Photometria Awards 2021 “(Un)lucky (R)evolution” 


Ioannina City Hall (Outdoor area)

Duration: 25.9 – 10.10.2021


Exhibition of the 25 best pictures of the competition “(Un)lucky (R)evolution” Photometria Awards 2021, judged by Martin Parr!


Photometria festival is organized for 13th continuous year in Ioannina city, while Greece celebrates 200 years since the Greek revolution. These two conditions inspired this year’s festival title. On one side, stands the popular expression of “unlucky 13”, on the other, the word revolution, honorary to rebellion’s anniversary. However, both words also hide “luck” and “evolution”, creating in this way a game among meanings. The prejudice of jinx is revoked by positive, lucky, outcomes, in a frame where we believed that they are not possible. A revolution, even a suppressed one, will eventually bring evolution. A kind of evolution that does not always mean improvement, a kind of evolution that may affect others than only humans. Which is our luck as mankind? Which is our evolution? What follows a revolution and for what is worth a person to revolute nowadays? Guided by luck but also by our own decisions, how do we wish to evolve ecumenical as humans, as society? The title wants to bring into the center these and other questionings. We live during a critical era, in which we are responsible for the future.

Photo: Voula Papaioannou ©Benaki Museum/Photograrhic Archives

“The imprint of memory. Documentation of social and cultural history of Ioannina”

Curation by Verge Collective


Municipal Gallery of Ioannina, (Korai 1)

Duration: 26.9 – 30.11.2021 

Mon. – Thu.: 08:00 – 15:00, Fri: 08:00 – 21:00, Sun.: 10:00 – 13:00 & 18:00 – 21:00


Almost two centuries of stories are told through photographs, lettercards, postcards and other material evidence. At the same time, they compose the mnemonic panorama of decisive historical events of the political and social life of Ioannina, from the end of the 19th century to the present day.


Under the Auspices:

Ministry of Culture and Sports and the Region of Epirus


With the Support of:

Municipality of Ioannina, Photographic Archives of the Benaki Museum, Photographic Archives of the Greek Literary and Historical Archive of the National Bank Educational Foundation (ELIA/MIET), University of Ioannina, Society of Continental Studies (E.H.M.), “Joseph and Esther Ghani” Foundation, KAPON Publications, Kedros Publications, Northern Epirus Research Foundation (I.B.E.), Mekeio Boarding School, Kostis Mouselimis,  VP Architectural Office 

“Slash & Burn”, Terje Abusdal


Outdoor Area of Its Kale

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 08:00 – 22:00


Finnskogen – directly translated as The Forest of the Finns – is a large, contiguous forest belt along the Norwegian-Swedish border, where farming families from Finland settled in the early 1600s. The immigrants – called Forest Finns – were slash-and-burn farmers. This ancient agricultural method yielded bountiful crops, but required large areas of land as the soil was quickly exhausted. Population growth eventually led to a scarcity of resources in their native Finland and, fuelled by famine and war, forced a wave of migration in search for new territories.

The Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells and symbols were used as a practical tool in daily life; that could heal and protect, or safeguard against evil.

This photographic project draws on these beliefs while investigating what it means to be a Forest Finn today, some 400 years and twelve generations later, in a time when the 17th-century way of life is long gone, and their language is no longer spoken.


With the support of the Norwegian Embassy

“The Revolution”, Constantin Duma


Gunpowder depot (Its Kale)

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00


December 1989 was a period of violent political unrest for the country of Romania. Photojournalist Constantin Duma was based in the city of Timisoara, where the Romanian Revolution began, and soon spread throughout the country, culminating in the trial and execution of longtime communist leader Nicolae Ceausescu. There he will capture with his lens the big changes, from the beginning to the end.


The exhibition is organized in collaboration with the Imagine Timisoara Festival

“Pregnant Pauses”, Vassilis Konstantinou


-1 Gallery, The Lounge Bar (Pargis Square)

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 10:00 – 22:00


In Pregnant Pauses series, Vassilis Konstantinou captures moments of family routine and everyday life, balancing between reality and fantasy. The stage heroes, members of his family and himself, sometimes give the impression of professional actors playing their part and sometimes they appear to portray themselves.

