The Stavros Niarchos Foundation Cultural Center is staging a major retrospective exhibition dedicated to Jannis Psychopedis, featuring large groups of works that reference, were inspired by, and engage with poets and their poetics.

Jannis Psychopedis’ relationship with poetry is profound, long-lasting, systematic, continuous and tested down the years; it is a core element of his oeuvre.

The exhibition includes works of mixed techniques and media, as well as a large series of drawings, watercolours and oil paintings portraying poets.

A visual conversation with Homer and his Odyssey, Parmenides, Herodas, Calvos, Byron, Palamas, Cavafy, Karyotakis, Lorca, Seferis, Elytis, Ritsos, Embirikos, Sachtouris, Dimoula, Fostieris, Vlavianos, Kyparissis, Metaxas and Siotis.

Biographical note

Jannis Psychopedis was born in Athens in 1945. He studied printmaking at the Athens School of Fine Arts (1963-1968) and then painting on a German state scholarship at the Academy of Fine Arts in Munich (1970-1976).

He was a member of the “A” group of artists in the 1960s and on the visual arts team of the Epitheorisi Technis [Art Review]; a founder member of the “New Greek Realists” (1971-73); a founder member of the Visual Arts Centre (Athens, 1974-1976) and a member of the “10/9” art group in Munich (1975). Furthermore, he was invited to the DAAD Artists-in-Berlin Program in West Berlin (1977).

He has lived and worked in Berlin (1977-1986) and in Brussels (1986- 1992). In 1994, he was appointed to a professorship at the Athens School of Fine Arts, where he taught until 2012. In 2013, he was awarded the title of Professor Emeritus.

Since 1966, he has staged a number of solo exhibitions in Greece and abroad. He has also taken part in important group shows in galleries and museums in Greece and other countries including France, Germany, Luxembourg, Spain, Ireland, Albania, Japan, Belgium, Algeria, Cyprus, Sweden, Israel, Iran, Turkey, the UK, Canada, Romania, Egypt, Poland, the Netherlands, Italy, the US and China.

09/10/19 - 12/01/20 | Daily 09.00-22.00

Free admission

In October, the Stavros Niarchos Foundation Cultural Center presents, for the first time, the Greek version of The Quiet Volume, an “Autoteatro” performance by the British artists Ant Hampton and Tim Etchells.

The term “Autoteatro” describes a series of small-scale performances – specially designed for specific spaces – that come to life with the participation of members of the audience.

A combination of silence and concentration, The Quiet Volume exposes the strange magic at the heart of the reading experience, allowing aspects of it we think of as deeply internal to lean out into the surrounding space, and to leak from one reader's sphere into another's.

Having been performed in 12 countries to date, The Quiet Volume creates a unique experience for library visitors/readers and explores the particular tension common to any library worldwide.

In the Open Reading Area, at the second floor of the National Greek Library, two participants, seated at a table, have headphones on, with a red and a green notebook and a few volumes of books before them. As they hear whispered cues on their headphones, they silently read excerpts from the small stack of books.

The Greek version of The Quiet Volume was especially produced by Ant Hampton to be performed at the SNFCC.

Ant Hampton is a British artist and performance maker based in Germany. His performance works are diverse in content and tone, yet consistently explore the tension between fixed, formal or structural elements and the improvised ones that come about in the moment. For 20 years now, he has been developing new modes of performance, guiding people through unrehearsed performance situations. Other works such as Hello for Dummies, GuruGuru, Cue China, OK OK, This is Not My Voice Speaking and The Extra People, continue to tour widely, in over 60 different language versions.

Tim Etchells is an artist and writer based in the UK, whose work shifts between performances, visual art creations and works of fiction. He is the leader of the world-renowned Sheffield-based performance group Forced Entertainment. Exhibiting and presenting work in significant institutions all over the world, he is currently Professor of Performance & Writing at Lancaster University. Etchells’ work has been shown recently at Tate Modern, Cubitt, Hayward Gallery and Bloomberg SPACE in London, at Turner Contemporary, The Grundy and Compton Verney in the UK, as well as at Witte de With, Rotterdam, and MUHKA (Antwerp).

