianit Cortes studied singing at the Great Theater of Havana and at the University of Antioquia. In Kirlianit Cortes Russi Nikoff 1998 he was awarded the ﬁ rst prize in the National Arts Competition Universidad del Valle, Mexico. Cortes continued his studies at the University of Music and Performing Arts of Vienna, where he obtained the Magister Artium with mezzo-soprano Ks. Marjana Lipovsek – he also studied with Ks. Margarita Lilova and Ks. Francisco Araiza. In 2004 Cortes made his debut at the Vienna Konzerthaus Margarita Elia Vivien Cooksley and Kammeroper. He has performed major roles at the Opera Festival of Schärding (Austria), Teatro Margarita Elia – Soprano Lirico di Spoleto, Vest Norges Opera of Norway, Moscow-born Cypriot soprano Margarita Elia stud- Opera Szczecin in Poland, Bunka Kai Kan, Tokyo, ied at the Franz Liszt Academy of Music in Debrecen, Wiener Musikverein and Vienna Volksoper. In 2009 Hungary, graduating with a MMus degree in Vocal he won the second prize in the European Tenor Performance and Education – she then continued Contest-Jan Kiepura in Poland. Cortes’s repertoire her studies in London with New York City Opera comprises a wide range of sacred and secular cho- soloist Arlene Randazzo. She was ﬁ nalist at La Voce ral masterpieces; his recordings include Rossini’s International Lied Competition 2005 in Bayreuth, Il signor Bruschino and La scala di seta and the J. Germany. Elia has appeared as an opera soloist and Strauss operetta Die Göttin der Venunft. has performed with renowned orchestras in Hungary, Bulgaria, Israel and Puerto Rico, the Moscow Virtuosi Russi Nikoff – Baritone under Vladimir Spivakov and the Cyprus Symphony Bulgarian baritone Russi Nikoff graduated from Orchestra. She has given many world premieres at the Musical Academy “Pancho Vladigerov” spe- major contemporary music festivals. cialising in Opera Singing. He also worked with Tamara Gorinova and attended master classes at Vivien Cooksley – Mezzosoprano the European Opera Center; he also attended mas- Vivien Cooksley studied under mezzo-soprano ter classes with Renata Scotto, Costas Paskalis and Margarita Lilova at the University of Music and Gena Dimitrova. Nikoff also worked in Vienna, Dramatic Arts in Vienna, graduating with a Mas- Austria, where he established a connection with ters in Operatic Singing. She has also worked with Prof. Marta Lantieri (producer and vocal peda- Frank Fanning, assistant to Herbert von Karajan; gogue) and Ks. Krassimira Stoyanova. During his Walter Berry, baritone; Hans Fuchsberger, head of second year of college Nikoff made his debut at the music studies at Vienna National Opera, and fa- Burgas Opera, after which he was appointed solo- mous voice coach Carol Blaickner-Mayo. Cooksley ist at the Opera. In the following years he gained has appeared in major roles at the Verdi Theatre of invaluable experience under the guidance of Prof. Trieste and at the International Festival St. Marga- Ivan Vulpe. He has interpreted major roles in many rethen. She has also been very active on the concert theatres in Germany, Austria, Italy, France, Eng- stage, with performances at the Austria National TV land, Portugal, Mexico, Hungary, Japan, Egypt and Centre ORF, and she is a regular guest at the “Mu- Bulgaria, as well as at opera festivals such as Tibor

10 Varga, Switzerland, “Sankt Margarethen”, Austria, soundtracks and orchestral overtures. The Cyprus and Festival of the Aegean, Syros. Symphony Orchestra, together with distinguished soloists and maestro Loukas Karytinos, presented Othello’s Tower in Music four different musical views inspired by Othello. The Cyprus Symphony Orchestra - 4 musical views on the Shakespearian drama: Dvorak, Khachatu- Loukas Karytinos – Conductor rian, Rossini and Verdi Loukas Karytinos studied conducting at the Uni- Under the baton of Loukas Karytinos, the Cyprus versity of Arts of West Berlin with H. Alendorf Symphony Orchestra presented the programme whilst also attending conducting seminars at the Othello’s Tower in Music, with four musical views Mozarteum in Salzburg. Between 1981 and 1985 on the drama: Dvorak, Khachaturian, Rossini and he worked in Germany as Music Director of the Verdi. Sharlontenburg Chamber Orchestra, Berlin, and as The programme, which featured soloists Dimitra Director of the Piccolo Teatro Berolino. Since 1985 Theodossiou (soprano), Angelo Simos (tenor) and he has been the Chief Conductor of the Greek Na- Kyros Patsalides (baritone), included the works: A. tional Opera, where he was appointed Music Direc- Dvorak, Concert Overture Othello, Op. 93, B. 174; tor in 1992; he was also the Opera’s Artistic Direc- A. Khachaturian, Suite from the Music to the Film tor from 1999 to 2005. Karytinos has collaborated Othello, Op. 87A, Prologue and Introduction; G. with opera houses worldwide, including houses in Rossini, Sinfonia to the Opera Otello, and G. Verdi, Berlin, Barcelona, Cologne, Monte Carlo, Detroit, excerpts from the opera Otello. The concert took Salzburg, Rome, Catania, Modena and Bilbao. He place on 13 September 2012 at the Municipal Gar- has also conducted at international festivals, includ- den Theatre in Limassol and on 14 September 2012 ing the Athens Festival, Epidaurus, Arena di Verona, Caracalla in Rome, Puccini “Torre di Lago”, Witten, at the Strovolos Municipal Theatre. Germany and Las Palmas. He has worked with all of the orchestras of Greece, the London Philharmonia, TOWER OF OTHELLO Orchestre Philharmonique de Nice, RSO-Berlin, The Legend The legendary Tower of Othello, situated in Fama- gusta, is named after Shakespeare’s tragedy Othello whose events, it is believed, take place there – Shake- speare himself mentions “a harbour in Cyprus”. The tower is one among several towers along the impos- ing and picturesque walls of Famagusta, which the Venetians built when they took Cyprus in 1489 and turned Famagusta into their administrative centre and general headquarters of the Eastern Mediterra- nean. The winged lion of St. Mark, symbol of the Republic of Venice, is carved over the Tower’s gate. Loukas Karytinos – Conductor In Shakespeare’s play, Othello is a Moorish general and the commander of Cyprus, appointed by the Republic of Venice. The story of Othello, who tragically murders his beautiful and innocent wife, Desdemona, after being blinded by jealousy through the machinations of the diabolical Iago, has inspired composers of the classical repertoire to write intense- ly dramatic music in various genres, such as opera,

11 Cyprus Youth Symphony Orchestra The Age of Now

Suisse Romande, WDR, Bruckner Orchester Linz, zil, Gran Teatro La Fenice, Teatro São Carlos in Oxford Philomusica, Budapest Radio Orchestra and Lisbon, Herodius Atticus in Athens, Violetta (La others. Outside Europe, he has performed in Korea, Traviata) in Athens, Teatro dell’Opera in Rome, the USA, Australia, Turkey, Egypt and Tunisia. He Maggio Musicale Fiorentino, and Japan and Seoul has received a number of honourary prizes, includ- with the Gran Teatro La Fenice. She has worked ing the Golden Medal of Honour (1989) from the with world-renowned conductors, including Ric- Athens Municipality for his “excellent services” in cardo Muti, Roberto Abbado, Gianluigi Gelmetti, music; the Great Music Prize (2008) from the Un- Marcello Viotti, Valery Gergiev, Riccardo Chailly ion of Greek Critics for Drama and Music for his and Pinchas Steinberg. The soprano has won im- general contribution to Opera, and the Apollon Prize portant international competitions, such as “Bel- (2010) from the Association of the Friends of the vedere”, “Operalia”, “Viotti” and “Di Stefano”, Greek National Opera for his overall contribution to and numerous prizes, including Best Soprano of music. the Verdi Centenary Year 2002 in Milan. Theodos- siou has recorded more than 13 operas, including Dimitra Theodossiou – So- I Lombardi alla Prima Corciata, La Traviata and prano Il Trovatore by Verdi; Anna Bolena and Lucrezia The Greek soprano Dimi- Borgia by Donizzetti, and Norma by Bellini. tra Theodossiou is considered one of the most excit- Angelo Simos –Tenor ing and important voices Angelo Simos is the stage for Verdi and Belcanto- name of Vaghelis Chatzisi- Repertoire. The soprano, mos, who was born in Ath- who is studying with Birgit Nickl in Munich, con- ens, Greece. Simos started tinues to conﬁ rm her gift for Verdi and Belcanto in- his musical education at terpretation and her ability to captivate audiences. the Peiraikos Syndesmos Theodossiou has interpreted the roles of Norma in Conservatory, in the singing class of Thalia Moira, Athens, Tokyo, St. Petersburg, Kassel, and many and graduated with distinction and 1st prize. After Italian theatres; Leonora (Il Trovatore) at Teatroalla graduation he attended master classes and private Scala in Milan, Teatro dell’Opera in Rome, Teatro lessons with Ileana Cotrubas, Luigi Alva, Costas Comunale di Bologna, Maggio Musicale Fioren- Paschalis and Arrigo Pola. Since 1995 he has been tino, Arena di Verona, Opera de Monte Carlo, a member of the Greek National Opera Ensemble. Athens, Baltimore and Copenhagen; Desdemona He collaborates regularly with all the major orches- (Otello) at Teatro Municipal de São Paulo in Bra- tras and conductors in Greece (Loukas Karytinos,

12 Byron Fidetzis, Mikis Michaelides, Miltos Logiadis Cyprus Symphony Orchestra. Patsalides has been and Alkis Baltas). Simos appears regularly in Eu- honoured by a number of political and cultural insti- ropean Opera Houses (Deutsche Oper am Rhein, tutions for his contribution to musical life in Cyprus. Oper Frankfurt, Staatstheater Mannheim and Sofi a National Opera). His career highlights include col- Cyprus Youth Symphony Orchestra laboration with artists such as Anna Tomowa Sin- The Cyprus Youth Symphony Orchestra was found- tow, Maria Guleghina and Agnes Baltsa, and with ed in 1987 as Cyprus State Youth Orchestra – since stage directors such as Dietrich Hillsdorf, Christof 2007 the Cyprus Youth Symphony Orchestra has Loy, Graham Vick and Giancarlo Del Monaco. Si- been managed by the Cyprus Symphony Orchestra mos has recorded music by Massenet, Kalomoiris, Foundation. The Orchestra gives concerts in Cy- Karrer, Samaras, Mitropoulos and Theodorakis. prus and abroad and participates regularly at offi cial Since October 2011 he has been the Deputy Stage events and anniversaries. The annual International Director of the Greek National Opera. He teaches at Summer Music Academy is an extremely impor- the Ethnikon Odeion and at the Odeion Athenaeum. tant part of the Orchestra’s activities. It takes place in Pedoulas village with the participation of young Kyros Patsalides – Baritone musicians and distinguished professors from Cyprus The baritone Kyros Pat- and abroad. The fi nal concerts of the Summer Acad- salides, one of the most emy, in 2007, 2008, 2009 and 2011, were given as important Cypriot artists part of the International Kypria Festival. In 2010 the of his generation, enjoys a Orchestra participated with great success in the First distinguished international International Youth Orchestras Festival in Constan- career. After completing tinople, Cultural Capital of Europe 2010. studies in Law at the Uni- versity of Athens, he studied World Youth Choir Singing in Vienna under the guidance of baritones The World Youth Choir (WYC) is original in its Walter Berry and Gottfried Hornik on a scholarship concept. The Choir brings together talented young awarded by The Music and Fine Arts Foundation of singers aged 17-26 from all over the world each Cyprus. Patsalides also studied Lied and Oratorio at year. Since its establishment in 1989, the WYC has the Music Academy of Vienna; he studied operatic established itself as one of the most remarkable mu- repertoire with Adalberdo Tonini and singing tech- sical and intercultural experiences offered to young nique with Arrigo Pola and Simone Badi in Milan musicians; the Choir meets annually for intense re- and Modena. In 1995 he won the 1st prize in the In- hearsals followed by an international concert tour. ternational Song Competition of the Budapest State The diversity of the Choir’s conductors and its rep- Opera. Patsalides’s repertoire includes roles from ertoire refl ects the cultural diversity of its singers. classical, romantic and contemporary operas and The WYC is a project of the World Youth Choir oratorio, and he regularly appears at major theatres Foundation, which counts among its patrons the In- and international festivals, including Vienna State ternational Federation for Choral Music, the Euro- Opera, Teatro Filarmonico dell’Arena di Verona, pean Choral Association-Europa Cantat and the Jeu- National Opera of Greece, Vienna Musikverein and nesses Musicales International. In 1996, UNESCO Konzerthaus, Berlin Konzerthaus, Athens and Thes- honoured the WYC by naming the Choir an Artist saloniki Megaron Halls, Wiener Festwochen, Due for Peace, recognising the WYC’s success as a plat- Mondi-Spoleto, Athens International Festival and form for intercultural dialogue through music. The Wratislavia Cantans (Poland). As a soloist he has WYC participated at the Nobel Peace Prize award collaborated with the Berlin Symphony Orchestra, ceremony on 10 December 2011 and the Nobel St. Petersburg Chamber Philharmonic, Virtuosi di Peace Prize Concert held in Oslo on 11 December, Moscow, Orchestra dell’Arena di Verona, with all the annual musical tribute to the year’s Nobel Peace of the important orchestras in Greece and with the Prize laureate.

13 Mapping Cyprus 1191-2012: Crusaders, Traders and Explorers

BOZAR Centre for Fine Arts, Brussels, 22 June – 9 September 2012

ituated at the crossroads of three continents, the without cutting it off from its Greek, Byzantine Slocation of Cyprus in the Eastern Mediterrane- and Eastern roots. During this period, the island an and the island’s plentiful natural resources have gained its important role as an economic, cultural been a mixed blessing since ancient times. The and geopolitical bridge between East and West. easternmost member of the European Union, Cy- Despite the extremely diffi cult conditions the prus has always been strategically important to for- people of Cyprus endured, the cultural synthesis eign powers wishing to exercise infl uence or con- that resulted on the island can be seen as an early trol over the Eastern Mediterranean. To a greater or expression of the European spirit and an authentic lesser extent, all of these powers left their mark on product of the Renaissance. The Lusignans and the island’s political, social and cultural life. the Venetians left their mark on the art and soul of the people; this mark was eventually absorbed, A Long and Turbulent History giving the country a more cosmopolitan spiritual The exhibition Mapping Cyprus: Crusaders, Trad- and cultural identity. ers and Explorers examines a long period in the turbulent history of the island of Cyprus. The exhi- Cypriots and the Island’s Local Character, bition begins with the occupation of the island by and Its Connection with Europe Richard the Lionheart in 1191 and concludes with The museological approach of this exhibition is the Cypriot Presidency of the EU during the second based on two main pillars. The fi rst pillar is the half of 2012: the establishment of the Republic of Cypriot people and the local character of the is- Cyprus in 1960 and the Republic’s accession to the land, visually expressed through magnifi cent Byzantine and post-Byzantine icons, most of EU in 2004 are also featured. which will be shown in public for the fi rst time, and other artefacts. The second pillar is the is- Traditionally Close Ties with Europe land’s deep connection to Europe since 1191. Although Cyprus has had a close connection with Rare manuscripts and works of art by artists such Europe since ancient times, it is nevertheless rec- as Titian and Teniers are gathered together for the ognised that these relations were reinforced and fi rst time to emphasise their historical and aesthet- expanded during the late Byzantine period and ic connection to Cyprus. especially during the Middle Ages. The arrival of Richard the Lionheart and the occupation of the A Voyage through Time island by his troops, accidentally or not, changed Mapping Cyprus: Crusaders, Traders and Explor- the history of the island. In addition to the estab- ers is a voyage through time and history, one that lishment of the Medieval Kingdom of Cyprus, the gives visitors the opportunity to learn, to discover island played a pivotal role in the introduction of and to revise their perceptions of Cyprus. An effort Western European civilisation to the Middle East has been made to implement and connect all fi ve and beyond. senses with a sensational trip through the island’s The period of Frankish rule (1191-1489) and the past. Music from the Lusignan Court of Cyprus period of Venetian rule that followed (1489-1571) underscores the religious, mystical importance were important stages in the history of the island, of a Byzantine icon, while the aroma of an olive linking it to a fl ourishing European civilisation tree takes you deep into the natural beauty and ag-

14 A view of the Othello Room installation

The last section of the exhibition with the photo and text related to the establishment of the Republic of Cyprus ricultural wealth of the island. Visitors to the ex- the BOZAR Centre for Fine Arts hosted this cel- hibition revel in the colours and the icons, in the ebration of the history and culture of Cyprus in photographs and maps that depict and describe the Brussels, the heart and administrative centre of the “Sweet Land of Cyprus,” that sing of it. As a spe- EU, from 22 June to 9 September 2012, at the BO- cial feature, visitors experience the unique charac- ZAR Centre. ter of the art of Cyprus and its people through a variety of local publications that have been digitised Introduction by Curator and made available on touchscreens throughout the “Because all things pass and all things that happen exhibition. are recounted...” “Because all is moving and all can be explained,” The small island of Cyprus at the eastern edge of as the 15th century Cypriot chronicler Leontios the Mediterranean played an important role in the Machairas wrote, the Government of Cyprus and dissemination, exchange and transfer of the civili-