These Pauses imply an ambiguous “before” and an uncertain “after”. In a subtle manner, they-maybe- suggest to illustrate the calm before the storm. Photographic pictures standing still in blue, images encouraging the viewer to set them in motion, either in the future or in the past, ultimately revealing or hiding their secrets.

“In and Out@Ιoannina.gr”, Panayotis Papadimitropoulos


Municipal Cultural multiplex (Palea Sfagia)

Duration: 20.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00

In and out@Ioannina.gr represents an experimental attempt to holistically capture the city through the lens of the photographer. This attempt to capture the Whole of the city consists of different moments, luminous flashes of truth, which are listed next to each other, depicting manifestations of both the Outside and the Inside. The Outside of the city is captured by the lens sometimes as a document, sometimes as a spontaneous reaction to what aroused the photographer’s interest. The Inside is about snapshots from the interior house: details of everyday life, thoughts, rough notes, readings from book pages, events, images from the TV screen, in order to reveal what the photographer-as-a-human is. Here, Photography functions both as a photographer’s mirror and as a window to the world.

The project competes with the way the eye sees, the random encounter of the gaze with things, without prioritizing important and insignificant images. It scans the photographic continuum of the city, as it is experienced by the spirit and the body of the photographer, capturing a complex and absolutely subjective portrait of the city, but also of the Photography itself. The photographer, as a researcher now, does not explore the field of single images, as the great tradition of street photography wants, but the field of multiple images, which work in combination to visualize new meanings, according to a new aesthetic, the aesthetic of the abundance of images, which flood us everywhere.

“Mitos / the thread of Greece”, Michael Pappas


Mandrassa, Veli Mosque

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00


Mitos project is an ongoing ethnographic tribute that focuses on local costumes throughout Greece. The thread takes on symbolic dimensions and seeks to highlight popular culture and folk art seen in a contemporary context. The natural and cultural environment is the background that is associated with the “costumes” while the protagonists are always the people.

“Chrysalis”, Olga Stefatou


Pyrros Square

Duration: 25.9 – 10.10.2021


Chrysalis is a portrait series recognizing and celebrating the individuality of female refugees and asylum seekers living in Greece.

Hailing from countries such as Syria, Iran, Iraq, Afghanistan, Cameroon and Ghana, the participants take the stage clad in golden costumes fashioned out of emergency blankets. The portraits and accompanying texts depict each woman’s different experience and path of migration, while the setting places her courageous expression at the heart of the image.

Since 2014, more than 1.2 million people fleeing conflict, violence and persecution have traveled through Greece, undertaking perilous voyages in search of safety and a better life in Europe. Some 100,000 still remain in the country, with the majority languishing in squalid conditions.

Driven by the symbolism the color gold has, I repurposed the material that has become synonymous with the refugee journey and, in collaboration with designer Guram Chachanidze, turned it into a garment. Each costume is unique and reflects the women’s spirit.

Chrysalis refers to the final stage a larva goes through before transforming into an adult butterfly. It is the moment of a great change for this species which, still enclosed in its golden cocoon, is preparing to unfold its wings for the very first time.

“Surfaces”, Justine Tjallinks 


The Silversmithing Museum (Castle)

Duration: 25.9 – 3.10.2021

Wed. – Mon.: 10:00 – 18:00


This portrait series is created to generate appreciation of diversity in its physical form. The diversity of body and beauty types is changing the aesthetic standards of our time and with it, people’s cultural and identity codes.
Mostly thanks to social media, much progress has been made towards a more inclusive representation of our differences. Yet our society remains to struggle with acceptance beyond the norm.

According to philosopher George Canguilhem, norms and behavioural codes are not biological but rather the result of the relationship between human beings and their environment. Perhaps, through an aesthetic revolution that only art can carry, we can change people’s gaze.