Blindness by José Saramago, translated into Greek by Athina Psylia (2013), courtesy of Kastaniotis Editions

Ágota Kristóf, The Notebook and The Third Lie, translated into Greek by Chryssa Tsamadou (Exandas Editions, 1986 & 1995), and The Proof, translated by Agni Metaftsi (Exandas Editions, 1990), courtesy of the translators

Kazuo Ishiguro, When We Were Orphans, translated into Greek by Argyro Mantoglou (2019), courtesy of Kastaniotis Editions

English version:

First voice - Ant Hampton
Child’s voice - Seth Etchells
Third voice - Jenny Naden

Binaural recordings: TiTo Toblerone
Produced by Katja Timmerberg
Commissioned and produced by Ciudades Paralelas: Hebbel am Ufer, Schauspielhaus Zurich, Nowy Teatr, Vooruit with support from Kulturstiftung des Bundes, Goethe Institut, ProHelvetia

Greek version:

Translation - Yiannis Voyiatzis
First voice - Giorgos Kritharas
Child’s voice - Panagiotis Lekkas
Third voice - Aliki Alexandraki

Starting on Friday 11/10, and daily from 18.00-21.40 (the sessions start every 20 minutes and last one hour)
The sessions at 18.40 and 20.40 will be conducted in English

Free admission by online preregistration 

For the month of November preregistration starts as follows:

For the sessions held between 01 and 10/11, preregistration starts on Wednesday 30/10 at 12.00
For the sessions held between 11 and 17/11, preregistration starts on Monday 04/11 at 12.00
For the sessions held between 18 and 24/11, preregistration starts on Monday 11/11 at 12.00
For the sessions held between 25 and 30/11, preregistration starts on Monday 18/11 at 12.00

*The presence of two participants is required for the event to take place. 

*Please bring some form of identification on the day of the event, in order to participate.

*The event lasts 60 minutes with no interruption.

*If you wish to cancel your participation kindly do it at least one day before the event, as the experience of the other participant depends on your arrival.

On the occasion of this year’s celebration of Ohi Day, Hellenic American University | Ηellenic American College and the Greek America Foundation, in collaboration with the General State Archives οf Greece, are pleased to present the exhibition “The Hour of Greece”. The exhibition is held under the aegis of the Ministry of Foreign Affairs of Greece.

A symbol of national resistance, Ohi Day commemorates Prime Minister Ioannis Metaxas’ rejection on October 28, 1940 of Mussolini’s ultimatum for surrender. In the face of the Italian invasion that followed and despite being vastly outnumbered, Greece not only defended itself but counterattacked and defeated the enemy forces. The event united the Greek people and evoked respect among the Allies for Greeks everywhere. The story of the small neutral country’s victory over the much larger invading forces made a deep impression on American public opinion.

Drawing largely on rare archival material from the private collection of Gregory Pappas, a member of the Greek Diaspora, including newspapers, cartoons and photographs, all of which on display for the first time in Greece, "The Hour of Greece" seeks to show the impact of the Greek victory in the United States in the early years of World War II. At the same time, the exhibition highlights the important contribution that Americans made to healing post-war hardships in Greece. Material from the Pappas Collection has been enriched with documentary material from the General State Archives of Greece to better illustrate the relations of the peoples of Greece and United States at that time.

Curator: Louisa Karapidaki
Scientific advisor: Yannis N. Glavinas

Manos Hadjidakis

Dance with my own shadow

PREMIERE 09 November 2019
09, 10, 16, 17, 24 Nov 2019

Greek National Opera - Stavros Niarchos Hall
Stavros Niarchos Foundation Cultural Center

Manos Hadjidakis Cycle

Starts at: 20.00 (Sundays: 18.30)

Choreography, set: Konstantinos Rigos
Conductor: Lukas Karytinos
Costumes: Deux Hommes
Lighting: Christos Tziogkas
Associate architect: Mary Tsagari
Video: Vasilis Kehagias
Manos Hadjidakis Cycle artistic curator: George Hadjidakis

Soloist: Dionysios Sourbis (baritone)
Piano: Thodoris Tzovanakis, Lefteris Michalopoulos

With a music ensemble and the GNO Principal dancers, Soloists, Demi-Soloists and Corps de Ballet

Ticket prices: 15, 20, 30, 35, 40, 45, 50, 70 euros
Children, students: 12 euros
Limited visibility seats: 10 euros
*Limited number of tickets of 2 euros, as part of the "One for One" programme.