15 16th century icons from the Venetian period room sation and products of the East to the West, and vice director of the BOZAR Centre, when I chose to versa. Since ancient times, the island’s geographi- stage an important and unique exhibition about cal position has been both a curse and a blessing. the island of Cyprus within the framework of the Cyprus has always represented the point where Cyprus Presidency of the EU. From the very fi rst East and West meet, recognise and measure them- moment I felt completely overawed as to how ex- selves against each other and exchange infl uences. actly we were going to present such a wide-span- Those who sought control over the Eastern Medi- ning period of the island’s history. The exhibition terranean fi rst had to gain control of the island. And is a historical retrospective but also an attempt to this is where the history of our exhibition begins. present Cyprus and its identity, its history and its For Cyprus, relations with the Byzantine Em- civilisation in Brussels, the heart of the adminis- pire, at the administrative level at least, ended in trative centre of the European Union. The exhi- th the late 12 century when the island’s Governor, bition covers a broad period, beginning with the Isaac Comnenus, declared himself Emperor of Crusades and the conquest of the island by Rich- Cyprus, thereby cutting off all administrative ties ard the Lionheart in 1191 and ending with inde- with Byzantium. The ostensible chance arrival and pendence and the accession of Cyprus to the great conquest of the island by the English king Richard European family over which it presided from July the Lionheart in 1191 and the subsequent sale of to December 2012. Cyprus to Guy de Lusignan took the island’s relations with Europe into a new dimension. Cyprus It could be said the Orthodox faith and the is- was now offi cially the last bastion of Europe before land’s Hellenic and Byzantine origins, the Byz- the Middle East, a position it still holds today. antine and post-Byzantine art of Cyprus, as expressed through the icons of the period, are the An enormous responsibility key and the common denominator which open I was fully aware of the enormous responsibil- the door onto the diachronic history of the is- ity placed on my shoulders by my country and land and the relations and infl uences of western delighted by the unbelievable persistence of the art in this easternmost corner of Europe. Con-

16 sequently, the museological approach focused How have Europeans viewed on two axes or pillars on which the exhibition Cyprus since the Crusades? and its journey through time, space and history The second axis focuses on the European continent were defi ned and built. On the one hand, the lo- and demonstrates the way in which Europeans cal element, the Cypriots, is presented through saw Cyprus from the time of the Crusades to the the most common characteristics which rep- present day. Efforts were made to collect objects, resent them: their education, mentality and works of art and information which record the per- cultural heritage – a series of Byzantine and ception Europeans had when they fi rst encountered post-Byzantine icons express the “poor Cypri- Cyprus on the road to Jerusalem; these same Euro- otes,” as the 14th century Cypriot chronicler Le- peans later conquered and transformed the island ontios Machairas describes them. To this end, into one of the best-known medieval kingdoms of between 1191 and the present day, the eccle- Europe. It all began with Melusine, the fairy who siastical icons represent Cypriot worship and founded the kingdoms of Europe and sent her chil- veneration; they are tangible manifestations of dren to the East to attain wealth and glory and who religious devotion and the expression of local later linked the House of Lusignan with other royal artists. families of continental Europe. The story is also unravelled by European chroniclers who pay trib- Other objects, such as pottery and metalwork, are ute to the kingdom and the riches of the Lusignans exhibited together with information and references of Cyprus. The last queen of the Medieval King- from historical sources, and special reference is dom of Cyprus, the daughter of Venice, Caterina made to the music of the medieval kingdom of Cornaro, was painted and glorifi ed by the greatest the island through a rare handwritten score which artists of her time, while Cyprus, the jewel in the brings to life the glory and prestige of the royal crown of the Most Serene Republic of Venice, en- court of the Lusignans. This was the fi rst axis. joyed golden days of wealth and glory as recorded by contemporary historians.

Myths and legends Myths and legends about the island of Cyprus can be found in the writings of foreign travel- lers who visited the island and in Shakespeare, whose hero, Othello, the Moor of Venice, spent time in Famagusta, the fortiﬁ ed port of the Most Serene Republic of Venice in Cyprus. The great war of Cyprus, which marked the fall of the last bastion of Europe in the Eastern Mediterranean and its occupation by the Ottoman Empire, the new force in the region, is uniquely described by European historians in books and other documents selected for display in this exhibition. Finally, during the 17th and 18th centuries, the importance of the island was emphasised in the work of European cartographers, while the earli- est photographs of Cyprus, taken by photographers who came to the island at the time of the arrival of the British in 1878, record and depict A view from the British period room with the collection of Lord Kitcheners Trigonometrical map of Cyprus, the ﬁ rst the European origins of the island and its bond modern map of Cyprus with the continent. These photographs feature

17 castles and fortiﬁ cations standing side-by-side with Byzantine chapels, large Gothic churches (which in Ottoman times, were transformed into mosques), and the unique wild natural landscape whose sunburnt workers laboured in its ﬁ elds. This is our land, the island of Cyprus, the island of Saints, birthplace of Aphrodite, host to Me- lusine...the island was a refuge. It served as a springboard for crusaders, traders and explorers.

A recital of the sweet land of Cyprus I hope this exhibition will indeed be a “recital of the sweet land of Cyprus” and will give the public an understanding of the history of my homeland and its unique artistic expression. It is a complex and diverse history, a history which has brought forth, and continues to bring forth, new ideas. Above all it is a melting-pot of cultures and peoples who, throughout history, whether as conquerors, traders, kings or explorers, have offered and received a great An icon dedicated to St Michael – selected in honour of St deal. Since ancient times, and up to 1960, Michel patron Saint of Brussels - from the Treasure room Cyprus has always belonged to someone, to whomever wanted control over the Eastern Mediterranean. Despite this, as if by an unbe- patriotism, their anxieties, their thoughts and lievable miracle, our island welcomed foreign their concerns – is evident in the work of a new conquerors and, over time, conquered them and generation of Cypriot artists. survived without losing its identity, its Greek I would like to thank all the directors of the muse- and Christian origins. It is not by chance that ums who lent us exhibits. Thanks and gratitude are our historical exhibition is completed by an ex- also due to the Church of Cyprus, its primate, Arch- hibition of modern Cypriot paintings. The joy bishop Chrysostomos, and in particular the Bishops of independence in 1960 was followed by the who gave their blessing and allowed us to present bitter events of 1963 and 1974 and the current Byzantine and post-Byzantine icons of such impor- conditions of semi-occupation. The desire of tance and value. Special thanks and gratitude go to Cypriot youth to discover their identity – their Porphyrios, Bishop of Neapolis, representative of the Church of Cyprus in the EU, without whose advice and support none of this would have been achieved, particularly in such a short time. “Because all things pass and all things that happen are recounted,” as Leontios Machairas writes, the BOZAR Centre for Fine Arts and the Republic of Cyprus invite you to see and hear the recital con- cerning the Sweet Land of Cyprus.

Loukia Loizou Hadjigavriel Maps of the Venetian period depicted in the Venetian period room Curator

18 Maniera Cypria: Lemesos, Fabula, Historia, Memoria

Evagoras Lanitis Centre, Lemesos 29 June – 12 August 2012

he engendering of ancient and medieval collec- visual artists exhibited at Maniera Cypria, including: Ttive Cypriot memory into contemporary visual Angelos Makrides, Helene Black, Nikos Charalam- concepts, materials, forms and media gave rise to bides, Savvas Christodoulides, Andreas Chryso- the exhibition ‘Maniera Cypria,’ which was curated chos, Marianna Constanti, John Corbidge, Chris- and based on extensive research by Dr Nadia Anax- tos Foukaras, Demetrakis Gerokostas, Theodoulos agorou, Director of the Cultural Services of the Mu- Gregoriou, Yiota Ioannidou, Elina Ioannou, Kyri- nicipality of Lemesos (Limassol). Archaeological akos Kallis, Lia Lapithi, Maria Loizidou, Antonis ﬁ ndings unearthed in Lemesos and its vicinity, from Neophytou, Eleni Nikodemou, Lefteris Olympios, the areas of Amathus, Pyrgos, Episkopi, Erimi and Stass Paraskos, Kypros Perdios, Christoforos Savva, Kourion, and Byzantine icons from villages in the George Skotinos, Socratis Socratous, Rinos Stefani, Lemesos district, including Monagri, Koilani, Pe- Lefteris Tapas, Susan Vargas and Panayiotis Vittis. lendri, Amiantos and Arakapas, were displayed side Comprising paintings, sculptures, ceramics, in- by side in a fascinating discourse with contempo- stallations and video-art, Maniera Cypria explored rary art at the Evagoras Lanitis Centre, Carob Mill, the penetrating conversation between contempo- Lemesos, from 29 June through 12 August 2012. rary works that further elaborate and reinterpret Maniera Cypria was organised by the Municipality the Maniera Cypria of the past and delineate the of Lemesos in collaboration with the Evagoras and Maniera Cypria of today. According to the curator, Kathleen Lanitis Foundation, the Department of An- Dr Nadia Anaxagorou: tiquities and the Holy Bishopric of Lemesos, under “Pagan, mythological and Christian hagi- the auspices of the Cyprus Presidency of the Council ographical signiﬁ cations, either in the form of the European Union. Mr Efthemios Flourentzou, of ancient ceramic-sculptural idols and ves- the Minister of Communications and Works, opened sels or in the form of medieval painterly the exhibition on Friday, 29 June 2012. 27 Cypriot representations of saints and angels, extend

View of the exhibition Maniera Cypria: Lemesos, Fabula, Historia, Memoria. Clockwise from left: Kyriakos Kallis, Bull, mixed media. Lefteris Olympios, Dei ex Machina, oil on linen, 200x200 cm. George Skotinos, Afternoon Bombing, acrylic, 165x245 cm. Clay ﬁ gurine representing a warrior, Cypro-Archaic II (600-480 B.C.), from Episkopi-Kaloriziki, 13.8x8 cm. Elina Ioannou, Everyday objects, composition with stone, wood coated paper on plywood and two drums of limestone from Amathus. Kypros Perdios, Horse, bronze, 52x75x20 cm.

19 Angelos Makrides, Idol-Mother of a Missing Person, mixed Antonis Neophytou, Reinterpretation of the relief ornamentation media, 15x4x4cm of the 13th century icon of Saint Mamas from Amiantos, copper and silver, 32x27cm

Saints Matthew, Mark and Luke, mid-16th century, from Panagia Iamatiki, Arakapas, placed next to the work by Angelos Makrides, Iconostasis: Three Saints, mixed media, 86x38 cm. the analogies of history to the present. In the Through the succinctly masterful reinterpretation modern art pieces selected for presentation, of Angelos Makrides, the cross-shaped chalcolithic some or many of these analogies are dropped, idol from Erimi (3500-2800 B.C.) turns into an ar- and this absence is often mystiﬁ ed, allowing chetypal and contemporary child-bearing woman, us, thus, to perceive historia (history) as a a winged creature or the mother of a missing person fabula (fable) at once true and imaginary. in a series of micro-sculptures that set a landmark Other analogies are only partially signiﬁ ed, in the evolution of Cypriot art. The composite red relieved of redundant loads of meanings, fur- vessel of the Early Cypriot III (2100-2000 B.C.) nishing us with the option of revisiting and from Pyrgos, an impressive creation by a local ce- transcending old notions, of making them ramist of antiquity bearing scenes with men and fabulous, and of going far beyond.” animals at their everyday routines (pressing grapes,

20 working dough for bread, ploughing, etc.), is re- terns, is reproduced in the drawing of Antonis Neo- peated after thousands of years in the expressive phytou, executed in gesso and plastic and engraved density of naive ceramic compositions by Demet- on silver-plated copper, in a process evocative of rakis Gerokostas or the painterly fi gures by Stass the Byzantine technique and the ceremonial rituals Paraskos, recorded in static fl atness and reduced to associated with Orthodox icon decoration. hieratic, featureless entities. In the work of Nikos According to Dr Maria Hadjicosti, Director of Charalambides, a Tanagra type of fi gurine from the Department of Antiquities, which gave per- Amathus (310-30 B.C.), probably an Aphrodite, mission for the display of all the antiquities as is depicted next to Marcel Duchamp, in an oeuvre requested by the curator of the exhibition, “It is that sweeps away the dividing lines between space very interesting that the same ideas and the same and time, blurring Hellenistic art with the 20th cen- artistic expressions in the objects of our ancient tury avant-garde artistic genres. The tethrippon history reappear today. The exhibition proves that (chariot drawn by four horses) of the Cypro-Archa- cultural life in Cyprus has continued throughout ic I-II (650-480 B.C.) from the Sanctuary of Apollo history.” Ms Catherine Nikita, Director of the Hylates at Kourion becomes an organic part of the Evagoras Lanitis Centre, remarked that “due to sculptural installation by Maria Loizidou, whose the materialisation of Dr Nadia Anaxagorou’s four horses in mixed media represent a visual me- concept, it is the fi rst time that we have shown tonymy of the stifl ed speech (ά-λογον) in estrang- such a large number of objects from antiquity and ing modern metropolitan societies. the Byzantine period together with modern ob- The 13th century icon of Saint Mamas, from Ami- jects, covering different phases of Cypriot artistic antos, is juxtaposed with the emblematic reduction creation.” Last but not least, the Mayor of Lemes- of the ‘White Saint’ by Angelos Makrides, which os, Mr Andreas Christou, stressed that “this ex- schematically outlines a half-length, frontal depic- hibition marks a culmination in the pioneering tion of any saint’s fi gure, while the relief ornamen- contribution of the Municipality of Lemesos in tation of this icon, with repetitive geometrical pat- the fi eld of visual arts.”

An unguentarium of plain white ware of the Roman period (2nd-3rd c. A.D.), from Kourion, Ayios Ermogenis, 12.5 cm., placed in the cube of Theodoulos Gregoriou, Cells IV, cement, minerals, copper, oxide and transparent mirror, 75x75x84 cm.

21 4th Cypriot Film Directors Festival

27 – 30 September 2012

o promote work by Cypriot directors, the Culture, Mr Pavlos Paraskevas, on 27 September TCyprus Film and Television Directors As- at the Constantia Open Air Cinema. sociation organised the Cypriot Film Directors On 30 September, the last day of the festival, the Festival for the fourth consecutive year from 27 Cyprus Directors Association honoured Cypriot to 30 September. The Festival presented works by Director Andreas Constantinides for his signifi - seven acclaimed fi lm directors. For the fi rst time, cant contribution to the industry. the screenings took place “under the stars” at the The festival was held under the auspices of the Constantia Open Air Cinema. Minister of Education and Culture Mr Giorgos The Festival gave audiences the opportunity to en- Demosthenous. joy short and long fi lms by acclaimed fi lm directors Andreas Constantinides, Michalis Georgiades, Cyprus fi lmmakers state their presence during Christos Georgiou, Paschalis Papapetrou, Costas a global economic crisis Yiallourides and Dervis Zaim. The programme for Mr Michalis Georgiades, President of the Cyprus this year’s festival included the fi lms Souvlakia- Film and Television Directors Association, gave Sheftalia, The Last Mantilaris (Kerchief-maker) of the following address to open the festival: Cyprus, Corridors, A Small Crime, Instructions, “During a global and not just economic crisis, the Shadows & Faces, Flights, In Unsung Toil and fi lmmakers of small Cyprus are stating our pres- Akamas. ence through our 4th Festival. After 38 years of The festival was inaugurated by the Director of the Turkish military occupying half of our coun- Cultural Services of the Ministry of Education and try, and efforts to alter our longstanding culture,

Michalis Georgiades and his team in action

22 Souvlakia – Sheftalia (2002)

Cypriot directors are fi ghting and resisting. In a of even more substantive support from the CyBC country where the artist battles alone – yes, alone for Cypriot fi lm making.” – Cypriot directors continue to create and produce, both here in our country as well as abroad. Programme This year, the Cyprus Film and Television Direc- Paschalis Papapetrou tors Association is organising the 4th Cypriot Film was born in Nicosia Directors Festival under our summer sky, in our in 1955. He studied forgotten open air cinema, like the old days...This cinema and television year, we are presenting our long and short fi lms, as directing in Germany. well as documentaries, by incredible young direc- From 1991 until 2002, tors, but also older ones. he worked at the TV This year, it is with great pleasure and emotion that station “O LOGOS”, the Association honours CyBC Director Andreas then at “Mega”. He has Constantinides for his contribution to the art of di- directed over 35 documentaries and has collabo- recting. First of all, we thank the Ministry of Edu- rated with the Cultural Services of the Ministry of cation and Culture for co-organising the festival Education and Culture, with Greek TV, with the since the year it was founded and for its fi nancial Anastasios G. Leventis Foundation, with the Cy- and other precious help, without which we would prus Tourism Organisation (CTO) and others. He neither have fi lms produced, nor the festival, nor has run his own production company, Anadysis seminars and workshops the Association organises Films Ltd, since 2003. every year. We also thank the CyBC, which helps Papapetrou’s fi lms include: Costas Argyrou project the Festival. We hope this is the beginning (1997), Tilemachos Kanthos (1999), The Roots

