With the financial support and auspices of the Ministry of Culture and Sports, the Municipality of Ioannina and the Region of Epirus

16th edition of

Photometria International Photography Festival

Duration: 28.9 – 1.12.2024

Photometria International Photography Festival 2024, hosts mοre than 50 artists in 11 exhibition venues in the city of Ioannina. Photometria Photography Center, the festival’s permanent headquarters, hosts one of the most emblematic exhibitions of the festival for 2024. As every year, the program is rich in new photographic proposals, high-level lectures and activities for visitors and citizens of Ioannina. At the end of the festival, a selection of exhibitions is presented to various cities around the country and abroad.

Entrance is free for all the exhibitions at Photometria Festival

© For the leisure of working insects (Amusement Park)

Alba Ruiz Lafuente 

“Constructed Realities”, Photometria Awards 2024

Group exhibition of the 25 selected photographs of the competition Photometria Awards 2024 “Constructed Realities”, judged by Martin Parr

Ebrahim Alipoor [IR] – They returned // Hadi Dehghanpour [IR] Corona Bride // Amirmohammad Enayati [IR] – Cold house // Glish Group (Anastasia Shubina and Timofey Glinin) [US] – Nomadic future // Lifu Hu [CN] First Love // Md Saiful Islam [BD] – Recycling // Mehri Jamshidi [IR] – Apart // Ioannis Kais [GR] – Disintegration // Amirhossein Yousefi Keysari [IR] – Asbad // Brandon (Byeongbeom) Kim [AU] – Hand Car Wash // Henri Kisielewski [FR/GB] Triplets // Anton Konovalenko [UA] – Phantom Teneta // Mikael Kouragios [GR] – Dive into the void // Alba Ruiz Lafuente [ES] – For the leisure of working insects (Amusement Park) // Mohammad Ataei Mohammadi [IR] – Tree // Juan Rodríguez Morales [ES] – Untitled // Myronov Mykola [UA] – Untitled #2 // Amirhossein Nami [IR] – Wanderer // Andrew Rovenko [AU] – The Friendship // Elizabeth Rovit [GR] – Multiverse // Shamal (Fayegh) Shakibayi [IR] – Environment lover // Olga Steinepreis [DE] – A stranger in the mirror // Aleksandra Szajnecka [PL] – I want to return to the burdock leaf where my mom found me // Pantazis Toufidis [GR] – Hug // Alena Zhandarova [RU] – Dream 

The exhibition entitled “Constructed Realities” endeavors to present a comprehensive examination of the intricate interplay between perception and reality as depicted through the medium of photography.

In an era characterized by an increasing mediation of perceptions and a blurring of the boundaries delineating reality, this exhibition seeks to provide a nuanced elucidation of the multifaceted nature of human understanding. Through a curated selection of photographic works, viewers are invited to delve into the complexities inherent in the construction and interpretation of reality.

Photography, with its inherent capacity to capture and manipulate narratives, serves as a potent vehicle for the exploration of these themes. In the contemporary digital landscape, where the proliferation of social media and advancements in artificial intelligence challenge traditional notions of truth, the medium assumes an even greater significance.

The exhibited works interrogate the phenomenon of directed photography, wherein perceptions are consciously shaped and realities carefully constructed. Additionally, viewers are transported into surreal dreamworlds, where the boundaries of reality are blurred, offering tantalizing glimpses into alternate dimensions of existence.

Furthermore, the exhibition critically examines the role of media propaganda in shaping public perceptions, highlighting the pervasive influence of images as tools for the dissemination of ideologies and the manipulation of truths.

“Constructed Realities” serves as a testament to the enduring power of photography as a means of inquiry and expression, inviting viewers to engage in a contemplative dialogue on the nature of reality and the intricacies of human perception. Through an exploration of these constructed realities, viewers are encouraged to interrogate their own understanding of truth and illusion, thus fostering a deeper appreciation for the complexities inherent in the human experience.

