In the framework of the project Living history, Living nature, nineteen artists were invited by the Municipality of Almopia, Greece, in the summer of 2014.
Each one created an original artwork inspired by a unique site of Almopia.

This is the digital exhibition


Alexandros Adamidis created a painting inspired by Ntompro Pole, a plateau on the mountains of Amopia with rare flora, a violent history in the 1st World War and an abandoned soldier cemetery.

Angeliki Avgitidou presented the findings of a scientist that visited the waterfalls in Notia and the Black Forest in Orma.

Maria Economu studied the avifauna of the mountains Jena and Pinovo and created a series of works for the protected species of the region.

Sashko Janev worked for the Analipseos Church in Theodoraki and a partially preserved icon representing Jesus’ face reflected on the shroud.

Eleanna Koumarianou emphasized on the natural environment of the St. Hilarion Monastery connecting the spiritual upper space with the flora of earth and the notion of lost paradise.

Dimitra Labretsa studied the paleontological collection of bones in the Museum of Natural History and created a series of works for the bear that used to live in the caves of Almopia thousand of years ago.

Dejan Makarijovski expressed the history of the Archangel Michael’s Monastery in two paintings, focusing on its destruction by fire in the 18th century which destroyed everything but the icon of the Archangel Michael.

Virginia Mastroyannaki created the work “Visceral Relationships” for the Castle of Chrisi and the changes of its materiality through time.

Vasiliki Matta created “Nama”, from the Greek word that means both “the water of the source” and “the wine for the Holy Communion”, combining elements from the vandalized St. Ioannis Church in Ano Loutraki and the nature in Kounoupista waterfall.

Photini Papahatzi captured the history and nature of Almopia in two series of original photographs and a three videos projection and invited the citizens of Almopia in a participatory project.

Ioannis Papayannakis makes the use of water the element that connects historical and modern ruins; from the unused historical mill in Sosandra to the abandoned public swimming pool of Aridea.

Pande Petrovski uses a variety of expressing means for a series of sites in Almopia, such as the thermal baths of Loutra the churches in Xifiani and Aetochori and landscapes near the archaeological sites.

Zacharias Polichronakis focuses on the frescos in St. Dimitrios Church in Aetochori and natural elements of Almopia to comment on the coexistence of history and nature.

Eleni Provata created two works for the postByzantine Bridge in Aloro emphasizing on its passing through time and on its present condition.

Igor Stojanovski focused on the similarities and differences of the structures of stones of the archaeological sites in Aloro, Apsalos and Konstantia.

Vassiliki Gerokosta created a book with drawings and poems for Almopia and the Folk Museum that hosts numerous everyday utensils of the old times.

Hristina Zafirovska reforms discrete characteristics of the earth and water of Loutra in a unity.

Sotiria Zorba uses symbols and geometry for the cave in Loutra.

Zlatko Gorgievski painted a view of the St. Dimitri Church in Xifiani.