23 of the Cyprus Wine (2001), By Hand (2002), The patterned-kerchief workshop, that of the Ka- Bread of the Cypriots (2006), Miners’ Memories kollis brothers, through the testimonies of the (2007), Weaving Ladies of Cyprus (2008), Exca- artisans themselves. The fi lm also examines the vating at Salamis in Cyprus 1952-1974, 34 Years role and use of the kerchief in the everyday life Later (2009), Troodos...ke egeneto Kypros (2009), and customs of Cyprus. Kyprion Elea ke Eleon (2010) and The Lefkaritiko Embroidery. Before the Memories are Lost (2012). Michalis Georgiades was born in 1956 in oc- Souvlakia – Sheftalia (2002) cupied Morfou. After Director: Paschalis Papapetrou completing his military Writer: Charis Pishias, Paschalis Papapetrou service, he worked at Photography: Nicos Avraamides the Cyprus Broadcast- Music: Pambos Sakkas ing Corporation in fi lm Actors: Pantelis Klitou, Thanos Pettemerides, and montage for 10 Michalis Moustaka, Charis Pishias years. Producers: Cinema Advisory Committee, Pascha- In 1988, he co-founded lis Papapetrou the fi lm production company LUMIERE and LTV, Production Company: A.B Seahorse Film Produc- where he worked as a fi lm director for 12 years; tions Ltd he has been CEO of the fi lm production company, Thanasis, a young director, works for a TV station Mediabox Ltd, since 2001. Many of his fi lms, as where, during fi lming, a series of unpredictable producer and director, have received international events take place. acclaim and awards, including the London Inter- national Film Award. In 2012 he received a direct- The Last Kerchief-Maker of Cyprus (2004) ing award at the International Short Film Festival Director: Paschalis Papapetrou in Limassol for his fi lm, Corridors. Writer: Paschalis Papapetrou Georgiades has directed many documentaries: Cy- Photography: Nicos Avraamides prus, for the CTO, for which he won the fi rst prize Music: Michalis Mozoras for photography at an international competition for Production Company: Anadysis Films 2004 tourist fi lms in Italy in 1985; Cyprus Has Always Among the home industries for which Cyprus Been Europe for the PIO in 2006; Cyprus, Where enjoyed great renown in the 18th and 19th centu- the Byzantine Lives for the CTO in 2009; A Place in ries was the making and dyeing of “pasmades” History: 50 Years of the Republic of Cyprus for the (cotton cloths) by Greek and Turkish artisans. PIO in 2010; Returning to Kyrenia for the Kyrenia The art of the “pasmadjides” was taken over in Municipality in 2009; In the Arms of Morfou for later years by “mandilarides” (kerchief-mak- Morfou Municipality in 2008; Pilgrimage at Pen- ers). This fi lm tells the story of the very last tadaktylos for the PIO in 2004; Famagusta, the Ghost Town for Famagusta Municipality in 2007; Religious Freedom in Cyprus for the PIO in 2005; SAVE for the CTO in 2004; Digging the Past, in Search for the Future for the Elders in 2010, and CYPRUS SAILS for Esimit Europa 2 in 2012. Georgiades is also a member of the team that worked on founding a museum at Vasa Kilaniou village. He is President of the Cyprus Film and Television Directors Association and a founding member of photography club Fotodos. Geor- The Last Kerchief-Maker of Cyprus (2004) giades has taken part in solo and group exhibi-

24 The cast from Corridors Small Crime (2008) tions in Cyprus and abroad. Along with Anna land (Bachelor of Arts Joint Honours), Directing at Marangou, he published View of earth, a photo the Northern Film School in Leeds, England (Mas- album of occupied Cyprus. Now working as a ter of Arts) and Directing, Producing and Writing freelance professional fi lm director and photog- at the National Film School in Lodz, Poland, on a rapher, Georgiades is the founder of the Engomi European scholarship (Tempus). He has worked in Municipality’s fi lm and photo group, where he the fi lm and cinema industry in Greece, Cyprus and gives photography lessons. England. His fi rst long fi lm won him the Prix De Montreal, the best fi lm award in the 2001 Montreal Corridors (2009) World Film Festival. Small Crime is his second Director: Michalis Georgiades long fi lm. His other fi lms include Under the stars Writer: Charis Pishias (2001) and Children of the Riots (2011). Photography: Vladimir Subotic Montage: Kyros Papavassiliou Small Crime (2008) Music: Jean Paul Sacy Director: Christos Georgiou Actors: Marinos Hadjivassiliou, Elena Demetriou Writer: Christos Georgiou Production Company: MEDIABOX LTD Photography: George Giannelis Co-producers: Cyprus Ministry of Education and Montage: Isabel Meier Culture Costumes and Set Designer: Michalis Samiotis Pavlos and Maria have been married for a few Music: Thanasis Papaconstantinou, Constantis Pa- years. After experiencing diffi culties having a paconstantinou child the natural way, they resort to extracorporeal Actors: Aris Servetalis, Vicky Papadopoulou, Ra- fertilisation, but it fails and becomes a strain, psy- nia Economidou, Antonis Katsaris, Eleni Kokki- chologically and fi nancially, and the most severe dou, Vangelio Andreaki, Errikos Litsis, Dimitris consequences concern their interpersonal relation- Drosos. ships. At some point they decide to adopt, and Producers: Thanasis Karathanos, Constantinos hence begins a new battle. Moriatis, Christos Georgiou Production Companies: Twenty-Twenty Vision, Christos Georgiou Lychnari Productions, Bad Movies S.A. Christos Georgiou was born in London in 1966 to Leonidas, who has just graduated from the Police Cypriot parents – he was raised and completed his Academy, is transferred to a beautiful yet isolated basic education in Cyprus. Georgiou studied Film island in the Aegean. His professional challenges and Literature at the University of Warwick in Eng- are initially restricted to placing “No Nudism”

25 Small Crime (2008) Instructions (2008) signs on the island’s deserted beaches, but when Festival. His fi lms include: The 5th Floor (2006), he discovers the dead body of old Zacharias below Ink Control (2006) and Instructions (2008). a cliff, duty spurs him into action. Was it an ac- cident or, as his instincts tell him, things are not Instructions (2008) that simple? In his effort to fi nd answers, Leonidas Director: Costas Yiallourides will follow an unorthodox investigation, meet all Writer: Andrew Yerlett the island’s residents and fall in love. He will de- Photography: Zita Karath velop a very special relationship with the island, a Montage: Dimitris Tolios relationship that will eventually help him solve the Set designer: Olga Leontiadou mystery surrounding Zacharias’s death. Sound: Dimitris Rallis, Yiannis Photiades Music: Giorgos Christianakis Costas Yiallourides stud- Actors: Alexandros Logothetis, Stefania Yiolioti, ied Cinematography at Stephanos Laopodis the Northern Film School Producers: Diomides Nikitas, SEKIN, Greek Film in Leeds, England. He Centre. graduated with the short A new modular bed brings two very different peo- surrealistic fi lm Ink Con- ple together, a man enclosed in an invisible square trol, which was entered box and a woman who lives in a room at the cen- in many international fi lm tre of town. The woman will use her ingenuity to festivals and shown on the communicate with the man. BBC Film Network. His next fi lm, Instructions, received signifi cant ac- Andreas Constantinides claim, including fi rst prize at the Cyprus Short Film was born in 1944. He and Documentary Festival, the Greek Association graduated from Kykkos of Film Critics Award at the Drama Festival and Pancyprian Gymnasium international awards at the Trieste, Tangier and Da- and left Cyprus for Athens mascus festivals. He has also participated in the of- to study Cinematography, fi cial programme of many important international Theatre and Radio Stud- fi lm festivals and was profi led on the French tel- ies, with a specialisation evision programme Cine Cinecourts. He also par- in directing for television. ticipated in the seventh talent campus of the Berlin While studying he worked as a member of the di-

26 rector’s crew on several Greek productions. Con- In Unsung Toil (1992) stantinides returned to Cyprus and, after the com- Director: Andreas Constantinides pletion of his military service, he was hired by the Writer: Andreas Constantinides CyBC productions department for TV, where he Photography: Evangelos Hadjikyriakos worked for 34 years. Montage: Yiannakis Ioannides Constantinides has directed a great number of Sound: Charis Mylonas TV programmes, documentaries, theatre plays Music: Eleni Karaindrou and TV series. Many of his documentaries re- Script interviews: Costis Achniotis garding the Cyprus Problem have been used by Narrator: Andreas Koukkides the state for educational purposes, and some Special Adviser: Pantelis Varnava of his TV series have enjoyed great success, A documentary dedicated to the unsung stran- namely The Teacher, The Grey Sky, Peter A’, gers who sacrifi ced themselves for our country’s Krisos and the Artist, The Church of Cyprus, workers’ conquests. The fi lm’s subtitle is Before History and Civilization, and Argaki, A Cypriot May Day. Village Before and After the Turkish Invasion. Several of his fi lms were offi cial entries from Akamas (1988) Cyprus in a number of international festivals: Director: Andreas Constantinides Constantinides won the Bronze Agrino Award Writer-Narrator: Michalis Attalides at the Commonwealth Movie Festival for Aka- Photography: Dimitris Pavlides mas, and Cyprus, the Island That Nobody For- Montage: Yiannakis Ioannides gets, won the Prize of the Nations at both the Sound: Andros Chrysostomou Rome and London Movie Festivals. Music: Ross Daly Constantinides was one of the founding members Special adviser: Symis Shukuroglu and the President of the Cyprus Movie Club, the A documentary about the Akamas Peninsula, Nicosia Movie Club and the Cyprus Film Library. the last natural haven of Cyprus. The fi lm as- He is a member of the Film Classifi cation Board pires to portray the ecological signifi cance of and was also a member of the Sciences, Arts and the area. It also examines the villages of Aka- Letters Committee. In 2004 he was appointed mas and the diffi culties and problems faced by by the Council of Ministers as a member of the their residents. Cyprus Radio Television Authority. He teaches History of Cinema at the Vladimiros Kafkaridis Drama School.

Flights (1969) Director: Andreas Constantinides Writer: Andreas Constantinides, Dimitris Andreou Photography: Doros Partasides Montage: Andrew Trillides Sound: Thrassos Malas Actors: Spyros Stavrinides, Dimitris Andreou, Laika, Totos An experimental ﬁ lm about the environment and its destruction, Flights shows the extent of the destruction of beaches as a result of the erection of apartment buildings. The ﬁ lm combines cartoons with cinematic images. The late painter, Mikis Phinikarides, designed the graphics and wrote the screenplay. Flights (1969)

27 4th International Pharos Contemporary Music Festival

9 – 29 September 2012

he Festival had an impressively interna- «Ttional outlook and provided a rare opportunity to sample contemporary composition beyond the well-trodden paths.» Tim Rutherford-Johnson (Guardian, Tempo, The Rambler) Having established itself as one of the most cutting- edge and innovative annual events in the Eastern Mediterranean, the International Pharos Contem- porary Music Festival is now in its fourth year. The Festival is dedicated to the promotion of new music, both the established masterpieces of the contemporary music literature of the 20th century and a great number of premieres by leading young composers from all over the world who have been commissioned by the Pharos Arts Foundation to write new works especially for the Festival. The Festival provides a forum for composers and performers to advance and develop new projects and explore new worlds of sound in chamber music settings. Its other objective is to bring contemporary music to general audiences in Cyprus and elsewhere, as this is the music of our times – it is directly linked to Perro Andaluz, and the Kairos String Quartet. A many forms of visual and creative arts, and science. screening of Towards of Beyond was offered, and It is intimate with the modern human spirit. the Kairo String Quartet and El Perro Andaluz The 4th International Pharos Contemporary Music hosted workshops. Festival was a thrilling experience. It presented a number of exciting events, from 9 until 29 Sep- The Venues tember 2012, including a seldom heard repertoire The Shoe Factory is situated in Old Nicosia, near for strings, winds, voice, percussion and harp. Six the UN buffer zone. With the Shoe Factory, the of the ﬁ nest contemporary ensembles in the world Pharos Arts Foundation is revitalising this beauti- presented classical contemporary masterpieces ful and historic section of the capital by attracting by composers such as Schönberg, Stockhausen, a wide and diverse younger audience. All concerts Xenakis and Ligeti while joining forces with more at the Shoe Factory are characterised by a unique than 20 young, internationally acclaimed compos- intimacy, and the music is performed in an excep- ers from all over the world. Each of these compos- tionally inspiring setting. The Shoe Factory is a ers wrote a newly-commissioned work that was modern venue decorated with contemporary art by given its world premiere during the Festival. mainly local artists and offers audiences the unique There were concerts by the Arirang Wind Quintet opportunity to sit within an amazing proximity to & Marios Nicolaou/percussion; Quartetto Prom- world famous artists and experience performances eteo; The Nieuw Ensemble; Ensemble Aleph; El in a space like no other.

28 The Olive Grove is a world-class, open-air con- in the 24 music conservatories in Germany. The cert venue. It is relaxed and informal, promoting orchestra maintains its high performance standards a palpable intimacy between the artists and the through rigid auditions. audience. The venue is surrounded by the idyllic Arirang Wind Quintet’s repertoire includes clas- forest of Delikipos and is adorned with wooden sical, romantic and contemporary music, as well decks, shallow pools of water, Zen landscaping and as several works that were given their world pre- uniquely atmospheric lighting. Audience members miere by the Quintet. After a successful debut at can relax on chairs, blankets and pillows and en- the Bochum theatre, Arirang Wind Quintet was joy a glass of wine while listening to world class selected by Jeunesses Musicales Germany from musical performances. The Foundation’s vision for amongst a great many chamber music ensembles the Olive Grove is to make contemporary art less to represent Germany in the International Show- intimidating by creating innovative events that are case of Young Musicians 2004 in Croatia. The fun and appealing without compromising the qual- Quintet’s performances have included the North- ity and vision of the musical performances. ern Lights Festival/Tromsø, Semanas Musicales de Frutillar/Chile, the Vendsyssel Festival in Den- Arirang Wind Quintet mark, the Bach Fest Leipzig and the Festival Aix- Leonie Wolters / ﬂ ute en-Provence. Jörg Schneider / oboe Having been awarded 2nd prize at the International Steffen Dillner / clarinet Chamber Music Competition Schwerin in 2004, Sebastian Schindler / horn the Quintet was invited on a concert tour to Vienna, Christoph Knitt / bassoon Brünn and Prague (Prague Spring Festival). In & Marios Nicolaou / percussion 2005, the Quintet was awarded 2nd prize at the Inter- Established ten years ago, Arirang Wind Quintet is national Wind Quintet Competition Henri Tomasi a product of the Junge Deutsche Philharmonie, one in Marseille and 2nd prize at the Osaka International of Germany’s leading orchestras. The orchestra Chamber Music Competition. After its successful comprises more than 100 of the ﬁ nest international participation in the German Music Competition musicians selected from more than 25,000 students in 2007, Arirang Wind Quintett won a Deutscher

Arirang Wind Quintet

29 Quartetto Prometeo Kairos String Quartet

Musikrat scholarship. Having received an invita- F. Ollu, D. Bouliane, the Ensemble neue music tion from the Goethe Institute, Arirang Wind Quin- Koln and the Ensemble disson Art. He has taken tet has given concerts in North and South America, part in festivals such as the Pierre Boulez zum `75 Pakistan, Yemen, Latvia, Angola, India, Dubai, (in Cologne Philharmony) and at the Minimal Mu- Kuwait and Azerbaijan. The Quintet’s members sic Kassel, and he performed the Sonata for two are also members of major symphony orchestras in Pianos and Percussion by B. Bartók at the Klavier Germany and Switzerland. Festival Ruhr. Since 2009 he has been a member of Marios Nicolaou was born in Limassol in 1974. He the Ergon Ensemble. studied at the Athens Conservatory (class of D. Mari- nakis) and at the Hochschulefür Musik Köln with C. Programme Caskel and C. Tarcha, graduating with “Auszeich- Karlheinz Stockhausen (1928 – 2007) Zyklus for nung.” Nicolaou has also worked with P. Sadlo and solo percussion (1959) Rainer Seegers in master classes and private lessons. Christian Mason’s World Premiere In 2005 he took part in the International Ensemble Ioannis Xenakis (1922 – 2001) Rebonds for solo Modern Academy (Schwaz/Austria). He has also percussion (1989) been a holder of the “Alexandra Trianti” scholarship Interval of the “Friends of Music Society.” Peteris Vasks “Bläserquintett No.2” Music for a In 2000 Nicolaou appeared as a soloist on the Tim- Deceased Friend (1982) pani with the Cyprus State Orchestra, performing Isang Yun (1917 – 1995) Woodwind Quintet the Concertino for Timpani, Percussion and Strings Gyorgy Ligeti (1923 – 2006) Six Bagatelles for by A. Panufnik. He has worked with many orches- wind quintet (1953) tras in Germany, such as the Gürzenich Orchester- Kölner Philharmoniker, the Neues Rheinisches Quartetto Prometeo Kammerοrchester and the Kölner Jugendorchester. Giulio Rovighi / violin Since 2003 he has been collaborating with most of Aldo Campagnari / violin the orchestras of Greece (Athens State Orchestra, Massimo Piva / viola Radio Symphony Orchestra, Camerata, and Or- Francesco Dillon / cello chestra of Colors). As a chamber musician, Nico- Quartetto Prometeo performed a musical dramati- laou has worked with H. Lachenmann, P. Eötvös, sation of Dante’s Divine Comedy featuring twelve