Ioannina City Hall (outdoor area)

Duration: 28.9 – 1.12

“Self-portraits“, Martin Parr 

Curated by: Hercules Papaioannou

Photography since its advent has emphatically showcased the portrait as a reflection of individual and social identity, as a dialogue (fragmented but increasingly dense) with personal and collective memory. In the first decades of the new medium, photographs were realized in studios with the skills and conventions of emerging professionals, in a more or less artful way that spread across countries and continents in a more or less colonial context. As the medium became more and more popular and easy to use, people started to create their own casual snapshots of close friends and family.

In the twilight of the 20th and the dawn of the 21st century Martin Parr, while travelling on international media assignments, began to get himself pictured in studios and photobooths all around the world. His figure gradually became part -physically or digitally- of diverse settings, designed to validate stereotypes or generate new ones. In these photographs, contrary to the banality of traditional studio portraits, a local attraction or landmark, an imaginary character or the cardboard effigy of a leader attempt, in versions occasionally flirting with kitsch, to offer the depicted person a notable, prefabricated memory. For twenty years (1996-2015), Parr would surrender himself in a willing, expressionless manner to the hands of his peers, consciously becoming prey to a mechanism of standardized images. This witty series, which inadvertently heralded the current narcissistic flood of selfies, bears stark testimony to the way photography became catalyst of an early globalization process, magnifying the local and discovering the exotic, thanks to its unique ability to travel, assimilate, adapt, reproduce itself, generate a certain aura.

The self is here surrounded, from one image to the next, with a blithe fluidity, as it poses in all sorts of atmospheric settings, bygone or futuristic, flamboyant or austere, culturally specific or all weather. These portraits ultimately gain their vitality from the gradual realisation of the artist acting as a conceptual converter of these inventive representations into a coherent proposal, as his spirit lies behind each image, without him having taken any of them; also, by the fact that they reveal the free-flowing waving of identity in the turbulent waters of the 21st century. In this sense, the series brilliantly suggests that identity has never before been so malleable, prescribing a self that is expanded, flexible, fragmented, expendable. Anticipating the condition of the produser (in which everyone can be both a producer and a user of images), the series poignantly raises the question of whether photography can still capture a coherent idea of the self or contributes to its constant reinvention and reconstruction within virtual small worlds. And while one might think that Martin Parr’s Self-Portraits are limited to a parody of self-representation (at a time when this practice appears almost as an imperative duty), they also seem to allude to the ubiquity of the photographic medium which, in the post-photographic web age, still offers itself as part of a popular, unpredictable social rite. Moreover, they seem to hint at the central role our image plays in the ephemeral colonialism of mass tourism.

Hercules Papaioannou

Photometria Photography Center (PPC)

Duration: 28.9 – 1.12

Thu. – Sun.: 17:00 – 21:00

In collaboration with Momus – Thessaloniki Museum of Photography

“Palimpsest” (2009 – 2019), Nikos Panayotopoulos, Penelope Petsini

Curated by: Nikos Panayotopoulos, Penelope Petsini

Palimpsest is part of an extended photo project focusing on memoryscapes of the Cold War Era in Europe. The exhibition is divided in two parts. The series «Aufarbeitung: The Wall» is about the Berlin Wall twenty years after its fall when it was turned into a memorial with multiple –especially political– functions, becoming an international symbol and featuring prominently in mnemonic representations of the 20th century. «Restricted Areas», in turn, depict places once designated as top-secret that have been now transformed into official or unofficial monuments: STASI and KGB remand prisons, military bunkers, nuclear shelters and facilities, the National Security Headquarters, the underground Soviet Military High Command in DDR. 

Working through the past [Aufarbeitung der Vergangenheit], a catchphrase in the famous «historians’ feud», coined by Adorno, refers to the process of revisiting historical events through an examination of often controversial material, which causes such profound embarrassment and heated conflicts, that some call it «the battle of memory».

