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Friday 12:00 - 17:00 Saturday 12:00 - 17:00 Sunday 12:00 - 17:00

Momo Athens

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Momo Athens

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Art Gallery
Thaleia Kavvada - Jason Simpson
in association with ArteKunstArt MOMO Athens is a contemporary Art Gallery run by artists.

It focuses on exhibiting emerging Greek and international artists across all media, aiming to provide a platform for innovative new work and ideas.

15/10/2026

Ανοιχτό Κάλεσμα

[ English in comments below 👇🏻]

Η γκαλερί MOMO Athens, σε συνεργασία με την οργάνωση ArteKunstArt, καλεί εικαστικούς καλλιτέχνες να υποβάλουν αίτηση συμμετοχής στην έκθεση με τίτλο “ /blæk/ ² ”, που θα λάβει χώρα από τις 17 Δεκεμβρίου 2026 έως τις 14 Φεβρουαρίου 2027.

Για την υποβολή των αιτήσεων, οι καλλιτέχνες καλούνται να στείλουν email με τίτλο “BLACK 2” στο [email protected], παρέχοντας τις παρακάτω πληροφορίες:
(1) Έως τρεις (3) φωτογραφίες υψηλής ανάλυσης σε μορφή (.jpeg) για κάθε υποβαλλόμενο έργο, ο αριθμός των οποίων δεν πρέπει να ξεπερνάει τα τρία (3). Οι τίτλοι των φωτογραφιών θα πρέπει να αντιστοιχούν στον τίτλο του έργου.
(2) Πληροφορίες για κάθε έργο, συμπεριλαμβανομένου του τίτλου, έτους δημιουργίας, μέσων και διαστάσεων.
(3) Ονοματεπώνυμο καλλιτέχνη, email και τηλέφωνο επικοινωνίας, σύντομo artist statement και artist social media.

Deadline αιτήσεων: Κυριακή 8 Νοεμβρίου 2026, 23:59

Η αίτηση και συμμετοχή στην έκθεση είναι δωρεάν.

Οι συμμετέχοντες καλλιτέχνες θα ειδοποιηθούν μέσω email με το πέρας του deadline, οπότε και θα λάβουν περισσότερες πληροφορίες σχετικά με τη διεξαγωγή της έκθεσης και την παράδοση των έργων στον χώρο της MOMO Athens, Καλλέργη 4, Αθήνα, 10437.

Για περισσότερες πληροφορίες, παρακαλώ επικοινωνήστε στα παρακάτω τηλέφωνα:
Θάλεια Καββαδά - 6945791927
Jason Simpson - 6944413500

23/09/2026

Η MOMO Athens παρουσιάζει την ατομική έκθεση της Βαρβάρας Λιακουνάκου με τίτλο DELUSIONS // Στην αρένα του κόσμου.

Εγκαίνια: 10 Οκτωβρίου 2026, 19:00 - 22:00
Ώρες λειτουργίας: Παρασκευή-Κυριακή 12:00-17:00
Τις υπόλοιπες ημέρες, η γκαλερί δέχεται επισκέψεις κατόπιν τηλεφωνικού ραντεβού.

Η καλλιτεχνική πρακτική της Βαρβάρας Λιακουνάκου εστιάζει στην ανθρώπινη ύπαρξη ως πεδίο σχέσης και αλληλεπίδρασης, με το ανθρώπινο σώμα να λειτουργεί ως τόπος όπου συναντώνται η επιθυμία για σύνδεση αλλά και η αδυναμία αυτής, η προσπάθεια επικοινωνίας και ύπαρξης μέσα σε έναν κόσμο εύθραυστο και συχνά ανοίκειο.
Η ευαλωτότητα του ανθρώπου γίνεται αισθητή στην εμφάνισή του ως ένα σώμα διαρκώς εκτεθειμένο στη σχέση με τον άλλο, την επιθυμία, την απώλεια, στη σχέση του με την ύλη και, τελικά, με τον κόσμο που έχει δημιουργήσει και τον ίδιο του τον εαυτό. Η ανθρώπινη ύπαρξη δεν προσεγγίζεται ως ολότητα ή ως ακέραιη μονάδα, αλλά ως μέρος ενός συμπλέγματος, στο οποίο οι άνθρωποι και τα πράγματα κατοικούν βουβά και συνυπάρχουν ελλειμματικά. Οι μορφές μοιάζουν να αιωρούνται ανάμεσα στη ζωή και την αποσύνθεση, ανάμεσα στη δημιουργία και την καταστροφή, παλεύοντας, συμπράττοντας και αγωνιώντας σε έναν τόπο όπου καθίστανται ταυτόχρονα θεατές και πρωταγωνιστές, στην αρένα του κόσμου.