30 world premieres by composers from all over Eu- One of the characteristics of Quartetto Prometeo is rope, the result of a collaboration between the San the research they devote to putting together their Fedele Foundation and the Pharos International repertoire, which includes the new musical ex- Contemporary Music Festival. Dante Alighieri – pressions of our time. Their close collaboration Italian poet, prose writer, literary theorist, moral with the acclaimed composer Salvatore Sciarrino philosopher, and political thinker – is best known inspired him to dedicate two pieces to the Quar- for the monumental epic poem La commedia, later tet, Esercizi di trestili and his latest, Quartet No.8, named La divina commedia. The Divine Com- which was commissioned by the Società del Quar- edy, one of the great works of medieval literature, tetto Milan, MaerzMusik Festival Berlin, Ultima is a profound Christian vision of man’s temporal Festival Oslo and Aldeburgh Festival; Quartet and eternal destiny. On its most personal level, it No. 8 was recently recorded, along with his latest draws on the poet’s own experience of exile from works for string quartet. Since performing the Ital- his native city of Florence; on its most comprehen- ian premiere of Târ, Quartetto Prometeo continues sive level, it may be read as an allegory, a journey its collaboration with Ivan Fedele, and in 2011 through hell, purgatory and paradise. they premiered Moiroloja Kai Erotikafor string Quartetto Prometeo won the 50th Prague Spring quartet and voice, which was commissioned by International Music Competition in May 1998, as Accademia Filarmonica Romana for the Quartet. well as the competition’s Special Bärenreiter prize The Quartetto Prometeo performance included 12 for Best Performance of Mozart’s Quartet K.590 world premieres: Vito Zuraj (Slovenia), Manuel (according to the original score), the City of Prague Rodriguez (Spain), Antonin Servière (France), prize as best quartet and the Pro Harmonia Mundi Carlo Ciceri (Italy), Franco Venturini (Italy), Aurél- prize. Quartetto Prometeo was designated resident ien Dumont (France), Mirtru Escalona (Venezuela/ group at the Britten Pears Academy (1998) in Al- France), Antonio Covello (Italy), Roberto Vetrano deburgh and was awarded the Thomastik Infeld (Italy), Vittorio Montalti (Italy) Evis Sammoutis prize at the Internationale Sommer Akademie Prag- (Cyprus) and Pasquale Corrado (Italy). Wien-Budapest 1999 for outstanding performance of a chamber music work; the Quartet also won Kairos String Quartet the second prize at the Concours International de Wolfgang Bender / violin Quatuors in Bordeaux. In 2000, the Quartetto Pro- Stefan Häussler / violin meteo was awarded the Special Bärenreiter Prize Simone Heilgendorff / viola at the renowned ARD Münich Competition. Since Claudius von Wrochem / cello its inception, the Quartet has received important Berlin’s Kairos Quartet was founded in 1996 and scholarships from the Scuola di Musica of Fiesole debuted at the Darmstadt International Holiday and from the Accademia Chigiana of Siena, where Courses. The Quartet promotes new music from in August 1995 it won the prestigious diploma of the second half of the 20th century to the present, honour. Beginning in 2013 through 2015, Quar- thus landmark compositions since the 1950s and tetto Prometeo will be quartet-in-residence at the world premieres are at the heart of the Quartet’s prestigious Accademia Filarmonica Romana. activity, which also includes samples of the West- Quartetto Prometeo’s brilliant international career ern musical tradition, music from non-Western cul- includes performances at some of the most impor- tures, and compositions created with other media tant music festivals and venues in the world, includ- (electronics, video and speech). ing Concertgebouw, Wigmore Hall, Aldeburgh Kairos (Caerus - Καιρός) is the god of the auspicious Festival, Wexford Festival, Prague Spring Festival, moment in Ancient Greek mythology. He was rec- Accademia di Santa Cecilia in Roma, Théâtre in ognised as the youngest son of Zeus by the poet Ion Bordeaux, Auditorium Musée d’Orsay in Paris and of Chios (490 - 421 B.C.). Depicted by the sculptor tours in South America and in the Netherlands. Lysippos as a youth with winged shoes and a long

31 lock of hair hanging in front of his forehead, he sym- Ioannis Xenakis (1922 – 2001) ST/ 4 (1962) bolises opportunity. The juxtaposition of Kairos with Giacinto Scelsi String Quartet No.3 (1963) Chronos (measured time - Χρόνος) illustrates a con- Interval cept of time that is intimately linked to human expe- Evis Sammoutis (b.1979) Rhymes rience. As a musician, one can feel “Kairos” when Georg Friedrich Haas (b.1953) String Quartet No. perfect harmony is achieved. These rare and magical 2 (1998) moments are the ultimate goal of all artists. A workshop with the Kairos String Quartet with The Kairos Quartet takes great care in the selection the participation of young Cypriot instrumentalists and combination of pieces, sometimes curating even and composers included a demonstration of ex- their own concert series, as was the case with the tended instrumental techniques for strings as they concert and conversation series Five Windows onto appear in innovative key repertoire works for string the String Quartet Since 1950, which took place at quartet. The workshop was aimed at composers the Kulturbrauerei Berlin in 2001 and 2002 – the and performers and was jointly presented with the Quartet presented composers such as Ferneyhough, Goethe Institute Cyprus. Lachenmann and Lucier. The Quartet has also developed close professional relationships with the Towards and Beyond - A screening of Barrie composers Haas (Austria), Estrada (Mexico), Netti Gavin’s documentary about the British Com- (Italy), Newski (Germany/Russia) and Lim (Aus- poser Jonathan Harvey tralia). The Kairos Quartet reaches out to music Born in 1939, composer Jonathan Harvey stud- students and the general public through workshops, ied with Erwin Stein in Cambridge, after whose master classes and lectures on new music and per- death he studied composition and analysis with formance practice as part of festivals or at music Hans Keller, obtaining a PhD. At Cambridge, he schools. These workshops, master classes and lec- was preoccupied with mystical ideas while becom- tures have so far taken place in Austria, Germany, ing acquainted with procedures in medieval and Mexico, Norway, Poland and Switzerland. renaissance music that later infl uenced his own The Quartet has been invited to numerous inter- compositions. During the 1960s Harvey composed national festivals, including Ultraschall and Mae- freely, responding to a wide variety of musical and rzMusik (both in Berlin), Eclat Stuttgart, Hudders- religious experiences in his settings of medieval fi eld, Berliner Festwochen, Wien Modern, Salz- texts. Schoenberg, Berg, Messiaen and Britten burger Festspiele, Klangspuren/TransArt, Warsaw were also early infl uences, and Hans Keller helped Autumn, Ljubliana Festival, Festival d’Automne to broaden Harvey’s list of infl uences. In 1964 Har- and the Festival de Cervantino. Kairos Quartet has vey joined the Music Department of Southampton been recorded live by most major German radio University. It was at this time that the power of stations and by the BBC, DRS, ORF and RAI. The Stockhausen’s music fi rst had a profound effect Quartet’s CDs have populated various best-of lists on Harvey, inspiring him to explore and develop and the German Record Critic’s Award (1/2005). his own complex and personal musical language In 2001, Kairos was the fi rst ensemble to become – he later came into contact with Milton Babbit. fellows at the Academy Schloss Solitude. In the early 1980s, Harvey was invited by Boulez The many artistic partners of the Kairos Quartet to work at IRCAM, a position that has resulted in include baritone Dietrich Henschel, Mayumi Mi- many new commissions in recent years. Harvey’s yata (sho), the sound poets Valeri Scherstjanoi and works are now being increasingly played all over Michael Lentz, actress Martina Gedeck, the Schlag- the world. The transcendental quality of his music quartett Köln and the Vokalsolisten of the SWR. does not lose its force when he focuses on the more intimate genre of chamber music. Programme British Director Barrie Gavin studied history at the Toshio Hosokawa (b. 1955) Landscape I (1992) University of Cambridge from 1954 to 1957 and

32 British Composer Jonathan Harvey Nieuw Ensemble joined the BBC as an assistant fi lm editor in 1961, Early Photography (Award of New York Festival where his fascination with contemporary music of Films on Art, 1989). brought him into contact with Pierre Boulez. Over the next 40 years they collaborated on a series of Nieuw Ensemble analytical documentaries on the founding fathers Ernest Rombout / oboe of 20th century music: Schönberg, Berg, Webern, Ernestine Stoop / harp Bartók, Stravinsky, Ives, Varese, Messiaen and, of Angel Gimeno / violin course, Boulez himself. From the 1970s until the Frank Brakkee / viola end of the 20th century Gavin specialised in por- Jeroen den Herder / cello traits of contemporary composers: Berio, Luigi The Nieuw Ensemble was founded in 1980 in Nono, Stockhausen, Takemitsu, Birtwistle, Peter Amsterdam. It has a unique instrumental structure, Maxwell Davies, Mark-Anthony Turnage and combining plucked instruments such as mandolin, many others. In 1977 Gavin was invited to Germa- guitar and harp with wind, string and percussion. ny to make a fi lm about Kurt Weill. This marked The lack of literature for this group makes it de- the beginning of a long association with German pendent upon composers, as composers have al- television, resulting not only in many adventurous ways been upon musicians. The Nieuw Ensemble documentaries but also in a new area of work for has thus set out to build its own repertoire, encour- Gavin, directing concerts for television. To date he aged by continuous contact with composers from has been responsible for some 250 televised pro- different cultures, countries and generations, and ductions of concerts and operas. by long-term workshops for young composers. The vast majority of Gavin’s work has been about More than 500 pieces have been written for the music, but he also produced a series on classic ensemble. Ed Spanjaard has been its principal confi lm directors in 1967 and a number of fi lms about ductor since 1982. literature and the visual arts, including Sir William The Ensemble has been widely praised for its in- in Search of Xanadu (Award of Montreal Festival novative programming. Its programmes have been of Films on Art, 1984) and Images - A History of those dedicated to the work of a single composer,

33 such as Berio, Boulez, Carter, Donatoni, Ferney- hough, Kagel, De Leeuw, Kurtág, Loevendie and Nono. The Ensemble has initiated festivals such as Complexity (1990); Rules & Games (1995); Improvisations (1996); the Multi-Cultural Festival of Plucked Instruments (1998); The Refi ned Ear (2003), on microtonality; Inspired Time (2004), on rhythm; Open Music (2005-2006) on computer aided composition, and Orientations (2006-2007) on western and non-western instruments. In 1998 the Nieuw Ensemble and its artistic director, Joël Bons, were awarded the Prince Bernhard Fund Music Prize for their “markedly lively and adventurous programming, which can be described as ground-breaking, both in the literal and fi gura- Ensemble Aleph tive senses of the word.” Since 1991, programmes featuring new works written especially for the ensemble by Chinese composers such as Tan Dun, (1927) Qu Xiaosong, Xu Shuya, Chen Qigang and Guo Jonathan Harvey (b. 1939) Death of Light/Light of Wenjing have attracted wide attention. In 1997, Death for oboe, harp, violin, viola, cello (1998) 2008 and 2010 the group performed concerts in Shanghai, Hong Kong and Beijing. Ensemble Aleph The Nieuw Ensemble now enjoys a fi rm international Dominique Clément / clarinet standing – the Ensemble has performed in festivals Sylvie Drouin / piano such as the Venice Biennale, Settembre Musica, Ars Monica Jordan / vocals Musica in Brussels, Donaueschinger Musiktage, Mu- Christopher Roy / cello sica Strasbourg, Holland Festival, Warsaw Autumn, Created in 1983, Ensemble Aleph is a collective of Huddersfi eld Festival, Agora, Stockholm New Mu- associated soloists, a set of performers and com- sic, the Festival d’Automne à Paris, Lincoln Center posers, a formation of variable geometry in search Festival and Sadler’s Wells in London. of new possibilities in relationships between sound The Ensemble has released compact discs of Do- and text, movement and music. natoni, Carter, Ferneyhough, Gerhard, Loevendie, With nearly 250 creations, Ensemble Aleph has es- Poulenc, Honegger, Guo Wenjing, Kagel, Tsoupa- tablished itself as a major relay of musical innova- ki and Chinese composers, and has produced docu- tion. A laboratory dedicated to creation, Ensemble mentary fi lms about Boulez Eclat and about fi ve Aleph invites eligible young composers to benefi t Chinese composers. The Nieuw Ensemble also from its experience in a spirit of sharing and ex- participates in the Atlas Ensemble, a unique cham- change, particularly through the International Fo- ber orchestra uniting thirty brilliant musicians from rum for Young Composers, a project selected in the East, the Near East and Europe. 2000 by the European Commission Program “Cul- ture 2000”, with 61 composers from 26 countries Programme (the 7th Forum will take place in 2014). Tasos Stylianou World Premiere Ensemble Aleph enriches its practice by working Arnold Schönberg (1874 – 1951) String Trio, Op. with jugglers, VJ’s, choreographers, directors, writ- 45 (1946) ers and actors. For almost 30 years, the Ensemble Musheng Chen World Premiere has been developing collective projects, pooling Interval efforts and sharing practices across more than 900 Anton Webern (1883 – 1951) String Trio, Op. 20 concerts. In 2008, Ensemble Aleph created LIEU,

34 El Perro Andaluz

European Instrumental Laboratory, which brings ing young ensembles for contemporary music. The together musicians, ensembles and composers Ensemble is famed for the cultural background of around musical creation. This will become a plat- its members and for its partnerships with composers form, “Live in Lieu,” in 2013. such as H. Lachenmann, R. Saunders, A. Hölszky, V. Tarnopolski, H. Hellstenius, G. Katzer and others. Programme The Ensemble’s vision, to emphasise the position Christina Athinodorou World premiere of New Music in society, is pursued through a wide Dominique Clément (b. 1959) Poème incorrect II range of musical activity, including installations, op- for voice, clarinet and piano(1988) era productions, concerts and educational projects. Tomi Raisanen World premiere El Perro Andaluz was awarded the Kulturförderpreis Ioannis Xenakis (1922 – 2001) Nomos Alpha for of the city of Dresden in 2011. Alongside its projects cello (1966) in Germany, 2012 has seen the Ensemble invited Interval to Spain, England and Austria, where this season it Evis Sammoutis (b. 1979) Ghost Shadows for holds the position of Ensemble in residence at the soprano and piano University Mozarteum Salzburg. Helmut Lachenmann (b. 1935) Allegro Sostenuto for clarinet, cello and piano (1986-1988) Programme John Cage (1912 – 1992) Aria, solo for voice (1958) Ivan Fedele (b. 1953) Immagini da Escher (2005) Sophia Serghi World premiere El Perro Andaluz Ioannis Xenakis (1922-2001) Plekto for sextet (1993) Albrecht Scharnweber / clarinet Interval Yuri Matsuzaki / ﬂ ute Thomas Simaku (b. 1958) A2 for violin & cello Torsten Reitz / piano (2008) Seong-Ryeom Lee / percussion Brian Herrington World premiere Emily Yabe / violin Nicolaus A. Huber (b. 1939) La force du vertige Jakob Andert / cello for ﬂ ute, clarinet, violin, cello & piano (1985) Lennart Dohms / conductor Arising out of a 2007 project with composer Brian Pharos Arts Foundation Ferneyhough in Dresden, the ensemble El Perro An- Tel.: +35722663871 daluz quickly became one of Germany’s most excit- www.pharosartsfoundation.org

35 16th International Festival of Ancient Greek Drama

s it does every year, the month of July Awelcomed theatre friends from around the world to the Pafos Ancient Odeon, the Curium Ancient Theatre in Limassol and the Makarios III Amphitheatre in Nicosia for the 16th Interna- tional Festival of Ancient Greek Drama 2012. The Festival was presented under the auspices of the Cyprus Presidency of the Council of the European Union and was organised by the Cy- prus Centre of the International Theatre Institute in cooperation with the Cultural Services of the Agamemnon’s Children Ministry of Education and Culture and the Cy- prus Tourism Organisation. The Festival programme was selected by the Festival Selection Committee.

Agamemnon’s Children The Festival opened with a production of Agam- emnon’s Children by the Hessian State Theatre of Wiesbaden, Germany. The adaptation combined Euripides’ Iphigeneiain Aulis, Orestes and Iphigeneia in Tauris, and Sophocles’ Electra into a single storyline. The synthesis of these four Electra and Orestes, the Trial plays narrates the lives of Agamemnon’s children from different points of view. Their actions Electra and Orestes, the Trial and their destinies make them both perpetrators The Cyprus Theatre Organisation’s production, and victims in the vicious cycle of violence en- Electra and Orestes, the Trial, is an adaptation based demic to Atreides’ myth. on Sophocles’ Electra, Euripides’ Orestes and Ae- Direction: Konstanze Lauterbach schylus’ Eumenides. Both the adaptation and the di- Set design: Karen Simon rection are by Israeli stage director Hanan Snir and Costumes: Hannah Hamburger are based on the technique of a “play within a play”. Music: Achim Gieseler The outer play deals with Electra and Orestes on trial Cast: Doreen Nixdorf (Iphigenia), Sybille Weiser at the Supreme Court for the crime of matricide. In (Electra), Michael von Bennigsen (Orestes), Su- court, the events that led to the murderous act are sanne Bard (Clytaemnestra), Michael Günther Bard presented against the backdrop of a contemporary (Agamemnon, Thoas), Michael von Burg (Pylades), refugee camp. Uwe Kraus (Menelaus), Jörg Zirnstein (Servant, Translation: Vayos Liapis Messenger, Phrygian, Apollo, Arcas), Magdalena Adaptation/Direction: Hanan Snir Höfner (Hermione) Set Design-Costumes: Melita Couta, Harris Kafka- Chorus: Evelyn M. Faber, Magdalena Höfner, Fran- rides ziska Werner Music: Demetris Zavros