Nikos Panayotopoulos, Penelope Petsini

Municipal Gallery of Ioannina (1st floor)

Duration: 29.9 – 2.11

Mon – Thu: 08:00 – 15:00

Fri: 08:00 – 21:00

Sun: 10:00 – 13:00 & 18:00 – 21:00

“Mellow Apocalypse”, Alnis Stakle

Curated by: Panagiotis Pappas

Interested in the fate of the canonised artistic, scientific and journalistic images and their potential to embody contemporary meanings, for my series of collages titled Mellow Apocalypse, I have used images from open source collections of art museums, scientific institutions and various image banks whose archives may be considered iconic testimonies of the present and the past. The collages are grounded in my search for syntactic visual language connections in the images pertaining to various periods, media and domains of the visual culture. The collages make use of the ideas and technical codes established in the visual communication that transcend the borderlines of ages, media and cultures. The codes that are so deeply engrained in culture that they are used without thinking and are understood through pre-existing schemas in the recipients’ minds. Although the decoding of images depends on the recipients’ interests, values, convictions and wishes, yet the globalised world of the visual culture is oversaturated with simulacra where the feminine and the masculine, the other, the desirable, the repulsive and the beautiful is depicted through the use of similar ideas and technical codes in different epochs and various media. These syntactic connections across various periods of visual culture and different media are traceable in persons’ postures and gestures, in colour stage designs and similar outlines of objects and architecture. The technical execution of the collages is based in the image post-processing software algorithms, letting them overtake the accuracy and precision of image depiction. Thus, the digital post-processing technological features become a part of the collages’ notional and technical code.

Its Kale outdoor area (opposite Byzantine Museum)

Duration: 28.9 – 1.12

Mon. – Sun.: 8:00 – 22:00

With the support of the Embassy of the Republic of Latvia in the Hellenic Republic

“The tattoo writer”, Akimitsu Takagi / Pascal Bagot

Curated by: Panagiotis Pappas

The Tattoo Writer is a research project led by French journalist Pascal Bagot, a specialist in  tattooing in Japan, based on the photographs of Akimitsu Takagi. 

Akimitsu Takagi (1920-1995) was one of the greatest Japanese crime writers of the 20th century.  Crazy about tattoos, he documented the underground scene of tattooists and tattooed people in  Tokyo in the 1950s and 1960s. 

Forgotten in the novelist’s library and unknown until their discovery in 2017, these photographs  establish him as one of the most important witnesses to the history of tattooing in 20th-century  Japan. 

The Tattoo Writer is also a book (published in 2022, reprinted in 2023) that brings together more  than 130 of these photographs. The exhibition of Akimitsu Takagi’s images is presented using a  selection of silver prints made from the original negatives. 

Further information on thetattoowriter.com

Gallery 3Portes

Duration: 29.9 – 29.10

Mon. – Fri.: 10:00 – 14:00

Tue., Thu., Fri.: 18:00 – 20:00

Sat.: 13:00 – 15:00

“90 Miles”, Michael Christopher Brown

Curated by: Panagiotis Pappas

90 Miles is an AI reportage illustration experiment exploring realities of Cuban life since the late 1950’s, including historical events, and Cubans’ preparation, escape, crossing, and arrival in Florida. 

This work is based on true stories, but is, of course, not real.

Reportage illustration has been used for over 150 years in journalistic publications, and in some way, has been around since the dawn of civilization. 

Reportage illustration is a kind of visual journalism.  The illustrator conveys a narrative and reports a specific moment.  The central premise of reportage illustration is storytelling. 

AI’s improvements in photorealistic quality inspired me to create 90 Miles last year, in the tradition of reportage illustration. 

Midjourney was used to create this imagery. 

I gathered AI prompts from years of conversations with Cubans while living in Cuba, and life long research.

While working in Cuba from 2014-2016, I attempted to photograph the story of Cubans who courageously escape each year to the United States, mostly via homemade watercraft of some kind.

However, any coverage of refugees escaping Cuba would risk endangering Cubans who remained in the country.