The first production of the Greek National Opera Ballet for 2019/20 signals one of the greatest challenges for Konstantinos Rigos. The GNO Ballet director realizes one of his greatest artistic dreams and choreographs four major works of Manos Hadjidakis –The C.N.S. cycle, Captain Michalis, The accursed serpent, Gioconda’s smile– in one single performance, as part of the Manos Hadjidakis three-year cycle.

Few composers have defined the Greek musical landscape and modern Greek culture as much as Manos Hadjidakis. At the same time, his quests and influences have led him to many and diversified paths. It wouldn’t be an overstatement to say that the fruits of his creative seed can be found in the four cardinal points of the horizon. This is the landscape that inspired Konstantinos Rigos’ new choreography, through which he shall make a journey across the four cardinal points of Hadjidakis’ work by incorporating an equal number of emblematic works into a single performance with interlocking parts. Four rooms, four directions. The C.N.S. cycle is the north, the abstract landscape of the “deserted beach”, death’s wasteland. Captain Michalis is the south, with the Mediterranean, dry landscape, the wind that romantically caresses people’s bodies, and the unrealistically over-sized Kazantzakis-man figure. The accursed serpent is the east, a land of shadows and fairy tales, where the old and the new co-exist devouring one another. Gioconda’s smile is the west, a study by the composer on the history of Western music, but also an exercise of personal compositional discipline.

Each point of the horizon is also a room, each cardinal direction is contained within an interior space, where dancing becomes one with the music.

The Athens Avant-Garde Film Festival, the Greek Film Archive's favourite establishment has its birthday in November: it turns ten years old, and it will celebrate with many surprises.
The 10th AAGFF will take place from November 20 until December 5 2019, at the Greek Film Archive (theatres A,B) and ExileRoom, whilst some of its screenings will be hosted at the Institut Français; aspiring to bring to the foreground, that which is most fresh and groundbreaking in international, contemporary cinema.
➔ This years, incredible rich, International Competition Section of the 10th AAGFF will include nine films pre-dominantly by young directors, who have experimented with new forms of narration; whilst frequently using techniques that combine fiction with documentary, in order to examine issues concerning identity; tensions within multi-cultural societies or the consequences of todays crisis in the youth — whilst often bringing to the fore, those who have been marginalised.
Narrative fiction films but also documentaries will be presented from France, the United Kingdom, Switzerland, Portugal, Japan, Argentina, Brazil, Iran, India, Algeria and Qatar — films that have arrived from great film festivals (from Cannes to Locarno), nearly all of which will have their Greek premieres — films attempting to break the barriers established by genres and categories. The festival’s mission, is to discover and charter the new grounds that have been broken by modern cinema of our age.
Directors Ronny Sen (Cat Sticks) and Ehsan Khoshbakht (Filmfarsi), as well as the lead actress of the film Love Me Tender, Barbara Giordano, will be in Athens to present their films.
International Competition Jury:
Haden Guest (American professor, director of the Harvard Film Archive), Vasilis K. Karamitsanis (director of the Anima Syros - International Animation Festival and chairman of the B of D of the National Opera of Greece), Dimitris Koutsiabasakos (distinguished greek director), Irena Bilic (french-serbian director and director of the festival L’Europe autour de l’Europe in Paris), Gaëlle Jones (french film producer).

The 10th Athens Avant Garde Film Festival has secured a series of exceptional tributes:

➔ To the great portuguese director Manoel de Oliveira, in collaboration with the Portuguese Film Archive and the Embassy of Portugal in Greece. 12 short, mid-length and feature films will be screened, most of which will be presented in the their Greek or Athenian Premieres.
It is no coincidence that the beautiful, expressive face that dominate’s this years poster of the 10th AAGFF, is that of Oliveira’s muse, Leonor Silveira who stars in Vale Abraão (Abraham’s Valley).
Born in 1908, in Porto, by wealthy parents, Oliveira was initiated to cinema in 1927. He died in 2015, aged 106 with a remarkable cinematic career spanning 88-years. Keynote speaker for Oliveira will be José Manuel Costa (director of the Portuguese Film Archive), whilst for Oliveira’s early films the speaker will be Miguel Seabra Lopes, screenwriter of the film The Fever (A Febre) by Maya Da-Rin, that will be screened in the Athenian Premieres section of our Festival. In this same section, the recently Golden Leopard Awarded film by Pedro Costa, Vitalina Varela, will be screened, among other films. This film will also be presented to the public by José Manuel Costa.
➔ To the distinguished Italian director Marco Bellocchio, in collaboration with the Istituto Italiano di Culture: Atene. Marco Bellocchio is one of the most important and prolific directors of Italian Cinema. In the 10th AAGFF’s tribute, we will showcase his anti-conformist cinematic gaze, through 6 of his emblematic films. Throughout his career, Bellocchio was engaged in Italy’s political unrest, whilst his work never stopped listening to the source of evil in the face of fascism — political violence and the mafia.
➔ To the important Greek documentarian, Eva Stefani, who will showcase a significant portion of her body of work (15 films that where chosen in collaboration with the Director). Since the beginning of her career, Eva Stefani has devoted herself to Observational Cinema (Letters to Albatros, The Box etc), focusing her lens on those that society has made invisible (prisoners, the institutionalised, the homeless and sleepless, the unemployed and workless, the elderly), but later also excelled in a more poetic form of experimental documentary (Acropolis, Manuscript).
Eva Stefani will give a Masterclass on Monday 25/11 (15:30, Greek Film Archive — Theatre A)
➔ The important French documentarian Florent Marcie is also an official guest of the 10th AAGFF, for whom the festival has also prepared a separate section with 7 films. For 30 years now, Florent Marcie has been crossing war-fronts and battlefields around the world, and has recorded with his camera wars, uprisings, emancipations, but also the most glaring of deprivations of our time — at the crossroad of journalism, video-art, war photo-reportage and cinema; far from conventional journalism. Marcie shoots, edits and funds his own films, using new digital audio-visual technology in a radical method as his own answer to the propaganda of media. His axiom is “as long as we don’t see for ourselves, we can’t know what’s going out there”.
➔ We will also see the work of the pioneering and bold French film director Marie Losier, who will present the tribute on her work, that was recently hosted at the Museum of Modern Art in New York (MoMA), and will introduce her latest film Felix in Wonderland, on the well known musician Felix Kubin (electronic music). The film will be screened in its Greek premiere.
Marie Losier, filmmaker and curator, studied literature in France and Fine Arts in New York, where she worked for twenty-two years. Her films have been screened at the biggest festivals and museums, such as the Berlinale, Tribeca Film Festival, Tate Modern, MoMA and the Cinémathèque Française. In the age of digital cinema, Losier insists in using analogue film. She has filmed the cinematic portraits of many avant-garde artists (directors, musicians and composers) — unconventional portraits that examine the life and work of these artists; whom she persuades to re-enact scenes from their life.
Florent Marcie and Marie Losier will give seperate Masterlass’s — the former on Wednesday 27/11 (15.30, Greek Film Archive — Theatre B), and the later on Thursday 28/11 (19:00, Exile Room).
➔ One of the surprises of this years festival; on occasion of the recent American documentary is Hitchcock/Truffaut (based on the book of the same name that records a series of Alfred Hitchcock “marathon” interviews by the young François Truffaut, in 1962, when Hitchcock was wrapping up the editing of The Birds). A significant number of films by each director will be screened, creating a “conversation” between the two creators. We will see films from such as Psycho to Finally, Sunday! (Vivement, Dimanche!) and The Man Who Loved Women, but also Truffaut’s two favourite Hitchcock films: Spellbound and Notorious.
Amongst other films, the silent Hitchcock film The Tenant (1927) will be presented on Sunday 1/12 (17:00, Greek Film Archive — Theatre A). Minas I. Alexiadis will accompany the film with an original score and composition of his own.
➔ Our programme also includes the tribute “Libération sexuelles, révolutions visuelles” curated by Nicole Brenez and Stéphane Gérard, with provocatively interesting films that explore various expressions of sexuality — films which according to the curator: “with their courage, energy and beauty provoked in their time, and then later contributed to our own liberation”, as well as one more tribute to the ....
➔ American Experimental cinema: selections from the work (short and feature) of the avant-garde filmmaker and influential artist, Robert Beavers — a close collaborator of Gregory Markopoulos, will be presented. Robert Beavers will also present the work of his partner: the German film director and professor Ute Aurand.
In the same tribute, the work of the important artist of the American avant-garde, the animator Suzan Pitt will be presented, who only recently left us — curated by the director of the Harvard Film Archive, professor and President of the International Competition Jury of our Festival, Haden Guest.
Robert Beavers will give a Masterclass on Tuesday 26/11 (16:00, Greek Film Archive — Theatre A).
Greek cinema will be represented by two tributes that will include landmark films in its history:
➔ The Modern as an Experiment, curated by Maria Komninos, observes the influences in the 1930’s up to the delayed emergence of modernity in Greek cinema, (The Ogre of Athens) as well as the emergence of Greek experimental and visual-art cinema (K. Sfikas, Th. Rentzis, A. Angelidi).
➔ There’s something about the family, curated by Dimitris Papanikolaou, includes films by Cacoyannis and Angelopoulos, Lanthimos, Economides and Koutras, as well as a recent series of short films, dealing with the issues of the Greek family. As Maria Komninos notes, “The exploration of family secrets that sharpened the modernist sentiment of Angelopoulos and Cacoyannis, has lead to the emergence of a new weird wave, that will refresh contemporary greek cinema”.
A great opportunity for us to re-watch films which wrote history, on the big screen: from Reconstruction, to Matchbox and from The Fear to Dogtooth and Strella. This tribute has been designed as a cinematic reference to Professor Dimitris Papanikolaou’s book: There’s something about the Family: Nation, Desire and Relationship (Patakis 2018), where all these films are analysed.
On Thursday 21/11, at 21:15, after the screening of the film A Matter of Dignity by Michael Cacoyannis (19:00, Greek Film Archive — Theatre B), a discussion will follow with Dimitris Papanikolaou; the director of the AAGFF Maria Komninos; the author Maria Efstathiadou and the academic Ioulia Mermiga.
➔ For the first time we will have a Student Film Festival section, with official guests students of the university of Karlsruhe, and their professor João Tabarra — who will present their own films to the audience of the 10th AAGFF. Meanwhile, students of the Department of Communication & Media Studies from the UoA, and of the Film Department from the AUTh, will present their own work. We will also have selections from the Hellenic Parliament's TV Station, broadcast “Sudentwitters (Fititivismata)”. Entrance to Exile Room will be free of charge.
➔ Simultaneously, we will once again have the popular and well regarded section of the AAGFF “Some Like It Short” (with greek and foreign selections, most of which will be premieres). As Nina Veligradi its curator notes: “it is a place for independent filmmakers who chose to express their thoughts in a more comprehensive way… Creations from all over the world, settings from Skopje to London’s Trafalgar Square, and from the Louvre to a backyard pool. Fiction, video essays, architecture and poetry come together to form one of the festival's densest sections”.
➔ Lastly, the favourite section of the AAGFF “Restored and Beautiful”, could not be missing. This year it includes the opening film, L’age d’Or by Luis Buñuel; the closing film Miracle in Milan by Vittorio De Sica and the iconic films The Circus by Charles Chaplin and Easy Rider by Dennis Hopper.
➔ A Masterclass will also be given by professor João Tabarra (Friday 22/11, 19:00, Εxile Room), whilst on Thrusday 28/11 (Greek Film Archive — Theatre A, 16:00) a discussion will be held with the producer and member of the jury Gaëlle Jones on issues concerning production and co-production.
Lastly, the director Menelaos Karamaghiolis will give a presentation titled “From Jace to the Afro-Greeks” (Tuesday 3/12, 16:00, Greek Film Archive, Theatre Α).