36 Bacchae

Choreography: Fotis Nicolaou The Group examined the confl ict between King Lighting Design: Giorgos Koukoumas Pentheus and Dionysus and used the reality of our Assistant Director: Egli Spyridaki current situation to contextualise it. Poor Pentheus: Cast: Thanasis Drakopoulos (Herald), An- his disrespect toward Dionysus and his punishment dreas Tsouris (Farmer), Lea Maleni (Electra), for it makes him a prominent fi gure among the Nektarios Theodorou (Orestes), Andreas Tse- tragic fi gures of Greek mythology. This new King lepos (Pylades), Niovi Charalambous (Chrys- of Thebes stands for moderation and self-restraint, in othemis), Andreas Vasileiou (Pedagoge), Anni- juxtaposition with Dionysus, who protects the vital ta Santorineou (Clytemnestra), Neoklis Neok- acceptance of instinct. The Chorals were interpreted leous (Aegisthus), Giorgos Mouaimis (Apollo), in ancient Greek and followed the rules of Prosody. Stela Firogeni (Athena) Direction: Lucas Walewski Chorus: Anna Yiagiozi, Niki Dragoumi, Elena Efs- Adaptation/Dramaturgy: Elena Agathokleous and tathiou, Iliana Kakkoura, Zoe Kyprianou, Rania Iacovou Ermina Kyriazi, Andri Kyriakou, Mara Constanti- Observer: Spyros Charalambous nou, Christiana Larkou, Anna Papageorgiou, Kyn- Voice couching in open space: Diomedis Koufteros thia Pavlidou, Christina Christofi a Couching classical Indian music: Ravi Saundankar Musicians: Alkis Agathocleous, Korina Vasiliou, Choir leader: Lefkios Demosthenous Petros Giorkatzis, Evripides Dikeos, Mitko Topalov Movement: Lucas Walewski Set construction: Giorgos Mavrogenis, Menelaos Bacchae Papagiorgis With the production of Euripides’ Bacchae, the Mi- Cast: Elena Agathokleous (Pentheus, Agaue, Mes- tos Theatre Group, Cyprus, concluded its innovative senger), Lucas Walewski (Leader of the Chorus, work on Euripides’ Bacchae that began in July 2009. Cadmus), Diomedis Koufteros (Tiresias, Attendant,

37 Messenger) court of justice. Orestes is acquitted of the murder Chorus: Nikolas Arkadiou, Giorgos Onisiforou, of his mother, Clytaemnestra, who had murdered Ravi Saundankar, Lefkios Demosthenous, Konstan- his father, Agamemnon, and the vindictive Furies tinos Melides are convinced to give up their pursuit of vengeance. The Festival presented two more productions con- The danger of infl amed violence is real and awe- nected to the legend of the Atridae which were not inspiring in context of our modern world. Athena’s adaptations, Sophocles’ Electra and Aeschylus’ The warnings are particularly relevant, as if they had Eumenides. been uttered today: “Do not madden our young men, with the hiss of the whetstone, and the dream of the Electra plunging blade…” Electra was presented by the Greek Theatre Com- Director: Ruth Kanner pany ‘Morphes Ekphrasis’. The performance paid Music: Mika Danny homage to Dimitris Rondiris on the occasion of the Lighting Design: Shaked Vax 30th anniversary of the passing of the great director Cast: Ronen Babluki (Orestes), Assaf Degani (Apol- and teacher. Electra strives to continue her life after lo), Milli Ravid (Athena), Sharron Harnoy (The her mother murders her father, but she is obsessed ghost of Clytaemnestra), Neta Nadav (Priestess) with taking revenge. Her brother Orestes and his Chorus of the Furies: Shirley Gal Segev, Tali Kark, friend Pylades return to Argos to avenge Agam- Adi Meirovitch, Sharron Harnoy, Neta Nadav emnon’s murder. Orestes kills his mother, Clytae- Musician: Avshalom Ariel mnestra, and her lover, Aegisthus. Translation: Ioannis Griparis The Assembly Women Direction: Thomas Kindinis Two comedies by Aristophanes, The Assembly Set design-Costumes: Anna Sevasti Tzima Women and Frogs, blew a fresh breeze toward festi- Music: Pan Kaperneka, Constantinos Roumelis val goers who came to enjoy ancient Greek comedy Cast: Thomas Kindinis (Tutor to Orestes), Gian- under the starry Cyprus sky. The Assembly Women nis Costaras (Orestes),Constantinos Roumelis (Py- was presented by the Neos Cosmos Theatre, Greece; lades), Zoi Nalmpanti (Electra), Vlasia Ververi and the performance was based on a free translation of Kleoniki Karachaliou (Chrysothemis), Elena Or- the original text by Vassilis Mavrogeorgiou. What fanidou, Sofi a Lymperi (Clytaemnestra), Thomas would happen in a city if all citizens had communal Kindinis (Aegisthus) property rights and a “communal bed”? Would a law Chorus: Anna Sevasti Tzima, Vlasia Ververi, Kle- which demands that no man may sleep with a pretty oniki Karachaliou, Nancy Klampatsa, Evgenia Pa- young woman, unless he fi rst sleeps with an ugly old padaki, Elena Orfanidou, Mikaela Zannou, Polina one, be fair? The women of Athens, under the lead- Lamprianidou, Sofi a Lymperi, Angeliki Pardalidou, ership of Praxagora, certainly thought so! Disguised Eleana Finokalioti, Chrisi Gerardi, Foteini Kapellaki, as men, they appear in the Assembly, where they Chrysa Pyli, Asteropi Charitidou, Paraskevi Politi support the transfer of power to women. They win, and hence everything seems possible! The Eumenides Direction: Vangelis Theodoropoulos The Ruth Kanner Theatre Group, an Israeli compa- Free Translation: Vasilis Mavrogeorgiou ny, presented The Eumenides, by Aeschylus, based Music: Thanos Mikroutsikos on the magnifi cent translation by poet Ted Hughes. Set Design-Costumes: Angelos Mentis The Eumenides is the third play in the trilogy Orest- Choreography: Angeliki Stellatou eia: the fi rst two are Agamemnon and Libation Bear- Lighting design: Sakis Birbillis ers. Supernatural powers, the Furies, chase Orestes, Music instruction: Thanasis Apostolopoulos who has killed his mother. He takes refuge in the Cast: Daphne Lamprogianni (Praxagora), Kostas temple of the goddess Athena, who founds the fi rst Koklas (Blepyrus), Giorgos Pyrpasopoulos (Young

38 Costumes: Elena Katsouri Composer: Lefteris Moumtzis Choreography: Chloe Melidou Music supervision: Sophronis Sophroniou Cast: Valentinos Kokkinos (Dionysus), Dem- etris Antoniou (Xanthias, Aeschylus), Michalis Sophocleous (Heracles, Pluto), Marinos Konso- los (Leader of the Chorus, Aeacus, Maid), Marina Vronti (Charon, Euripides, Plathani) Chorus of Frogs: Demetris Antoniou, Michalis So- The Eumenides phocleous, Marinos Konsolos, Marina Vronti, And- rea Demetriou, Marcos Ioulios Droushiotis, Maritsa Elia

Antigone The Festival closed with Tommaso Traetta’s opera, Antigone, presented by Skull of Yorick Productions, UK. Antigone was directed by Zamira Pascieri and Kassandra Dimopoulou. Based on Sophocles’ tragedy, the work of the Italian composer Tommaso Traetta is presented in a new, groundbreaking production. Traetta’s music is delivered in a contempo- Antigone rary performance that blends modern sounds with man), Pantelis Dentakis (Chremes), Nikos Kardonis Baroque music and the music of the ancient world. (First man), Stratos Christou (Second man), Georgia Antigone represents an innovative step for opera by Georgoni (Young woman) combining traditional, classical and electronic in- Chorus: Mary Saousopoulou, Ntini Renti, Polyxeni struments. Aklidi, Eirini Georgalaki, Maria Georgiadou, Geor- Creon, king of Thebes, prohibits the burial of Polyn- gia Georgoni, Andri Theodotou, Katerina Maoutsou, ices, who rose against Thebes, the city of his birth, Sotiria Rouvoli, Eirini Fanarioti, Elena Hatjiafxenti and tried to conquer it. His sister, Antigone, convinced to follow divine law rather than arbitrary The Frogs state law, secretly buries her brother and is sentenced The Frogs was presented by Magdalena Zira and to death. Not even Haemon, the son of Creon, who Fantastic Theatre, her theatre company. Zira adapted loves Antigone and protests against his father’s de- the play using Vayos Liapis’s new translation and cree, manages to save her. combined innovative and traditional elements with Directors: Zamira Pasceri – Kassandra Dimopoulou music by Lefteris Moumtzis. Using the text as a Costumes/Set Design: ARTLUXE foundation and inspired by the similarities between Orchestration: Philip Modinos the play’s social framework and that of modern so- Cast: Jenny Drivala (Antigone), Philip Modinos ciety, the direction and adaptation recasts The Frogs (Creon), Kassandra Dimopoulou (Iseme), Louisa to reﬂ ect our current reality. The Frogs is a delightful Petais (Haemon),Marios Andreou (Priest/Guard) comedy in which the god of drama himself, Diony- Chorus: Depi Mavropoulou (leader), Panikos Loizou, sus, appears. Marios Fylakoudias, Andreas Fylakoudias, An- Translation: Vaios Liapis dreas Stylianou, Konstantinos Stylianou, Dimitris Direction/Adaptation: Magdalena Zira Nikoloulopoulos, Panagiotis Nikoloulopoulos, Frixos Set Design: Demetris Alithinos Nikoloulopoulos, Antonis Eyripidou, Giorgos Proto-

39 papas, Kostas Konstantinou, Aris Giannakas, Gian- nis Buhayar, Argyris Makris, Antreas X Stefanou, Giannos Xristoﬁ , Giorgos Charalambous, Andreas Vasileiadis, Nikolas Neofytou, Andreas Kestas, Stella Kyriakidou, Anthi Kyriakidou, Eirini Charalambous, Natassa Athanasiou, Sabrina Leonidou, Ceca Varda

Launch of the International Festival of Ancient Greek Drama By Neophytos Neophytou Electra Morfes Ekfrasis The launch of the International Festival of Ancient Greek Drama 16 years ago was a decision by the drama, which is the wellspring of contemporary Eu- Board of Directors of the Cyprus Centre of the Inter- ropean drama and a core element of the world’s cul- national Theatre Institute (I.T.I.), following a sugges- tural heritage, has direct relevance to today’s world. tion by then director Nicos Shafkalis. The motivation Rapid technological development makes it even was to give ancient Greek drama a wider presence in more crucial for us to fi nd ways of using the capa- the theatrical activities of the island. What has estab- bilities presented by the open Ancient Greek mind to lished the Festival as a distinct cultural event is its refl ect on our current reality. international character. The performances, many of The International Festival and the International Sym- which are original in their approach, cover the whole posium on Ancient Greek Drama and their com- month of July every year now, but when the Festival bined international repute strengthen the position of commenced 16 years ago at the Pafos Ancient Ode- Cyprus on the global cultural map and contribute to on, it lasted one week. At the time, the Festival was intercultural dialogue. This dialogue helps preserve organised by the Cyprus Centre of the I.T.I. and was cultural identity and promotes respect for diversity, subsidised by the Ministry of Education and Cul- both of which are threatened by globalisation. ture’s Cultural Services, with support from the Pafos The philosophy behind these activities comprises Municipality. Today the Festival is co-organised by three goals: (a) the study of ancient drama as text the Cyprus Centre of the I.T.I., the Cultural Services and discussion of stage approaches to ancient drama of the Ministry of Education and Culture and the Cy- in the context of contemporary reality; (b) the stage prus Tourism Organisation, with additional support performance of ancient drama, and (c) ancient dra- from the Pafos Municipality and some other small ma as a vehicle for theatre education. organisations. The Festival now takes place at the The fi rst of these goals has been achieved by the In- Pafos Ancient Odeon, at the Curium Ancient Thea- ternational Symposium on Ancient Greek Drama, tre, Limassol, and at the Makarios III Amphitheatre, which was fi rst established in 1990, but symposia Nicosia. are restricted to a limited number of people – one The performances project the uniqueness of ancient must be equipped with special qualifi cations to at- Greek drama but also bear the intense colouring of tend them. Dramatic texts, however, valuable though the culture of the country they come from. Thus the they may be as literature, cannot fulfi l their purpose audiences, which are international, as they com- completely unless they reach the wider public. And prise not only Cypriots but foreign visitors as well, this can be achieved only if they are translated dur- have the unique opportunity of experiencing ancient ing stage performances. Therefore, the need to make Greek drama from different cultural perspectives ancient drama accessible to the wider public was – this affi rms both its specifi city and its universal- fulfi lled with the establishment of the International ity. All foreign language performances are subtitled Festival of Ancient Greek Drama. in English and Greek, and all Greek performances Our goal is to continuously upgrade the Festival have English subtitles. to bring our audiences performances of the high- The Centre has always believed that ancient Greek est quality.

40 The Cyprus Medical Museum

A dentist in the old days Reconstruction of child birth

25 years of Planning and the First Donations A Diffi cult Road When the Committee of the Limassol Medical As- The construction of the museum was approved in sociation announced its decision to create a medi- 2001, and it was offi cially registered in 2003. The cal museum 25 years ago, not many people took road to the success of the museum was a diffi cult it seriously. It was well known that such a project one, however, and there were many obstacles. It required a signifi cant effort, and it was believed was diffi cult to fi nd storage space, and efforts to few doctors were very enthusiastic about historical convince both state and municipal authorities to medicine and old fashioned equipment. provide us with an appropriate location to establish So we were surprised to receive our fi rst valu- the museum failed. A notable example is the fa- able donations from doctors and their families in mous abandoned Tritoftidis Clinic at the centre of Nicosia. These donations were soon followed by Limassol, which was eventually demolished, while donations from the families of well known physi- other buildings were used by the Limassol munici- cians in Limassol, some of whom had preserved pality for the establishment of other museums. heavy and complicated equipment left behind by In the midst of our frustration and disappointment, the deceased. Soon thereafter, we received obsolete the mayor of Kato Polemidia, George Georghiou, equipment and instruments from practicing physi- informed us his council was willing to offer us a cians, which they donated to our museum, rather unique old building in the historical sector of Po- than disposing of it. We were ultimately able to ac- lemidia which was slated for renovation under cumulate an enormous collection of valuable medi- the supervision of the Department of Antiquities. cal artefacts. We were delighted by and thankful for Mayor

41 Georghiou’s generosity, and we were quite pleased The Museum’s Contents that the age of the building was in harmony with The Cyprus Medical Museum today houses 160 most of our exhibits. exhibits donated by 32 doctors and their families. The exhibits are grouped in eight units, all of them Important decisions by the Committee supported by touch screens. The Museum Committee immediately made a Some of the special items on exhibit in the number of decisions. First, the exhibits were going museum include medical equipment used to be grouped in eight entities of related special- for the fi rst time in Cyprus. This includes an ties. With the use of lighted platforms and life-sized electrocardiograph belonging to the late Mikis Constantinides from Nicosia (1940) and the models, we would bring the operating, delivery fi rst haemodialysis machine that was used pri- and examining rooms of the previous century to vately by Greek and Turkish Cypriot patients life. Well known architect and set designer George in Limassol around 1970. Other impressive ex- Papadopoulos undertook this project. hibits feature the delivery and care of a baby in Another important decision was the creation 1930, surgery with general anaesthesia in 1950, of an electronic infrastructure, a database and ENT surgery in 1950 and orthopaedic surgery a website. We decided to install touch screens in 1960. throughout the museum, so that visitors could The museum also features an impressive exhibit access information about each exhibit, including devoted to the outpatient performance of radio- the period, the location where the items in the logical procedures in the 1940s, including all exhibit were used, how the items were used and the necessary protection used by the physician who donated them to the collection. This project and the patient and fi lm development equip- was undertaken by surgeon Marios Karaiskakis, ment. Another interesting section of the muse- whose hobbies include electronic structuring um comprises neurological equipment used on and Web design. the island in the 1960s for electroencephalog- Finally, the selection, transfer and description raphy (EEG), Electromyography (EMG) and of the museum’s exhibits was overseen by Chris electroconvulsive (ECT) treatment. Antiquated Messis, who was assisted by Michalis Korais. The dentistry equipment, from the 1950s, is accom- translation of all museum information into English panied by a caricature by dentist and artist Sta- will soon be available on the website. this Economides.

Former Health Minister Stavros Malas inaugurates the Head of the Cyprus Medical Association, Dr Andreas Cyprus Medical Museum Demetriou

42 Mr Kyriakos Yiannopoulos Secretary of the Cyprus Medical Dr Christodoulos Messis the museum’s Vice President, shows Museum Stavros Malas the exhibits

Database, Touch Screens and Website near future, so our visitors will have the opportu- A wealth of information is available on the mu- nity to compare 19th and 20th century medicine to seum’s website, www.cyprus-medical-musem. that practiced millennia ago. org, including photographs from medical meetings from all over Cyprus going back 60 years and vid- Cost and Further Needs eos from congresses and other events going back Thanks to volunteer work undertaken by members 40 years. Photos of our donors with their exhibits of the Cypriot medical community, we were able to and photos from a number of functions held prior establish the museum for approximately €100.000. to the completion of the museum are also available We received generous contributions from phy- on our website. sicians, pharmaceutical companies and other sources. We are expecting ﬁ nancial support from Library the state and elsewhere, so that we can expand and Our collection of books and other writings on Cyp- enrich our educational programs. riot medicine are meticulously preserved in the museum’s small library, although protocols and Visitors other historic documents are on exhibit at the en- We are welcoming professionals and students trance to the museum. from the medical and paramedical sector, as well as primary and secondary school students. Botanical Garden with Medicinal Plants We also hope to welcome people from all over A small botanical garden in the museum yard is Cyprus to visit a unique museum where they home to medicinal plants used in Cyprus for thera- can learn about the history of Cypriot medicine peutic purposes. The garden was created with love and the progress of medical technology, where by Dr John Ioannides. they can compare the practice of medicine in the 19th and 20th centuries to the medicine of the 21st. Antiquities

Unfortunately, our initial desire to include ancient Dr Marios Philippou MD medical equipment found at various excavations in (President of the Museum Committee) Cyprus, or identical copies, has gone unfulﬁ lled, as our request was denied by the Department of An- and Dr Chris Messis MD tiquities. We hope this decision will change in the (Vice President and Curator of the Museum)

43 Pafos Aphrodite Festival 2012

he 14th Pafos Aphrodite Festival raised its cur- Ttain this year on the Slovak National Theatre’s performance of Verdi’s Otello. The Festival was held on 7, 8 and 9 September at the Medieval Cas- tle of Pafos, in Pafos Harbour. The performance was supertitled in Greek and English.