There was just no safe and ethical way for me to either access or document this story IRL. 

I had been learning about this journey of escape for years, watching TV and reading newspapers while growing up in America.

A Google image search will reveal imagery of Cubans coming ashore in Florida, mostly in homemade vessels. 

The Cubans who attempt the crossing are extremely resourceful, which is reflected in their rafts assembled from inner tubes, pieces of wood and plastic, household supplies, etc. 

The story of 90 Miles speaks to the 90 miles (~145 km) of ocean separating Cuba and Florida.

This story begins in the late 50’s and early 60’s, not long after Fidel Castro came to power and following the Bay of Pigs and the Cuban Missile Crisis.

Cuba experienced dramatic political change, and its economy quickly deteriorated.  

Today, 60 years later, lack of economic opportunity still remains arguably the largest motivator for an escape.

Nearly a 1/2 million Cubans fled in 2022 and 2023, when Cuba experienced its largest exodus since the 1980s due to an ongoing economic crisis, with soaring inflation alongside shortages of food and medicine.

Exhibition Space of the Municipal Cultural Multiplex “D. Chatzis” (Old Slaughterhouses)

Duration: 28.9 – 13.10

Mon. – Fri.: 18:00 – 22:00

Sat. – Sun.: 10:00 – 14:00 & 18:00 – 22:00

“Balkan echoes”

Sound Portraits from southeast Europe 1962 – 1987,

Martin Koenig

Originally curated by: Ivo Hadjimishev

Adaptation by: Stergios Karavatos

Production: Folklife & Ethnological Museum of Macedonia-Thrace

Supported by the US Embassy (Bulgaria), US Consulate of Greece (Thessaloniki), The Smithsonian Institution

In 1966 Martin Koenig, ethnographer and Balkan dance specialist, armed with a letter of introduction from the legendary anthropologist Margaret Mead, embarked on a long series of trips to the Balkans that would last for 25 years. 

Either alone or together with his colleague Ethel Raim, he researched and documented music and dances of traditional communities on the cusp of profound change due to advances in technology, industrialization, and the inevitable wave of migration.

In addition to his rich photographic work, Martin Koenig narrates stories of encounters with people whose relationship to music and dance was deep, and whose sense of community was strong – whether they lived in the traditional villages of the pre-globalized Balkan countryside, or had relocated to diaspora communities abroad in search of a better economic life for themselves and their families. 

The Silversmithing Museum

Duration: 28.9 – 28.10

[28.9 – 14.10] Every day except Tuesday: 10:00 – 18:00 

[16.10 – 28.10] Every day except Tuesday: 10:00 – 17:00

In co-organization with Piraeus Bank Group Cultural Foundation

“74mm”, Hristos Vihas

Curated by: Katerina Kourou

The 74mm project is a series of “embossed” images created using the pinhole photography method. Different “photographic devices” made of cardboard were used, designed to capture two different stereoscopic images simultaneously on the same negative (photographic paper). A key element of the self-made devices is the existence of two pinholes spaced 74mm apart, which function in capturing the image similarly to human vision.

In 74mm, I aim to capture human intervention in the natural landscape, especially when it appears symmetrically, considering symmetry as a hallmark of human intervention in the environment, as it reshapes and molds it with a hint of imposition. When this intervention is mild, nature retains its character, and the artificial symmetry becomes part of it. However, when moderation is lost, the natural landscape is overshadowed, revealing modern aesthetic discord. Conversely, the apparent anarchy of the natural landscape is, in fact, the way it organizes its elements according to its own laws, with its own order and on its own levels. Symmetries, arrays, and multiple levels are enhanced by their three-dimensional representation, while the use of primitive pinhole capture and its abstract quality of clarity recalls an era when technology was in its infancy, when nature defined our daily lives.

In the images of 74mm, I seek to convey the sensation created by the technologically outdated – incomplete – method of photographic capture combined with digital editing and reassembly of images using modern electronic means. At the same time, it represents an attempt to explore the order and disorder of the natural landscape, or alternatively, the sense of security or freedom offered by the world around us.