TICKET PRE-SALES:
At the Greek Film Archive’s box office and viva.gr:
https://www.viva.gr/tickets/cinemas/tainiothiki-tis-ellados-lais/10o-fes...

General Entry: 5 euro.
Card for 5 screenings: 20 euro
Card for 10 screenings: 35 euro
Card for 20 screenings: 65 euro
Special card for 10 screenings (Amea care, unemployed, students, teachers, exemptions and people over the age of 65): 25 euro
Notice: Card availability is limited. They will be available from October 29 until they are sold out.
➔ Entry for all screenings at Exile Room, as well as the screening that will take place at the Institut Français, (Tomorrow Tripoli, by Florent Marcie, on Tuesday 26/11, 8pm) are free.

Greek Film Archive
Iera Odos 48 & Megalou Alexandrou, metro Keramikos, tel. 210 3612046
Exile Room
Athinas 12, 3rd floor, metro Monastiraki, tel.210 3223395

Learn more here: http://10aagff.tainiothiki.gr

Catalogue: http://bit.do/10AAGFF-Catalogue
Screening schedule: http://bit.do/10thAAGFF-Schedule
Tickets: http://bit.do/10thAAGFF-vivagr

Devoted to Lynda Benglis’s highly original and prolific output in diverse media, this is the artist’s first solo museum exhibition in a country that has played a major role in her life and vision: Greece. Spanning half a century from 1969 onwards, the select survey of thirty-six sculptures – amounting to a concise retrospective – will occupy the intimate spaces of the Stathatos Mansion, displaying a wide spectrum of Benglis’s materials, imagery and ideas. The show also presents three key ancient artefacts generously lent by the Museum of Cycladic Art itself.