Επιμέλεια: Θάλεια Καββαδά

19/07/2026

Grigoria Vryttia

Art is my Favourite Drug I (2025)
Embroidery on underwear
50 x 50 cm

In recent years, the theme of “good girl/child” or “good daughter” has often arisen as a starting point for my works. Women are expected/required to remain invisible during most stages of their lives. In the same way little girls must remain quiet, women are expected to (told to) do the same in the rest of their lives. There is a sense that we are only visible during our reproductive years, and this visibility feels more like an exposure, than an existence. In “Art is my Favourite Drug I”, an old woman’s underwear is embroidered with a representation of female internal genitalia, that embraces symbolic absurdity. The entire structure
resembles plant patterns, while a fish swims inside the uterus and the ovaries are represented by cracked eggs, addressing the issue of visibility and objectification of the female body. As X-Ray Spex have beautifully said: “Some people think little girls should be seen but not heard, but I think ‘Oh, bo***ge, up yours!’”

18/07/2026

Danae Tsolaki ._

Stretched Thin III (2026)
Monotype ink and ecoline on paper
50 x 35 cm

My work explores the social and emotional pressures that exist in everyday expressions of femininity, focusing on situations of fragility, exposure, and tension. I aim to examine how soft surfaces can record force, preserving traces of compression, repetition, and strain. I am interested in the relationship between fragility and pressure: materials that appear light or transparent are subjected to processes that stretch, deform or stabilise them. I am also interested in the contradiction between the function of clothing as a means of protection and the decay of this promise: thin, transparent materials that, instead of covering or warming, expose and leave the body vulnerable. This failure to function shifts the emphasis from the protection to the appearance.

17/07/2026

Marina Tsironi

Wishbone (2025)
Photograph, cardboard, twine, copper foil
185 x 55 cm

The artist develops a multi-layered practice that focuses on commenting on issues of identity, gender experience and traumatic experiences, from a psychoanalytic perspective. Her work explores the relationship between personal and collective trauma, transferring experiential narratives from the private to the public sphere. Through performance, installations and the creation of wearable objects, she activates the body as a vehicle of memory and as a field for negotiating social records. As a central element of her methodology, she uses cheap and everyday raw materials, which she transforms into masks or objects with a strongly symbolic character. Through this process, the familiar takes on new meaning, while the individual experience crystallises into a collective narrative. Humour and exaggeration coexist with vulnerability, creating an in-between space where trauma can be shared and reinterpreted.

16/07/2026

Maritina Tselepi

Such a Good Girl
Performance

In my visual practice, I combine sculptural installations with video art and the use of texts, as well as elements of experiential action and role playing (Live Action Role Playing-LARP), creating environments where body, image, sound and collective experience coexist in constant displacement. My research interests focus mainly on urban subculture, the music scene, cinema and industrial, raw aesthetics. In “Such a Good Girl”, I intend to raise issues around the female figure and its ideal appearance through standards that society sets for women.

15/07/2026

Georgia Theologou

L’ Impératrice II (2026)
Oil on canvas
80 x 70 cm

Coming from Perama, an industrial area on the outskirts of Piraeus, the artist draws strong influences from the intermediate space between decay and transformation. Her work develops mainly through oil painting, with an emphasis on transparency and colour. Her visual vocabulary combines the realistic and the narrative, inspired by fairy tales and symbolism under a feminist gaze, often through images that seem to acrobat between light and darkness, the imaginary and the experiential.

14/07/2026

Danai Simou Danai Simou

Womanhood (2020)
Photographic print
60 x 90 cm

I work as an interdisciplinary artist, photographer and performer, whilst encountering poetic and sound art schemes. My research interests ponder on the subjects of auto-ethnography, sexuality and identity to speak about traumatic constructions, disorderly schemes and acts of pleasure, without either mystifying or demonising their uncanny or ecstatic qualities. My practice follows and embodies the rhythms of experiences, loves, failures and agonies lived; yet, it also lingers on alternative futures, and otherworldly ways of existing within social contracts, interpersonal dynamics and psychopolitical hierarchies. By using the photographic medium as its main narrative or main portal, my practice focuses on reinventing the ethics, poethics and canonical aesthetics of how the female body and psyche are represented; and along with them, the symbolic connotations that notions such as motherhood, affect, labour and power, have in the public discourse, amongst others.

13/07/2026

Lydia Simon

Exclamation Mark I (2026)
Blanket fragment, thread, plexiglass
15 x 21 cm

The textile fragment of a duvet in postcard format evokes a space in which expectations of comfort, intimacy and privacy collide with the structural invisibility of domestic violence. The duvet functions as a surface on which intimacy is presumed and consent is often imagined rather than negotiated. The cut-out word “Nein” (“No”) appears not as an additive mark, but through the absence of material. This negative form can be read simultaneously as an opening, an incision and a boundary. Compressed between two acrylic glass plates, the textile fragment is condensed, conserved and transferred into a mode of evidentiary display. The work points to the political dimension of the private sphere.

Address

Kallergi 4
Athens
10437

Opening Hours

Friday	12:00 - 17:00
Saturday	12:00 - 17:00
Sunday	12:00 - 17:00

Website

https://linktr.ee/momoathens

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