Youth Center of Epirus

Duration: 28.9 – 01.12

[28.9 – 13.10] Mon – Fri: 09:00 – 17:00, Sat-Sun: 11:00 – 14:00 & 18:00 – 21:00

[14.10 – 01.12] Mon – Fri: 09:00 – 17:00

“Stolen Spring“, Alena Grom

Curated by: Panagiotis Pappas

Stolen spring is a stolen life. Each photograph is a personal tragedy, but it is also a life-affirming story of a survivor, a hope that Ukraine will rise from the ruins.

At the beginning of 2022 Russian troops occupied and destroyed parts of the Kyiv region, including Bucha and Irpin, where I live and work. The war scenes became my immediate reality and routine. My second hometown is associated with mass murder, atrocities and war crimes committed by Russia. After Russia troops withdrew only in Bucha 458 bodies have been recovered, including 9 children. Every day I see people who are rebuilding their homes and their lives from the ruins and looking into the future.

I created a series of photographs in a historical dialogue with images by Polish photographer Michael Nash, who used his own decorative backdrop to mask Poland’s World War II ruins while shooting a portrait of a woman in1946.

Women who survived the Russian aggression, including myself, are depicted in my photographs. The occupation continued in the spring, people who lived through this tragic period did not notice how spring passed, how chestnuts and lilies of the valley bloomed, birds flew in. They were deprived not only of their homes, loved ones, work, health, but also part of their lives. For the IDPs from Donbass and Crimea it was the second tragic spring.

Municipal Gallery of Ioannina (ground floor)

Duration: 29.9 – 1.11

Mon – Thu: 08:00 – 15:00

Fri: 08:00 – 21:00

Sun: 10:00 – 13:00 & 18:00 – 21:00

Parallel Voices

Curated by: Panagiotis Pappas

Group exhibition of the 9 selected portfolios of the Parallel Voices contest!

Pyrsinellas Mansion outdoor area – Municipal Regional Theater

Duration: 28.9 – 1.12

“171213-240423“, StreetMax21

In these photographs, the built environment—static and lifeless—serves as the stage for a walking choreography is played out. The humans, who bring the animate, are spatially arranged as though carefully directed. They appear to have been preconditioned to act like automatons or self-absorbed passers-by, mentally isolated and acting out parts. I’m looking for rhythm in moving figures and to have them separated visually within plastic space. In a landscape rendered anew by technological change, it’s the spaces between the human inhabitants that are equally likely to control the narrative. Even though I’m working in a real environment, shooting it in this way can give it an unreal look. Perhaps the influence of digital technology on the City is already illustrating the boundary between the real and the virtual world, like Goddard’s Alphaville which, through deft use of real locations, transformed a real city into a science fictional one. The prevalence of digital technology has shifted our sense of what it is to belong to a community. We read, write, listen, and see differently because of it. Consequently, it follows that I should document the city in a different way and attempt a new form of street photography.

“The Two Parallel“, Karina Bikbulatova

This black-and-white series of photos ‘about two sisters abandoned by their father, a reunion which can be no question. Just because they don’t know about each other the most important thing…’ They meet once a year in a small village, communicate, play, weave braids to each other, but don’t know that they are sisters. Gulshat lives in a poor family, in a small village. Alina lives in the city, studies in a prestigious school, and does ballet. Two lives that run parallel and that should not intersect never, according to the lV postulate of Euclid.And yet this happens, as in the hyperbolic geometry of Nikolai Ivanovich Lobačevskij.In a Russian village two parallel lines meet once a year.