The Plot An adaptation of one of William Shakespeare’s four great tragedies, Otello is set at the Castle of Famagusta in the 15th century, where Othello, governor of Cyprus, returns victorious from the war unaware that two of his men, Iago and Rodrigo, are plotting to destroy him. Iago, wishing to satisfy his own ambitions, defames Otello’s wife, Desde- mona, convincing Otello that she was unfaithful to him with his Captain, Cassio. Blinded by jealousy, Otello kills Desdemona, but he soon ﬁ nds out the truth of Iago’s treachery. Unable to bear the burden of her murder, he stabs himself and dies.

Cyprus Presidency of the Council of the European Union fos District Committee). These fi ve organisations Due to the symbolic connection of this opera with formed the Company to promote Pafos as an inter- the occupied city of Famagusta, coupled with con- national centre for high profi le cultural events and tinued international acknowledgment of the Pafos to contribute to the international promotion and Aphrodite Festival, this year’s Festival was held advancement of Cyprus in the cultural and tourist under the auspices of the Cyprus Presidency of the sectors. The Company is a non-profi t organisation Council of the European Union, which enhanced that organises and manages the Pafos Aphrodite the prestige of the Festival and brought it extra rec- Festival and other cultural events in Pafos District. ognition. A Success, Despite Being Deemed Unfeasible Pafos Aphrodite Festival Cyprus – Prior to 1998 it was considered unfeasible for Cy- A Historical Overview prus to host a world renowned opera festival. To- The Company Pafos Aphrodite Festival Cyprus day, thanks to the hard work of people with vision was founded in 1998 by the Municipality of Pafos, and a passion for cultural development, as well as the Municipality of Geroskipou, the Municipality the decisive support of the state and the public and of Pegeia, the Pafos Chamber of Commerce and private sectors, the Pafos Aphrodite Festival has Industry and the Cyprus Hoteliers Association (Pa- emerged as an institution of international scope,

44 one that occupies a signifi cant place on the Eu- ous agencies, as proper planning is essential to co- ropean cultural map. Even more important is the operation with world renowned opera companies. confi dence the Cypriot public has in the Festival, Fortunately for the Festival, many famous directors combined with the number of foreign visitors who of large production houses have been inspired by return year after year to attend the performances. the breathtaking setting of the Medieval Castle of After 14 years of contributing to the cultural devel- Pafos. Although every year the Festival encounters opment of Cyprus, the Festival has helped to in- a number of diffi culties arising from staging a large crease awareness of the arts and has contributed to production in the open area of the square, it is a shaping Cyprus into a vibrant melting pot of people unique performance space, one that draws opera and cultures. This goal was achieved after pains- companies from all over Europe. taking efforts to promote the Festival abroad as a The organisation of the Festival is a fl urry of year- tourist destination via tourism trade fairs; partner- round activity, including design (cultural policy, ships with overseas tour operators; advertisements strategy, structure and function); enrichment of in the international press and on radio and TV sta- the product; sourcing and managing sponsorships; tions; press conferences; direct invitations to gov- marketing and public relations, and the overall or- ernment offi cials in various countries, and contacts ganisation of all activities related to the Festival. with global opera companies, as well as outreach The Pafos Aphrodite Festival Company evaluates to embassies and institutions in Cyprus and abroad. statistical data, delivers measurable results and Up until three years ago, the number of foreigners assesses the company and its operations once the attending the Festival outnumbered Cypriot attend- Festival has concluded – the Company undertakes ees 60 to 40. The increased participation of Cypriot analysis and prediction, including market research soloists in the productions, and the publication of and evaluation, in tandem with product develop- programmes and the implementation of supertitles ment and design. in Greek and English, has helped draw more Cyp- An underlying objective of the Pafos Aphrodite riots to the Festival. Festival Cyprus is to increase cultural awareness The Pafos Aphrodite Festival is already in search in Cyprus, thus the Company directly associates its of the next producer and in consultation with vari- activities with education and training and plans to

Act 1 of the performance at Pafos Castle

45 Act 4 of the performance at Pafos Castle (past September) fold workshops, seminars, school lectures, master Synopsis of the Opera classes and music competitions into its programme Act One going forward. The Company is also looking to stage co-productions, both in Cyprus and abroad, The people of Cyprus anxiously watch as a storm with renowned lyrical organisations. rages on the sea and the ship carrying Otello, the hero of the military expedition against the Turks, desperately tries to make it into port. The storm set- Funding tles, the ship anchors safely and cheering Cypriots The Company is largely and mainly supported by welcome the hero (Otello’s triumphant ‘Esultate!’). state sponsorship, by private sponsors and by ticket Only Ιago, the ensign, does not cheer. Since Otello sales. Unfortunately, private sponsorships are an promoted Cassio to captain over Iago, Iago hates inconsistent source of funding, as private compa- Otello and plots revenge. Iago encourages Cassio nies are always subject to national and international to court Otello’s wife, Desdemona, and urges him economic conditions. to drink (Iago’s ‘brindisi Qua, ragazzi, del vino!’). The path the Festival has taken has resulted in Cassio gets drunk and engages in a quarrel with its signiﬁ cant presence on the contemporary arts the former Cypriot governor, Montano. Otello ar- scene. Its success speaks for the continued growth rives and recalls Cassio’s recent promotion. Night of the Festival and its contribution to contemporary descends, and Otello and Desdemona recall their artistic creation. Developments in the international courtship under the starry sky. arena, as well as modern approaches to cultural events, require the Pafos Aphrodite Festival Com- pany to continually adjust its trajectory and devel- Act Two op new structures. It is crucial for the Company to Iago suggests that Cassio ask Desdemona to talk remain true to its vision and strategic goals. to her husband about his demotion, in the hope

46 by defending Cassio. Iago tricks Cassio into speaking with him while Otello, hidden nearby, listens, and Iago manipulates the conversation in a way that convinces Otello of Desdemona’s guilt. Otello has no doubts about Desdemona’s guilt once he sees Cassio with Desdemona’s handkerchief – he doesn’t know Iago tossed it through a window into the room prior to his meeting with Cassio. Otello is in deep despair. An envoy arrives from Venice. The Doge has summoned Otello to Venice and appointed Cassio as general. Otello is enraged. He insults Desdemona in front of the assembled court and collapses to the ground. Everyone leaves the room. Iago puts his heel to Otello’s forehead in triumph.

Act Four In her chamber, Desdemona is tormented by Τhe performance at Pafos Castle showing Otello and Desdemona her husband’s behaviour and reminisces about life in her native town. She prays and falls asleep. Otello enters, wakes her and accuses that Cassio’s conversation with Desdemona will her of infi delity. He strangles her. Alarmed by make Otello jealous. Iago’s desire to destroy the noise, Emilia runs into the room and an- Otello is devilish; his creed is the essence of nounces that Cassio has killed Rodrigo. She malice and nihilism. With cunning intrigue, he reveals Iago’s intrigues and, together with succeeds in convincing Otello that Desdemona Cassio, explains how Iago obtained Desdemo- and Cassio have become lovers. na’s handkerchief. Iago escapes. Otello stabs One of Iago’s tricks is to obtain Desdemona’s himself and drags himself to Desdemona’s handkerchief, which had been a gift to Desde- body, dying after a fi nal kiss. mona from Otello – Iago acquires the handkerchief with the help of his wife, Emilia, Desde- mona’s attendant, who is unaware of her husband’s plan. Otello’s jealousy is infl amed, and Desdemona’s pleas on Cassio’s behalf only en- rage him. To fan the fl ames, Iago insinuates that he once heard Cassio speak lovingly of Desde- mona in his sleep. He then produces the handkerchief, which he alleges Desdemona gave to Cassio. Otello becomes desperate and swears he will have vengeance.

Act Three Otello accuses Desdemona of inﬁ delity. She unwittingly enrages her husband even more Performance of Otello at the Slovak National Theatre

47 Terra Mediterranea–In Crisis Programme

4 July – 30 December 2012

erra Mediterranea–In Crisis is a contempo- Terra Mediterranea–In Crisis Τrary art program organised by the Nicosia Curator: Yiannis Toumazis at the Nicosia Munici- Municipal Arts Centre and the Pierides Founda- pal Arts Centre [Old Power House] tion under the auspices of the Cyprus Presidency Terra Mediterranea–In Crisis, at the Nicosia Munici- of the Council of the EU. Aside from the Terra pal Arts Centre, attempts to detect, investigate and Mediterranea–In Crisis contemporary art exhibi- present contemporary artists’ reﬂ ections on today’s tion, curated by Yiannis Toumazis at the Nicosia universal economic, political, religious and social Municipal Arts Centre [Old Power House], the scenes, in tandem with a deep existential crisis. project includes a second contemporary art exhi- The Mediterranean is both an enclosed sea and, bition, [at Maroudia’s], curated by the Re Aphro- in essence, a political space. It has operated as a dite team at the Ethnological Museum–House of conduit for “transferring energy” from the Ori- Hadjigeorgakis Kornesios. An educational and ent to the Occident and from the Occident to the academic programme accompanies the two exhi- Orient since ancient times. This transfer has in- bitions. The project also includes a special edition cluded peoples, innovative ideas and ideologies, of the journal The Cyprus Dossier, a monthly se- in times of war and peace. Our current global ries of social and food events and interventions in economic crisis is recognised as having a uni- public spaces. versal effect on socio-political, economic, ethnic

48 and cultural structures worldwide. In addition, Municipal Arts Centre, the Pierides Foundation and to a very signifi cant degree, the contempo- and the Department of Antiquities of Cyprus with rary post-colonial realities of the Eastern Medi- Group Re Aphrodite, a curatorial and research terranean, an area with a long colonial past and a group devoted to exploring of art and difference. charged political fate, contribute to the evolution Re Aphrodite will curate an exhibition for the of East-West relations. Ethnological Museum–House of Hadjigeorgakis A dynamic group of 41 artists from Cyprus, the Kornesios entitled [at Maroudia’s] with 27 artists surrounding area and beyond (Bulgaria, Egypt, participating. Great Britain, Greece, Israel, Lebanon, Turkey The exhibition and an affi liated series of events and the United States) will scrutinise our cur- comprise existing and new contemporary art rent global turbulence through “Mediterranean” works, as well as research. The exhibition presents eyes from promontories both political and poetic. the unwritten histories of Cypriot women. It makes Within the framework of the exhibition, some of use of the layered history of the house to chal- the participating artists will collaborate with the lenge old myths and narratives and develop new Research and Restoration Centre of the Museums ones, while refl ecting on a number of real and per- of France housed at the Louvre Palace. They will ceived crises. The exhibition touches upon social, produce new works inspired by their research at educational and ethical concerns around sexuality, the Louvre. gender issues and confl icts. The works of art are concerned with the effects of tourism on tradition, [At Maroudia’s] Exhibition heritage and nationhood; the body (its portrayal, Curators: Group Re Aphrodite (Evi Tselika & beauty, mortality and sexuality); the trivial and the Chrystalleni Loizidou) at The Ethnological Mu- kitschy, as well as more general issues of differ- seum - House of Hadjigeorgakis Kornesios ence. Another part of the Terra Mediterranea–In Crisis A number of performances and critical workshops programme is the collaboration of the Nicosia will be held within the museum space.

49 Educational and Academic Events Developed by the Nicosia Municipal Arts Cen- tre and Re Aphrodite The two exhibitions will be accompanied and united by an educational program. This programme features workshops and academic roundtables for students, professionals and the wider public.

The Cyprus Dossier (Publication Project) Aside from the exhibition catalogue, a special issue of the critical magazine The Cyprus Dossier will be published. The theme is crisis, and it will include Cross, the Welfare Offi ce and others. The process will texts by eminent academics and researchers from initially involve a guided tour to the Nicosia Munici- Cyprus and abroad. pal Arts Centre and will conclude with a dinner, which Editors Peter Eramian, Entafi anos A. Entafi anos will be designed and prepared especially by the 242 and Marios Menelaou issued an open call for co- art group and their Social Ride collaborators. Each operation: month the entire event will be different. Crisis has come to defi ne the post 9/11 era. It has become so central to our thinking and language Something Feasible that we hear it uttered in the media almost every Phanos Kyriacou day. But what does it mean? From politics and Nicosia Municipal Arts Centre (19, PaliasIlekrikis the economy to identity and consciousness, cri- Street) sis has become an everyday existential historical Corner of Stasinou Avenue & Aigeos Street reality we take for granted. There is an urgency (opposite Caraffa Bastione, Famagusta Gate) to understand crisis more critically. When is it Old GSP Stadium (Corner of Evagorou & Gregori used to oppress, when is it a device for legitimi- Afxentiou Avenue) sation, and when can it provoke resistance? Three “urban” installations at public spaces in Ni- cosia. As the artist says, his aim is to create “places Social Ride of socio-political commentary and reaction in our 242 art group space and time proposing a historically and aes- Old Powerhouse Restaurant thetically detached landmark, a landmark capable Second Tuesday of every month of operating as a core of probability, encounter and Another unique dimension to the Terra Mediterra- communication.” nea–In Crisis project has been contributed by 242 art group and will take place in The Old Power House Participating Artists restaurant of the Nicosia Municipal Arts Centre un- Nicosia Municipal Arts Centre der the general title Social Ride. Costas Mantzalos Klitsa Antoniou and Constantinos Kounnis, together with the curator Katerina Attalidou of the exhibition and a group of individuals from the Banu Cennetoğlu arts and design industry, will convert the restaurant to Savvas Christodoulides welcome and accommodate 24 people from margin- Kyriaki Costa alized social groups, including fi nancial immigrants, Joseph Dadoune prisoners and people with addictions. The selection of Tom Dale the guests will be decided after consultation with Ms Peter Eramian Andrea Athanasiou of the Social Work Department Sumer Erek of Frederick University and through various state Theodoulos Gregoriou and non-governmental bodies such as KISA, the Red Elizabeth Hoak-Doering

50 Mustafa Hulusi Daphne Christoforou Pravdo Ivanov Melita Couta Lamia Joreige Özge Ertanin Constantinos Kalisperas Alkis Hadjiandreou Stelios Kallinikou Christos Hadjichristos Stefanos Karambabas Mayia Hadjigeorgiou Gülsün Karamustafa Yioula Hadjigeorgiou Susan Kleinberg Sophia Hadjipapa-Gee Servet Kocyigit Katerina Iacovides Glavkos Koumides Alana Kakoyiannis Νikos Kouroussis Orestis Lambrou Phanos Kyriacou Lia Lapithi Yannis Kyriakides Latiterranean Michel Lasserre Pembe Mentesh Υοussef Limoud Maria Papacharalambous Maria Loizidou Despo Pasia Martin Meason Haris Pellapaisiotis Panayiotis Michael Νikos Philippou Panagiotis Mina Mary Plant Demetris Neocleous Rozy Sarkis Erkan Özgen Vasso Sergiou Vicky Pericleous Elena Stylianou Yorgos Sapountzis Theopisti Stylianou-Lambert Andreas Savva Natalie Yiaxi Eﬁ Savvides Socratis Socratous Social Ride Constantinos Taliotis 10 July 2012: Maria Anaxagora and Christophoros Paola Yacoub Charalambous Akram Zaatari 11 September 2012: Maroula Antoniadou and Ero- 242 art group tokritos Antoniades 10 October 2012: Elma Panayidou and Elena Pa- The Ethnological Museum routi House of Hadjigeorgakis Kornesios 13 November 2012: Marika Ioannou and Andreas Αntonis Antoniou Coutas Christos Avraam 11 December 2012: Melina Shukuroglu Yiannis Christoﬁ des 18 December 2012: Myrna Pattichi

51 Painting and Photography Exhibition by Cypriot Armenian Artists

he European Presidency has inevitably drawn the paintings provided a glimpse of the richness Τmuch attention to the Republic of Cyprus, of Armenian culture and heritage. The entire two- and the Armenian Community took this wonder- week exhibition was a tremendous success. ful opportunity to display a small fragment of the multicultural mosaic of what we describe as the Artist Biographies civilisation of Cyprus. This civilisation comprises various ethnic and religious groups, all of which Garbis Bezdikian was born in Cairo in 1923. After serve our homeland in their own way. Thus the graduating from the Melkonian Educational Insti- Armenian Representative, Vartkes Mahdessian, tute, he worked as a graphic designer, a cartographer organised a unique exhibition within the frame- and a comic artist, but his chief occupation was as a work of the Cyprus Presidency of the Council of music producer for Turkish radio programmes at the the European Union featuring work by nine Arme- CyBC. He was a member of the Chamber of Fine nian painters and six Armenian photographers. Arts, as well as a member of the Artists’ International On 16 July, the President of the Republic of Cy- Association and an honorary President of the Self- prus, Mr Demetris Christoﬁ as, inaugurated the ex- taught Artists of Cyprus. The subjects of his paint- hibition – the event was attended by ambassadors, ings were always life and people. He passed away in consuls, representatives of political parties and 2009, leaving behind works full of life. permanent secretaries of ministries. The exhibi- Sossee Eskidjian Nikolaides was born in Nicosia tion was housed in the superb Casteliotissa Hall in 1969 and received her BA in Fine Arts from and remained open until 31 July. The photographs Southwestern Oklahoma State University. She on display took visitors on a trip through time to has been working as a set and costume designer the idyllic Cyprus of the mid-20th century, while and an art director, having directed a number of