In the Realm of the Senses celebrates a maverick artist who began as a female pioneer of Post-Minimalism in the late 1960s and still creates with exuberance in the twenty-first century. Describing Benglis’s first wax reliefs as early as 1968, the New York gallerist and critic Klaus Kertess noted that “skin, pull, sensuousness” ranked among her primary concerns. Such intense corporeal sensations extend to the present – as Benglis’s sculpture constantly shifts between fixity and movement, nature and flesh, with both grace and provocative boldness.

Few people in our country know that the Hellenic Parliament is one of the oldest parliaments in Europe; and when they find out, this fact does not seem strange to them. That is because, for most of us, the existence of this parliament is intrinsically linked to the political history of this country; its workings reflecting both the country’s glory as well as its darkest moments.
The statistics are impressive and should make us proud: since the First National Assembly was elected in the fall of 1843 – more widely known as the National Assembly of September 3rd –, our Parliament has been in operation almost non-stop for 176 years. Any deviations in the course of the “short” 20th century were of short duration and did not, after all, affect neither the validity nor the legitimacy of the Parliament. Thus, the Hellenic Parliament has become by far the most stable and long-standing representative body in Southeast Europe. What is more, considering the fact that, out of the 67 elections that took place from 1843 to the present day, more than 50 were in no way called in question, modern Greece is ranked as one of the most mature countries in terms of parliamentary procedures.
The Greek parliamentary system immediately incorporated the British “Westminster system”, which, in contrast to the “consensual” parliamentary systems of countries experimenting since the beginning with proportional representation (Belgium, the Netherlands, Denmark, etc.), favors the alternation of one-party governments and, obviously, not the formation of coalition governments. In other words, as demonstrated by the conflict between Venizelists and anti-Venizelists in the context of the National Schism and, after the war, by the conflict between pro-Venizelos parties and the conservative party, the Hellenic parliamentary system always has been and remains a majority system.
As a result, elections were a “regularity”, that is, the safest way to resolve political disputes, since, with few exceptions, for the great majority of the Greek people, the prospect of victory was the one and only way to the fulfilment of individual and collective goals.
Therefore, it is no coincidence that, unlike in most Balkan countries – even countries of Southern and Central Europe – in Greece, extreme parties at both ends of the political spectrum never gained such massive support that would ensure their long duration and rise to power.

Hot on the heels of their performance at London’s legendary 606 Club, jazz singer and trumpet player Georgina Jackson and experimental harpist Maria-Christina Harper present their new project Women of Jazz in the form of a dynamic duet at the SNFCC Lighthouse.

The jazzy sonics of Georgina Jackson’s trumpet and distinctive voice are the perfect fit for the unexpected sounds of Maria-Christina’s electric harp. The two artists, who first worked together in the Irving Berlin: From Rags to Ritzes musical production, which toured the United Kingdom, are coming to the SNFCC to present their new project, Women of Jazz, featuring their own compositions and numbers by well-known artists.

Georgina Jackson, resident vocalist of Ronnie Scott’s Jazz Orchestra, has performed in major jazz venues and festivals in Europe, and has collaborated with some of the greatest artists, from Arturo Sandoval to Nancy Sinatra. She has earned the Malcolm Arnold Brass Prize and the Goff Richards Jazz Award, while the single “Change Partners” from her album Watch What Happens shot to the top of the iTunes Jazz charts.

Influenced by traditional Greek, experimental, and jazz music, Maria-Christina Harper uses pioneering musical techniques to make the instrument emulate bass and guitar‐like tunes. She studied at the Royal Academy of Music in London and won first prize at Whales International Harp Competition and Festival with her band, MC & the Seven Pedals. She has performed at the Montreal Jazz Festival and at major cultural spaces in Greece, including the Stavros Niarchos Foundation Cultural Center, while she recently released her album Gluten Free. Harper has worked with many leading artists – from Katie Melua and Soft Cell to Psarantonis.​

Line-up:
Georgina Jackson, vocals, trumpet
Maria-Christina Harper, harp

Free admission