“Escaramuza, the Poetics of Home“, Constance Jaeggi

Escaramuza is the sport of all-female precision horse riding teams  that execute meticulous maneuvers while riding sidesaddle at high  speed and wearing traditional Mexican attire. Through photographic portraiture, poetry, and in-depth interviews, Escaramuza, the Poetics of Home considers how the escaramuza tradition persists in the present-day United States, what it means for the identity of its Mexican and Mexican-American female practitioners, and how it fosters a profound sense of belonging. This work explores the roles of family, immigration, and gender dynamics within escaramuza and Charrería culture in the US, drawing historical parallels to the soldaderas who fought in the Mexican Revolution and are the inspiration for the creation of the escaramuza tradition. This work combines the photographic portraits by Constance Jaeggi, and poetry by 2023 Texas Poet Laureate Ire’ne Lara Silva, and Angelina Sáenz, award-winning educator, poet, and writing project fellow at UCLA. The poets’ collaboration with Jaeggi contextualizes themes of identity, family, and gender within the escaramuza community.

“Renascence“, Rocio Bueno Royo

Renascence is a search, a discovery and a dialogue around the figure of the poet  Edna St. Vincent Millay, one of the most influential women in 20th century poetry. A  round trip to bring a forgotten female reference to the present. A journey of  resonance and identification in which I get into the skin of the poet to feel how she  felt and to take creative inspiration. Through her poetry I create my images and  connect two parallel worlds, hers and mine, with two parallel voices that together  create a new universe, a complementary story that has its roots in the past and  helps us to rethink and build the present. With the interventions in archival images I  want to reinforce the dialogue between past and present, through nature, as  something permanent that transcends us, and the interaction of women and  photography of the 20th and 21st centuries.

“Another face of War“, Mouneb Taim

When I was in the war and I was a child, I was trying to focus on the other side of the war  and the civilians and children who are stuck and suffering 

My project tried to focus on the fact that Syria is not just a disaster country, but there were  people suffering silently and yet doing their best to resist the war and its bitterness 

Certainly, the reality of the war cannot be denied, but there are people who are doing their  best to face this war that started and did not end and is still going on to this day 

Civilians and children were trying with their determination, hope and persistence to face the  bitterness of this terrible war. When I was documenting this project, internationally banned  bombs and rockets were dropped, people were dying, buildings were destroyed terribly  every day, and it became a daily routine. Certainly, this daily routine is not normal for the  people watching my project. There were conflicting feelings about what life means to people.  The pictures recognize the resilience and creativity of people in areas that have experienced  a war that completely destroyed them 

This project illustrates over a decade the entire case I spent my childhood in various regions  of Syria, illustrating the struggle of civilians and children to overcome the war.

“Granules”, Kostis Karampinas

Embark on a visual odyssey, traveling through the Greek countryside via 8 photographic snapshots. Landscapes and portraits awaken memories and emotions, conveying “grains” of loneliness, abandonment, and wonder in places where time has stopped. Neglected corners with otherworldly beauty unfold in each image, inviting the viewer to listen to the stories of isolation.