President Christoﬁ as poses with some of the participating artists

52 Painting and Photography Exhibition by Cypriot Armenian Artists - at the superb Castelliotissa Hall

TV commercials and launching events in Cyprus Institute, he received his BA in Architecture from and abroad. Her art is infl uenced by her long ex- the American University of Beirut. An architect by perience in costume and stage design, and the ma- profession, he has distinguished himself by par- terials she chooses include threads, fabrics, pins, ticipating in Pancyprian competitions and winning wires and various metals, components which no several fi rst prizes – he also designed the Arme- longer have a utilitarian value but which have ac- nian Genocide monument in Nicosia. Guevhe- crued emotional substance and artistic importance. rian’s nostalgia for his homeland is apparent in his She had her fi rst solo art show in 2009. paintings of ancient Armenian churches, while the Tatiana Ferahian was born in Lebanon in 1970 Cyprus landscape and Greek mythology also in- and fl ed to Limassol during the Lebanese Civil spire him. He maintains a steady presence in the War. She holds a BA in Fine Arts from Empire art world, which includes 11 solo exhibitions and State College and an MA in Liberal Studies from more than 30 group exhibitions. He is actively in- the University of Denver. A well-known cartoon- volved in the Armenian community. ist, her work explores local standards and the Sevan Malikyan, of Armenian-Cypriot parentage, boundaries imposed by our current cultural, reli- was born in London in 1972. He received his BA gious and political milieu, with the intent of rais- Hons in Fine Arts from the Bath School of Art and ing awareness and interest. Tatiana has exhibited Design and is considered one of the outstanding locally and has represented Cyprus in numerous young artists of London, where he has exhibited exhibitions and Biennales in Europe, Egypt, Tur- work at various venues. His extensive portfolio key, Korea, China and the USA. She is currently demonstrates a dramatic and inventive technique an art teacher at Nareg Armenian Schools. which documents sensation through the use of John Guevherian was born in Ethiopia in 1948. colour. His work, which is rife with social and per- After graduating from the Melkonian Educational sonal drama, can be found in private collections in

53 President Demetris Christoﬁ as inaugurates the exhibition Visitors had the opportunity to enjoy artwork by Armenian painters and photographers

Cyprus, England, Barcelona and Tunisia. After graduating from the Melkonian Educational Aznive Papazian was born in Larnaca in 1956. Institute and the American University of Beirut, he She graduated from the Melkonian Educational settled in Nicosia. Today Tashdjian is one of the Institute, where she also taught. Papazian stud- most important contemporary artists in Cyprus. ied painting, drawing, engraving and mosaic art, His paintings are a celebration of the beauty of na- as well as wood and small-scale clay sculpture. ture and life – the diverse landscapes of Cyprus are She also worked with the painter Raphael Atoyan one of his primary inspirations. An internationally in Armenia for two consecutive summers. Pa- renowned artist, he has had 47 solo exhibitions in pazian’s art exists within the sphere of fi gurative Cyprus and abroad, as well as group exhibitions and abstract expressionism – the two-way inter- in various cities. His work can be found in public play between man and the world is the inspiration and private collections all over the world and at his for Papazian’s work and its main axis. Her inter- gallery in Nicosia. Tashdjian is actively involved ests are portraits, landscapes, still life, composi- in the Armenian community. tions featuring the human fi gure and life drawing. Hourig Torossian was born in Nicosia in 1967. Papazian has had solo exhibitions in Armenia and She holds an Honours BA from the Wimbledon in Nicosia and has also taken part in a number of School of Art and an MA in Fine Arts from the group exhibitions in Cyprus. Royal College of Art. Since graduating in 1994, Nanor Tashdjian was born in Nicosia in 1974. she has been an active artist, exhibiting in Cyprus, She holds a BA in Graphic Arts from Frederick Greece and the UK. In 2005 she represented Cy- University in Nicosia and an MA in Fine Arts prus in Austria in an exhibition highlighting artists from the University of Wales in Cardiff. She loves from the ten countries that joined the EU in 2004. experimenting with different arts and crafts by Torossian’s large-scale colour paintings on canvas combining different colours, media and materials are essentially transformed from monochromatic in her paintings – she also works with glass fusing imagery. The raw materials for her fi gurative work and framework. The ocean is a prevalent theme in come from old family photographs or from deco- her work. Tashdjian is an accomplished artist who rative iron window guards. Hourig is currently an has presented her work in many solo and group Assistant Professor in the Applied Arts Depart- exhibitions in Cyprus, the UK, Sydney and Bang- ment of Frederick University in Nicosia. kok. She lives and works in Cardiff, Wales. Georges Karnig Der Parthogh was a veteran Vartan Tashdjian was born in Lebanon in 1941. journalist, an international news photographer and

54 an active member of the Armenian community. Edward Voskeritchian was born in Zeitoun, Born in Ethiopia in 1923, Georges came to Cyprus Cilicia in 1902. His family witnessed the tragic with his family in 1935, where he attended the Genocide of the Armenian people, during which English School and served with the Air Ministry. they were forced to abandon their hometown for He then joined the Times of Cyprus (1955-1959) the nearby island of Cyprus. Kyrenia offered its and later worked as a correspondent for Reuters hospitality to the Voskeritchian family, and af- (1959-1963) and UPI (1963-1979), covering wars ter a short stay, they left for Nicosia. Life proved and civil commotion in Cyprus, Malta, the Middle diffi cult there, so the large family moved to Lar- East, Iran and East Africa. In 1979 he co-found- naca, where they opened a photo shop which soon ed the Cyprus Weekly, and beginning in 1989 he closed. In 1920, well-known businessman Movses served as a correspondent for Azg newspaper in Soultanian encouraged Voskeritchian to move to Yerevan and for the Armenian Mirror-Spectator Limassol to apprentice with photographer John P. in Boston. Georges actively supported photogra- Foscolo. Voskeritchian established his own busi- phy – he encouraged young photographers and re- ness, Edward’s Photo Studio in 1926. He loved ceived several awards as a member of the Cyprus Limassol and lived there until his death in 1990. Photographic Society. He passed away in 2008. Sebough Voskeritchian was born in Limassol in Veronica Mahdessian was born in Nicosia in 1968. 1975. The fourth generation of this talented and She holds an MA in Photography from the London pioneering photographic family, Voskeritchian College of Printing and Distributive Trades. She blends the acutely sensitive and artistic side of his has had one solo exhibition in Beirut, in 1997, and late grandfather, Edward, with the advanced tech- she has participated in numerous group exhibitions nical knowledge of his late father, Albert. Vosker- in Cyprus and London. Amongst her awards is the itchian pushes the boundaries of photography into third prize for photojournalism at the 25th Dunhill the realm of modern-day art and multimedia. He Pancyprian Photographic exhibition, which was has taken part in many international group exhibi- organised by the Cyprus Photographic Society in tions and has won numerous photographic awards 1995. Veronica lives and works in Thessalonica, – he has also had a solo exhibition in Cyprus. Greece, where she and her husband own and op- Voskeritchian’s keen eye is unparalleled, and his erate Kalfayan Galleries, a well-known family- application of mixed media has made him one of owned gallery that organises art exhibitions in Ath- the most exciting and talented young photogra- ens, Thessalonica and worldwide. phers in Europe. Haigaz Mangoian was born in Adana, Cilicia in Giragos Zartarian was born in Adana, Cilicia 1907. Having suffered persecution by the Otto- in 1915. In 1921, due to the political situation in mans and the Young Turks, he and his large family Cilicia, in which the region’s Christian population arrived in Cyprus in December 1920. After Man- faced continuous threats from the Turks, Zartarian goian graduated from the American Academy in and his family immigrated to Cyprus. After gradu- Larnaca, he and his brother, Levon, started a pho- ating from the Melkonian Educational Institute, tographic studio, the fi rst in Larnaca. They then Zartarian established his own photographic studio opened a photographic studio, briefl y, in Famagus- in Nicosia in 1935 and for some years was an of- ta, before settling in Nicosia. Their Nicosia studio fi cial photographer for the colonial government. developed successfully, particularly after World He is considered to be a prominent publisher of War II. In 1947, together with Levon, Mangoian postcards of Cyprus; his postcard images capture published a travel guide, The Island of Cyprus. the landscape of Cyprus during the middle of the Mangoian continued with his photography, both in 20th century. After losing his wife in 1957, Zartar- the studio and beyond it, where he photographed ian closed his studio. In 1959 he and his family the places and faces of Cyprus, the country he immigrated to England, where he died tragically came to love, until his untimely death in 1970. in 1962 of a heart attack.

55 United States of Europe (U.S.E)

A travelling exhibition about European identity and today’s Europe Opening from 17 September until 14 October 2012

o you feel European? Does Mr O’Keeffe in The concept DIreland feel more or less European than Mrs U.S.E is not propaganda for a federal Europe. It Stylianou in Cyprus? And if so, why? What is the aims to create commitment in the Europe in which idea behind Europe and do Europeans feel in- we live and to function as a communication plat- cluded? Do Europeans trust their leaders? Maybe form for people living in Europe. The exhibition there are as many different answers to these ques- offers a lot of different interpretations on European tions as there are citizens in Europe. identity through diverse disciplines and from dif- The artistic project United States of Europe ferent angles. (U.S.E) deals with these questions in the context U.S.E comprises four dimensions: of a travelling exhibition through ten European countries. The exhibition opened in Lodz, Poland, 1. Artists interpretations: Curators and artists in November 2011; the second destination was have been invited to give their interpretations of Helsinki, the third was Vilnius and the fourth was European identity through photos, multimedia, Guimarães. In September the exhibition opened video and other installations. in Nicosia, as part of the cultural programme of 2. Sociological studies: 50 people from 10 differ- the Cyprus Presidency of the Council of the Eu- ent countries have been interviewed. The result is ropean Union. video-recorded interviews that give comparable re- United States of Europe (U.S.E), a large-scale col- sults of a potential belonging to a European entity. laboration project about European identity, will 3. An interactive laboratory: This is a place in the also be presented in public spaces, galleries and exhibition where the artistic and sociological parts museums in Germany, Bulgaria, France, Ireland are combined. The laboratory is a creative environ- and Belgium until spring 2013. ment for real-time exchanges about Europe today.

56 4. A series of debates: Several aspects will be dis- The sociological core team includes Professor An- cussed: “What does it mean to be European and drzej Piotrowski (University of Lodz), Dr Tomasz how is contemporary art dealing or not with that Ferenc (University of Lodz) and Dr Lyudmila question?” and “Europe, its politicians and the peo- Nurse (Oxford XXI, UK). Ten local sociologists ple – about conﬁ dence and commitment today”. conducted ﬁ ve interviews in each participating Johanna Suo (Sweden/France/UK) has initiated the country. project and created the exhibition concept. The U.S.E in Nicosia The artists In Nicosia a walk was organised through the city: Diversity, which is the core of the U.S.E., is em- “Discover your city and discover Europe.” bodied by the artistic team. Several different venues were included to open the Three curators, Ryszard W. Kluszczyński (Po- exhibition to a wide audience. Among the presenta- land), Anna Bitkina (Russia) and Sinziana Ravini tions of the interactive laboratory was an interview (France) have each selected a group of artists. The with the former Mayor of Nicosia, Eleni Mavrou chosen artists have international and multicultural (visual-audio). The artist Kyriaki Costa presented backgrounds, and they all deal with identity ques- brand new work created for the U.S.E exhibition tions. at the new Loukia and Michael Zampelas Art Mu- seum. U.S.E presents works by Luchezar Boyadjiev (Bulgaria), Anna Konik (Poland), Gerda Lam- The exhibition in Nicosia was organised by the palzer (Austria), Maria Lusitano-Santos (Portugal), Pharos Arts Foundation, in collaboration with the Deimantas Narkevicius (Lithuania), Artur Zmijew- Goethe-Institut Paris, the Goethe-Institut Cyprus, ski (Poland), Jean-Charles Hue (France), Kaarina Loukia and Michael Zampelas Art Museum, Insti- Kaikkonen (Finland), REINIGUNGSGESELLS- tut Français Cyprus, the Embassy of the Republic CHAFT (Germany), Tanja Muravskaja (Estonia), of Poland in Cyprus, Nicosia Municipality, Clas- sic Hotel, Temporary Space, Ledra Properties, The Kennedy Browne (Ireland), Apostolis Polymeris European University Cyprus, Cyprus Theatre Or- (Belgium), Kyriaki Costa (Cyprus) and Anu Pen- ganisation and the Cyprus Presidency of the Coun- nanen (Finland). cil of the European Union. The multimedia artist and researcher Jānis Garančs (Latvia) created the interactive laboratory. In the lab you can see interviews with people from all Your participation over Europe, you can interact and share your points U.S.E is a project for citizens by citizens, and it of view, and you can view 3D visualisations. aims to work as a communication platform. On the

57 21st century Iconoclasm by Kyriaki Costa Lab Presentation website http://www.go-use.eu, as well as in the lab- social, economic and political dimensions. In the oratory on site, visitors are encouraged to express exhibition, these young students have their say themselves and share their experiences in the form about their plans and expectations. of photos or stories on the theme “My Europe”. REINIGUNGSGESELLSCHAFT (which could be Look for the headline “Participate” and “Stories translated with “Cleaning Service” or “Purifi cation from Europe” on the website. Information is also Society”) is an artists’ project group that works at the available in the exhibition passport. point of intersection between art and social reality. The Pharos Arts Foundation was pleased to collaborate with the Goethe-Institut in Paris and A Connection (2011) with a number of organisations in Cyprus for the exhibition. Kaarina Kaikkonen (born 1952, Finland) Site-specifi c public space installations United States of Europe - Artists’ Presentations For the United States of Europe exhibition the art- REINIGUNGSGESELLSCHAFT ist presents new site-specifi c installations related to the space and to present day Europe. In each city (Artist duo: Henrik Mayer, born 1971 & Mar- her work is adapted to a venue and the site. One of tin Keil, born 1968, Germany) the new pieces that Kaarina creates for the exhibition is called A Connection, shirts in many colours Risk Society and sizes represent connections between people Projection and fl at screen 26: 15 min, HDV 16:9 and countries. The work has been presented once 2011, loop in Lodz, Poland, where the shirts were attached to This project examines the prospects and life per- a long pipe running from a walking zone in the city, spectives of young people in today’s Germany. leading the visitor to the main exhibition space in They inherit the legacy of a society that is aware an old textile factory. that economic growth and consumption won’t pro- Kaarina has so far created one more work for vide the determinant odds for development. The U.S.E., “Where is my home?”, a house made of sociologist Ulrich Beck described the sociological bags and luggage of different kinds. It can be seen change from wealth production towards risk pro- as a small house that is collapsing or that isn’t com- duction with the term Risk society in his book of pletely constructed. The piece tells a story about 1986, Risk society. This transition takes place on different kinds of people and states trying to live the micro level of people as well as on the macro together, but it’s diffi cult...The work was installed level of corporate and global changes. It comprises at Helsinki Main Railway station and at Vilnius In-

58 ternational Airport. the leaders removed and sent “On Vacation”. This Kaarina Kaikkonen is known for her large instal- is a symbolic uniﬁ cation by liberating the public lations made from men’s jackets, ladies’ shoes, space from its past and opening it up for the future. shirts and found objects exhibited in different spac- Luchezar’s work has been presented widely and es, both indoors and outdoors. She has participated internationally, both in solo and group exhibi- in numerous international exhibitions, most recent- tions. Luchezar is also active as a curator, and ly in the Cairo Biennale 2009, the Liverpool Bien- he has organised numerous lectures and pres- nale 2010, the Vancouver Biennale 2010 and the entations. His work can be found at the CAMK Venice Biennale Collateral Event, 2011. At the mo- (Contemporary Art Museum of Kumamoto, Ja- ment Kaarina is working on several projects, one in pan), the Fabric Workshop and Museum, Phila- Italy and one in Chile. She recently did an installa- delphia, USA, the National Art Gallery, Tirana, tion at Art Miami. Albania and elsewhere.

On Vacation (2004-2011) Thoughts Are Free (2011) Luchezar Boyadijev (born 1957, Bulgaria) Gerda Lampalzer (born 1959, Austria) On-going cycle of 15 digital prints, each one 53 x Video projection, 3 minutes, loop 73 or 73 x 53 cm This single channel video installation examines On vacation is a funny series, but at the same time the relations between different European countries it undertakes in a serious way the problem of his- with regard to languages. This examination looks tories of particular countries and the role these his- at problems other than language barriers, however tories play in the process of political and cultural – Lampalzer’s work looks at how people from dif- integrations of European countries and societies. ferent European countries observe each other; what Boyadjiev began discussions of European iden- sort of relations are created at the governmental tities in 1997 at the Documenta X, when he pro- level; to what extent their relation to power shapes posed the concept of overlapping identities. Images the way people experience their belonging to any from On vacation represent equestrian monuments community and how it affects the way they build from various European countries, with ﬁ gures of their collective identities. The video addresses the lack of linguistic exchange between Austria and its so-called “former eastern European” neighbours. The borders have been open for years, but even now hardly any Austri- ans speak these languages. In the video the texts of four people speaking Czech, Slovak, Hungar- ian and Slovenian are cut apart and reconstructed into the German phrase “Die Gedanken sind frei” (Thoughts are free). This technical trick is an iron- Lab Projections ic comment on the situation, especially because “Thoughts Are Free” is often associated with lib- eration movements, which are re-uniting Europe as it should have been. Gerda Lampalzer has worked since 1980 as the ex- ecutive of the Medienwerkstatt Wien. Since 1987, she has been teaching for Applied Arts in Wien. She is active professionally as a media artist, lec- Winter by Juha Niemi turer and curator.