“Solastalgia”, Thekla Malamou

Solastalgia is a neologism formed by the combination of the Latin words sōlācium (comfort) and the Greek root -algia (pain, suffering, grief), that describes a form of emotional or existential distress caused by environmental change. It is best described as the lived experience of negatively perceived environmental change. A distinction can be made between solastalgia linked to distress about what is in the process of negatively perceived change and eco-anxiety linked to what may happen in the future (associated with “pre-traumatic stress”, in reference to “post-traumatic stress”) . Solastalgia is not just an emotion, it’s the “place” that is built around this concept. A place where human being is called to redefine its identity within itself. It is the ineffable world of nature. It stands next to me but I infect it with my “noise” and it changes; sometimes it disappears. But when I lower my voice -linearly- it reappears; like the photo in the darkroom. Then I willingly exile myself, and it holds me inside it, as if in an asylum, as a soul’s sanatorium. A place where in the fear of its impending loss, of its “death”, the longing for life is born. It is the timeless world where I am not only a human being; I am anthropomorphic, a modern Centaur, a hybrid creature representing the invasions of the negative aspects of nature in the world of human jurisdiction. I am also air, and wave, a rock; I am a cloud or snow. I’m also a horse. I don’t live in the day. I wander in the dark and walk freely, or rather gallop, because at night I am not afraid; there is no noise or light. I hover between multiple identities. Because only in a different “flesh” can I return to this place. I try to listen for sounds I have forgot they exist, the silence itself, myself. It’s embarrassing to hear yourself because in the city you have never heard yourself. I don’t even know the chords of the melody I make… or is it a fuss? It’s a world that has lost its boundaries and ends nowhere. Its “non-time”, builds around me sometimes painlessly and sometimes painfully; looking for landmarks, the ephemeral scent of the moment and relationships of unalloyed trust. The protagonist of Solastalgia experiences this uncertainty due to the sense of the end that is coming. He does not know it as a fact, he only feels it as a dark premonition. That is why sometimes he freezes and sometimes wanders fatalistically in the bliss of his melancholy. This alternation of his emotions, places him in an intermediate area. He is in a constant state of identity search which he seeks to compose through fragments of memory, emotions and future dreams. He remains in a border area, which is why he finds it difficult to form his identity. According to Arnold Van Gennep, border areas in anthropology are the intermediate areas in the rites of passage that accompany the passage from one sphere (social or secular) to another. Rituals involving the passage of seasons, the transition from one social class to another, from life to death, follow the pattern of leaving a place, temporarily staying in a transitional one, and integrating into a new one. When the “subject” remains for a long time in the transitional space, there begins and shakes its identity, since it does not belong anywhere, neither before nor after. This marginality, however, hides in it, an openness regarding the construction of an identity, because it breaks the linearity of time and the idea that the human identity is unified. In this non-time and place the fragmentary identity of the being in the world of Solastalgia is built. My goal is, during my stay at the institution, to create a book and a film on the project Solastalgia.

“Behind the light”, Miranta Papadopoulou

The photographic project “Behind the Light” explores the boundaries between reality and fantasy. Light highlights the insignificant, signals the mysterious, and inaprocess of self-discovery, I pose questions and seek answers through the creative process of photography. The work is ongoing.

“The Smiley Cut“, Katerina Tsakiri

“The Smiley Cut” stands as a visual chronicle of my journey through cancer treatment. The photographic medium provided an outlet for me to navigate the stages of grief and confront the transformative journey my body was undertaking. Through these images, I reclaimed a measure of control over my own physicality.

In this work, the public becomes intimate, and the private is transformed into the public through the need for connection via empathy and embracing vulnerability.

Photometria Φωτοbooks

Photobook Exhibition

“L’ imbuto” – Collettivo Animale

“Marie, Maman, Grand-mère” – Romane Bourgeois

“today is my new favourite day” – Jennifer Drabbe

“New Farmer” – Bruce Eesly

“It was a lie” – Carol Galinanes

“Multiple” – Carol Galinanes

“Zaunkonig” – Max Korndorfer 

“Come costruire un castello di carte” – Federica Mambrini

“Η.Μ.” – Alessandro Mazzola

“ZERO” – Alfonso Moral

“ONE HUNDRED TRILLION DOLLARS” – Chloe Nicosia

“The Yoshida Dormitory Old Darkroom” – Kanta Nomura

“There Round the Corner in the Deep” – Katya Selezneva

“Between Two Lakes” – Alexander Sharr

“Summoning” – Yiming Zhu

“DD-MM-YYYY” – Kostis Argyriadis

“the field trip” – Christos Dimitriou

“bitter almond day” – Yiannis Ioakeimidis

“Transfiguration” – Antigone Kourakou

“Beyond the edge of the city” – Sotiris Kousoulos

“THE PRESENT” – Pelly Mandreka

“GRAMIE” – Artemis Pyrpilis

“Nette” – Artemis Pyrpilis

“ΜΑΜ, ΚΑΚΑ & ΝΑΝΙ” – Ioanna Fragostefanaki

“Whispers in radiance: Unveiling lives unseen” – Erasmia Chouliara

Photometria Photography Center (PPC)

Duration: 28.9 – 1.12

Thu. – Sun.: 17:00 – 21:00

Student Awards 2024

Curated by: Ioulia Ladogianni and Tasos Papadopoulos

Photometria Student Awards 2024 Best Portfolios exhibition,

judged by Panagiotis Papoutsis

“Dove piovono cristalli” – Alice Muratore, “Self reflections” – Anastasia Nakou,

“Tourism for all” – Eleni Chatou, “Back Yard Pool” – Nikolas Anastaselos

CompArt Factory (Aravantinou 6)

Duration: 23.9 – 13.10

Thu. – Sun.: 17:00 – 21:00

“Dove piovono cristalli”, Alice Muratore

“Dove piovono cristalli” (eng. “Where crystals rain”) is a personal research that leads to a reflection on the existence and impermanence of earthly things. The transitory nature of the world around us pushes us to question ourselves about existence after death, the latter understood not as an end, but as a transition to a new state of being. This perspective allows the author to explore the fluid nature of existence, challenging conventional conceptions of time and space. In an imaginary outside of time, a rain of crystals allows us to bridge the gap between what we can see and what we cannot see, becoming access to a parallel dimension halfway between the visible and the invisible. The change in state of matter that characterizes the formation of crystals is therefore a metaphor for the transformation of existence itself. The energy released by these elements becomes a symbol of that force that pervades the universe, connecting every being in a cosmic entanglement of which we can only glimpse a small part.

“Self reflections”, Anastasia Nakou

We all know that feeling of being lost is somehow familiar. That this ‘voice’ misleads you and traps you in a loop of your own thoughts. What’s going on? Noise is reduced, everything is blurred and you’re left alone opposite yourself. In the end, you know that you’re always there for that ‘voice’, but is it acually always there for you? Taking these self-portraits, with their subsequent editing I managed to depict the loneliness of man the moment he gets lost in his thoughts.

“Tourism for all”, Eleni Chatou

What is the image of modern Athens and how does it relate to its history?

What is the location of the abandoned sites/estates that once were important, are now falling into disrepair and nothing is being done to develop them?

What is the image that tourists may also have of Athens and how is it changing due to gentrification?

These are the questions I am trying to explore through this project, photographing the center of Athens, locals, tourists and abandoned spaces that were once either hotels or used for the 2004 Olympics.

“Back Yard Pool”, Nikolas Anastaselos

This is a personal project. In a ”cry for help” to myself I decided to explore the foggy lake of Ioannina (Pamvotida), in hopes of getting rid of a troubled mind. Thoughts about the future and the past seemed to drift away every time I picked up my camera to capture a scene. The tranquility of the lake gave me the impression that I was free. Free from the world, free from loneliness, free from the everyday rush, a temporary safe house. The lake seems to draw you in. It wants you to come closer, observe every detail and at the same time it pushes you away. It’s cold, and it appears infinite when foggy, using its defense mechanism and feeding off human procrastination because it knows almost no-one will care to explore something so overwhelming. A toxic relationship between humanity and nature that seems to last forever.

© Nikos Prountzos,

METApolis, Athens

“Entefxis Photography Network (EPN)”

Group exhibition of 19 photographic clubs of Entefxis Photography Network (EPN):

Art-8 – Agrinio

Bleach Kollective – Athens

METApolis – Athens

Photoresearchers – Athens

SHASHIN LOVERS – Athens

Centre for Creative Photography of Thrace – Alexandroupolis

art.A’s Photogroup F.O.A – Arta

Photoproletarii – Attiki

ANTITHESIS – Veria

Apellis – Edessa

Photoagrafoi – Igoumenitsa

Photorasi – Ioannina

Kavala Photoclub – Kavala

Corinthian Photography Club – Korinthos

Idifos – Patras

ASTO – Patras

F22 – Ptolemaida

KADRO – Filippiada

Photographic and Film Club of Chania – Chania

Glikidon Square
Duration: 28.9 – 1.12