59 Uprooting: The story of our grandfathers (2011) The Lord’s Ride (2010) Apostolos Polymeris (born 1984, Belgium) Jean-Charles Hue (born 1968, France) Video installation, 2:32 minutes, loop Feature fi lm: 1h 24 min This installation tells the very personal and moving The fi lm is about the life of a Roma family, thus history of the artist’s grandfather and his immigra- presenting a living symbol of a constant metamor- tion to Belgium in 1972. The video is shown in a phosis of identity. Jean-Charles Hue searches for very impersonal archive environment that makes his origins. He spent some time with the Dorkels, Kafkaesque associations with the big archives that a Gypsy/Yeniche family on the outskirts of society house stories of uncountable numbers of people. in the north of France, and fi lmed their daily life. One of these stories is brought to life in the artist’s This fi lm recounts the search for origins in these video. marginalised worlds, worlds that prefer to remain “In the building of the archives in Brussels, in a separate rather than integrate. The fi lm relates the small room with hundreds of lists with names of events that punctuate a nomadic life spent in cara- foreigners who had moved there until the middle vans: poaching, a strange conversation, a quest for of the 1970’s, I found my grandfather’s name. He redemption...This unconventional reality seems and his family immigrated to Belgium in 1972. The fi ctional to the viewer, as the events are so foreign video illustrates the diffi culties they faced in Istan- to normal life. The camera records everything, bul and how they decided to move to a new country, even the explosion of a bullet a few inches from hoping for a better life.” Apostolos Polymeris the artist one drunken night. Apostolos is an artist and graphic designer born in Brussels but with roots in Greece. In Brussels Jean-Charles Hue is an artist and video fi lmmak- he studied at the Royal Academy of Fine Arts. His er who specialises in documentary fi lms. Jean- main fi elds are poster and book design, illustration, Charles’s grandfather was Yenniche, giving him a animation and fi lm. blood tie to this people. In 2009, Hue also explored the life in marginal areas together with the inhabit- ants of Tijuana, a border city between Mexico and the United States, in his fi lm, Tijuana Carne Viva.

In the Middle of the Way (work in progress, 2001-2007) Anna Konik (born 1974, Poland) Seven-channel video installation, loop In this seven-channel video installation, Anna Konik presents a very personal narrative about the lives of several people living in different cities. They are homeless, marginalised people, but at the same time full of dignity. The artist follows them in their everyday activities, giving them a chance to present themselves in very different ways. At the same time, Konik reﬂ ects on her own nomadic way of living, which she does between three cities and two countries (Dobrodzien and Warsaw in Poland and Berlin in Germany). The issue of home and its Lab touchscreen and projection background role in the process of forming identity is the very

60 focus of the installation. “The mobility of Tadeusz, Herman, Svetlana, Ger- ard, Hans-Dieter, Jana & Pele and Anna opens up a dialogue in which geographical boundaries and nationalities are not important. Instead, their indi- vidual stories, experiences and dreams build their unique identities and confi rm their differentness in a world where nationalities are fl uid. Every person I met dreams of a better life, of respect and freedom, they are all trying to fi nd their way in the new reality of the EU.” - Anna Konik Konik makes video installations, and her practice Estonian Race (2010) combines video semi-documentary, installation, Tanja Muravskaja (born 1978, Estonia) performance and sculpture. She has been exhibiting widely and internationally since 2000. Digital C-type photograph, 92x68cm, 68x50cm, 12 photos in series The aim of this portrait series of strong Nordic 21st century Iconoclasm faces was a portrayal of a modern post-Soviet Kyriaki Costa (born 1971, Cyprus) state developing in the mono-national way. There Video stills, 6 photos, 24x30cm is no such race as an Estonian race. This project The project is a ‘visual sequence’ of six photos asks us to refl ect on historical mistakes, on domi- of signifi cant monuments (i.e., sites and person- nance of the “main” nation, tolerance – all of the alities) of both European and non-European origin, issues which are still relevant in the new Euro- all placed around the Athenian Acropolis, a sym- pean countries. The photo series addresses one bol (par excellence) of democracy. Initially, the of the “elementary particles” of nationalism as viewer’s eye is puzzled as to whether these images an ideology - race. Muravskaja is using encyclo- speak of symbiosis or disorder. Ultimately, the paedic thoroughness to fi nd the most typical, the answer to this dilemma brings us to the concepts “purest Estonians” among Estonian people, turn- of fl uidity and mobility. In this photo series, the ing to academic authorities for help and portray- artist has allowed herself to mix monuments as a ing the young men who have no names or social ‘virtual place’ (in her mind? in her heart?) where security numbers, let alone life stories or identities everything fi ts; a (peaceful or restless?) dream is in the exhibition hall, but who obviously have a born. nationality, at least within the framework of this Just as in everyday life, the triptych of history, visual story. This artistic search could also lead experience and memory is always an issue of us to a question about a “pure European identity.” boundaries (their acceptance or negation): What Can we possibly defi ne it? What does it mean to do we perceive as ‘reality’ or ‘dream’? How do we be a European nowadays? understand ‘fact’ or ‘fi ction’? Where does ‘sense’ Tanja has previously worked on the subject of end and ‘nonsense’ start? How do we draw the line identity – her work, ‘Positions’ (7 photos in se- between ‘emotion’ and ‘logic’? Finally, how does ries, 2007), is part of the collection of the Tartu Europe fi t in all this? Are we or are we not ‘Europe- Art Museum. ‘Positions’ was the artist’s fi rst work ans’? Should we speak of belonging or fragmenta- on the subject of contemporary Estonian identity tion? Are we ‘at home’ or ‘homeless’? At the on- and opened a period of four years dedicated to it. set of the 21st century, these are absolutely crucial Works refl ecting modern Estonia, the elite of the questions that spark artistic creativity, especially in Russian speaking minority in Estonia, and the re- countries at the outskirts of Europe, like Cyprus. cent Soviet past followed this series.

61 Ausgeträumt (2010) whole series of the travelling exhibitions to come. Deimantas Narkevičius (born 1964, Lithuania) The ‘Lab’ is a feedback/communication platform Music video installation, 5:30 minutes, loop for you, the visitor, where you can talk about your ideas. You can submit ‘your European story’ or The title could be translated into English as a photos, check out a quiz, answer a questionnaire or state between dream and reality on the cusp of just get in touch by visiting the online guestbook. waking up, or it could simply mean the dream All these can be found on the website www.go-use. is over. Sometimes one has to approach a theme eu, where people will be able to read your thoughts through a beautiful and meditative fi lm, rather and follow your feedback. than with a strong message. Ausgeträumt shows a bunch of young men playing in an empty caf- eteria – they have just started a band. They look The Laboratory beautiful but sad. The video is about their vision By Jānis Garančs* of their future, their refl ections on their political As Europe can mean so many different things from or, more importantly, their unsatisfying cultural the perspective of political powers, business “mar- environment. kets,” large and small countries, nationalities and Outside they are surrounded by a snowy land- families and individuals, the approach in the Labo- scape. Now and then a car drives through a city ratory is to explore the complexity of European and onto a road leading nowhere. The scene is identities as an interplay of historical, demograph- fi lmed in Lithuania. What is the future in this ic, geopolitical, economic and cultural concepts. country, for this generation? For the young boy I encourage the interpretation of the project’s title who happens to be the son of the artist? Where not only through its politically-coloured meaning will these snowy roads lead them? Ausgeträumt (a state as a country), but also through its more ab- approaches the notion of cultural identity in the stract meaning, at least in English – i.e., a state as a most simple and fascinating way. condition/status. Narkevičius is one of the most consistent and wide- The workshop participants, on-site as well as only recognised Lithuanian artists on the international line, can submit their refl ections as text messages, scene. He represented his country at the 49th Venice images and even video sequences. The Laboratory Biennale in 2001 and exhibited at the 50th Venice will feature several interactive screens and projec- Biennale in 2003 in “Utopia Station.” tions, webcams and computer terminals for short text input. It will act as a temporary virtual embassy The Laboratory of the United States of Europe, connecting U.S.E Please enter the United States of Europe labora- exhibition venues with satellite events and loca- tory… tions. Find out what, for instance, Maria from Cyprus Thus, the Laboratory works as a ‘processing de- thinks about European unifi cation, or how John vice’ – that travels from place to place and adapts from Ireland perceives European citizenship. In accordingly – that will collate the co-creators’ and these videos you can watch interviews with citi- visitors’ input and manifest itself as a self-organiz- zens from ten different European countries, which ing map or overview, offering multiple layers for form part of the U.S.E project’s sociological study. exploration, and becoming, through immersive It is here, in ‘the Lab’, where sociology meets art. 3D visualisations and sonifi cations (also featuring A work in progress, the ‘Lab’ is being developed computer generated stereoscopic projection and by the Latvian multimedia artist Jānis Garančs multi channel audio), an evolving multimedia art- who, together with other international collabora- work itself. tors, will advance the laboratory further over the *Multimedia artist and researcher, Riga, Latvia

62 Christos Bokoros - “Odos Eleftherias” Exhibition at The Ofﬁ ce Gallery

he Offi ce Gallery is tucked deep within ness. It is a place both disconcerting and in- Tthe Venetian city walls of Nicosia, having triguing. It is open to redefi nition. taken root at the edge of town but standing at its innermost centre. Located on the eerie and An evocation of the craftsmen of old Nicosia removed Kleanthi Christofi di Street, at number 32, it walks a tightrope over the divide of his- The Offi ce Gallery was deliberately conceived in tory. Before it became a war zone, Kleanthi this setting in an attempt to shake the foundations of Christofi di was an industrious street lined with conventional urban living in Nicosia, to stimulate stable shops – now time is imprinted in disin- its nervous system from the centre. The premises of tegration and rust on the shuttered storefronts the Offi ce Gallery were used for over half a century standing in an almost military formation along as the workshop of shoemaker Andreas Matsas and this narrow, high street. To look down Kleanthi even today the space is home to the aura Matsas Christofi di is to trigger a visceral connection to created; his signature is visible in the space, an evo- history, to implicitly feel its former crowded- cation of the craftsmen of old Nicosia.

National Memory by Christos Bokoros

Candles (at the memory front)

63 in turn, create the second crack next to that of the Green Line. Amongst these trenches, the artist has installed his own paintings, planting his own “Freedom Street,” in the hope that he will offer new fruits and joyful vibrations to the centre of town, quietly and humbly “conspiring” with Candle in the Trench all the domestic rejuvenating If, as Seferis reminds us, “the strong craftsman is powers. Bokoros’s fl ames: small, genuine carriers one of the most responsible individuals born in of “Romiosini” (Greekness), of sorrows and of de- this world,” then the Offi ce Gallery maintains and sires, in their own way warm up a vital part of the upholds that sense of responsibility. As a place of town within the walls. The artist communicates “handcrafted” ideas, the Offi ce Gallery continues directly with the spaces and monuments which re- the heritage of the handmade, while at the same main the birthplaces of Hellenism; he rekindles the time refi ning and redefi ning craft, demonstrating interest centres in the heart of the capital. As long a postmodern willingness to pose tradition against as Bokoros sows his rogue paintings as “signals” the new, to draw from and blend both the dark and at the “border” points in the trenches of old Nico- bright sides of all traditions. sia, he continues to remind us that broader parts How does the Offi ce Gallery function? The Of- of our country, the very ends of our state, when il- fi ce Gallery serves as a meeting place for “hand- luminated suffi ciently, emerge gleaming and alive. crafted” ideas through thematic exhibitions. It hosts the work of the niche fashion designer In the Artist’s Words Carol Christian Poell and functions as a personal and professional escape for writer Tassos A. “I use surfaces damaged by previous organic uses Gkekas. The Offi ce Gallery stands as a triptych to incarnate my pieces, aside from the theme and comprising three separate yet linked functions: a any representational skill, as a constant reminder of meeting place for the Handmade, escape and pro- a collective time and place from which my reason- fessional lieu. Each of its functions is autonomous ing originates, which I address in the fi nal outcome and distinct but, much like a Francis Bacon trip- of my craft. I select my subjects on the basis of tych that acts as a single indivisible entity narrat- recognition, both as native signals and as universal ing a particular story, the functions of the Offi ce symbols of communication between people and the Gallery meet and complement each other. Like the ineffable intimacy of the mystery which surrounds unifying fl ow of mercury, dialectics and discourse the material objects around us. The process of prepa- connect its three facets. ration and painting leads me, at times of concentra- tion and discipline, to unexpected realizations of self and conciliation with our common condition, the “Odos Eleftherias” by Tassos A. Gkekas, accomplished world. There, the surface of beauty Director of The Offi ce Gallery is revealed, and exceeded eternity and truth come With the launch of the series of paintings titled together. I yearn for these clearings, and these are “Odos Eleftherias,” Christos Bokoros attempts what I work for. I speak words, and painting moves a direct conversation with spaces, buildings and further, as if the matter and spirit it embodies is al- roads which are adjacent to or which lead to the ways elsewhere, away from the images and their de- Green Line in Nicosia. Many of these buildings scriptions. It holds a distance, however close. In this are damaged and worn. One could say that they, distance, the aura preserves the secret and saves us.”

64 The World Youth Choir in Cyprus

or the fi rst time ever in Cyprus, we got Fthe chance to enjoy concerts by the World Youth Choir. The choir performed three a cappella concerts of works by F. Poulenc, B. Brit- ten and others, under the direction of conductor Cecilia Rydinger Alin. There were performances across the island: on 16 August in Pedoulas, on 18 August in Paphos and on 19 August in Ayia Napa. The Cyprus Symphony Orchestra Foundation invited the choir to Cyprus, and the choir gave a series of concerts with the Cyprus Youth Symphony Orchestra as part of the 2012 Kypria International Festival, two evening concerts titled “Towards a Europe of Peace” under the direction of Ayis Ioan- nides. To prepare for the 2012 Kypria International Fes- tival programme, the choir, which comprises 60 members, participated in the International Sum- mer Music Academy of the Cyprus Youth Sym- Every summer the World Youth Choir, made up of phony Orchestra. This year, like every year, the In- half new, half re-invited singers, meets in a differ- ternational Summer Music Academy took place in ent country for two weeks of intensive rehearsal the mountain village of Pedoulas from 20 August of a new repertoire with two different conductors until 2 September 2012. with contrasting programs. This is followed by a two-week tour of the host country and neighbour- ing countries – the choir performs in major concert World Youth Choir 2012 halls and prestigious cultural centres. During the An original concept, the World Youth Choir tour, the choir fulfi ls its social and pedagogical (WYC) brings together talented young singers mission by interacting with local schools, choirs aged 17 to 26 years old from all over the world. and music lovers, through master classes, work- Managed by the World Youth Choir Foundation, shops and clinics. WYC was founded by three organisations: the In- Regardless of political or cultural differences, ternational Federation for Choral Music, the Eu- thanks to the WYC up to 100 young people with a ropean Choral Association-Europa Cantat, and the common passion for music and a love of singing Jeunesses Musicales International. Its principal of- share a month of their lives together, a month of fi ce is at the World Forum in The Hague, Nether- work, play, conversation and debate. This creates lands. Since it was founded in 1989, the WYC has a genuine spirit of friendship, helping the group established itself as one of the most remarkable cohere and imbuing it with a unique brightness musical and intercultural experiences available to which amazes those who attend WYC concerts. young European musicians. Without any speeches or banners, the World Youth

65 Choir brings with it on tour beautiful music and, appearances with Swedish and other Scandinavian with its presence, a message of international peace, symphony orchestras. She was the principal con- brotherhood, and the vitality of life itself. This is ductor of the Wermland Opera in Karlstad from why UNESCO has named the project “Artists for 1994 until 1998; she has also conducted opera Peace” in honour of its social and artistic mission. productions at the Royal Swedish Opera and at The diversity of the World Youth Choir repertoire Denmark’s Jyske Opera, as well as highly regard- reﬂ ects the cultural diversity of its members. Over ed Wagner productions at the Dalhalla limestone the past 23 years, the choir has had the privilege quarry. of performing beneath the baton of a number of From 1988 until 2009, Cecilia Rydinger Alin was world renowned conductors. Its annual sessions the artistic director of the mixed choir Allmänna have thus far taken the choir to more than 30 Sången. She won a number of international choral countries around the globe, including 16 European competitions while at the helm of Allmänna Sån- countries, South Africa, the Far East, the USA, gen, including the 2005 European Choral Grand Canada and Latin America. The choir performed Prix in Varna, Bulgaria. In the autumn of 2008 at the Olympic Gala in Barcelona in 1992, at the she was elected conductor and artistic director of opening ceremonies of the Olympic Equestrian male-voice choir Orphei Drängar in Uppsala. Ms. Games in Hong Kong in 2008, and at the Nobel Rydinger Alin is Professor of Orchestral Conduct- Peace Prize award ceremony on 10 December ing at the Royal College of Music in Stockholm, 2011. On 11 December 2011, the choir performed and during the 2012-2013 academic year she will at the Nobel Peace Prize Concert in Oslo, the an- serve as deputy Principal at the Royal College of nual musical tribute to the year’s Nobel Peace Music. Prize laureate. Cecilia Rydinger Alin has been a member of the Royal Swedish Academy of Music since 2004. Cecilia Rydinger Alin – Conductor She was awarded the medal ‘Litteriset Artibus’ Cecilia Rydinger Alin is a leading ﬁ gure in Swed- by King Carl Gustaf XVI for her contribution to ish musical life. Her wide range of activities en- Swedish musical life in 2005, and she received the compasses orchestral concerts, opera, choral con- Swedish Choral Society’s Choral Conductor of the ducting and teaching, in addition to her regular Year award in 2009.