Parallel Voices

Ioannis Asmis (GR), Polydefkis Asonitis (GR), Noemi Comi (IT),

Emilia Haar (DE), Makis Makris (GR), Karoline Schneider (DE),

Alexandre Silberman (FR), Vasiliki Stamou (GR), Vassilis Vasileiou (GR)


Cultural Center of Ioannina (Agias Marinas 55)

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00

“Reprocess”, Ioannis Asmis


This series of images is a result of my love for the night and my interest in finding beauty in items that are nearly dead or in a state of transition. Death and what comes next is something that always triggered my mind. Reprocess is documentation about this transition. A last dance or a new beginning, are highlighted in this series. A tree that partly dies and partly revives, an old, trapped piece of furniture, a breathing hole, unprocessed marbles that are ready to be used, all separated from their surroundings, make an entry or a final exit from a theatrical scene.

“MESSOLOGGI: The city of the sea and the sky”, Polydefkis Asonitis


What draws me to photograph in Messolonghi? What makes me go there every week and often sit in hotels for days? Apparently the events that happened there, the male and female heroes and heroines who fell to defend it. However, there is something else that overwhelms you, such as the vastness of the sea, the continuous level of the land, the salt flats that are separated as photo frames, the huge asphalt paved and dirt roads that connect the land with the sea.

But the dominant element for a photographer is that Messolonghi is a huge photographic scene starring the sky, the sea, the perfectly aligned horizon and its inhabitants with their works and events.

In this setting I chose images but also created my own, in order to symbolically render what Messolonghi was for me: geometric primordial shapes, unobstructed vision, natural scenery, sea and sky without limits, without beginning and end. In other words landscape and man companions to freedom.

“Alba Lux”, Noemi Comi


Alba lux is an artistic project that combines documentation and conceptual photography. The photographs become real symbolic images, reproducing idyllic atmospheres and ineffable realities. It’s a multidisciplinary journey between spirituality and science, which begins within the earthly reality and then takes off within the otherworldly one.

The central topic of the project concern Near-Death Experiences. NDE is a profound personal experience associated with death or impending death which researchers claim share similar characteristics. In fact, although have been documented people with very different religious, political and social beliefs, their experiences have many elements in common: the presence of a strong light, a sense of bliss and changes in personality.

I found the subjects within social networks like Facebook and through personal knowledge. At first time they were very wary but after clarifying my intentions I met them.

Each experience is very different and connoted by different religious aspects. Some have experienced it positively, others were traumatized and they suffered from depression. Each story is described by three different photographs: the first two want to represent the subject and his/her changes and the third is a conceptual interpretation of the experience he/she lived. The writings inserted are texts in Italian written directly by the subjects about their experiences.

“Saudade – How much do you miss me?”, Emilia Haar


Similar to the German equivalents Heimat, Fernweh or Vorfreude, the term Saudade refers to an emotional state of melancholy and “weltschmerz”. Almost paradigmatic, the Portuguese word works as a unique tool to communicate intrinsic feelings in a poetic manner. Nevertheless, the emotional attachment, because of the deeper meaning of this word, makes a universal definition more complicated.
Saudade – How much do you miss me? offers an approach to make this term more tangible, through the medium of photography. Similar to a diptychon, two images pair as a juxtaposition of yonder and proximity, while past and present are depicted simultaneously. Accordingly, the counterpart of the image of a past journey, in this case to Japan, forms the congruence of the current everyday life, whereas the evocation of certain memories through a confrontation with the presence builds upon the factor of resemblance. For instance, this might emerge through specific forms, colors or lighting conditions. Thus, the core topic of the photographies is the subjective observation of the everyday life concerning the chance, to build a bridge to the yond by means of the recognition of emotional afflicted analogies. And even though the memory might fade away in the course of time, the immanent longing constantly presents itself as driving force to conserve the momentum for the eternity in various ways.

“Odysseus’ Clepsydra”, Makis Makris


The present project constitutes an assemblage of visual fragments deriving from candid shots and selected scenes through the lengthy process of watching assorted television broadcasts, under very special conditions compared to those of my ordinary lifestyle. It is a personal allegorical narrative inspired the Homeric epic poem, Odyssey.

Odysseus’ Clepsydra seeks the visualization of all the emotional transitions that take place during our difficult and laden with dubiousness journey into the world. The eternal inner struggle is unceasing and equivocal. Positive thoughts, dreams and desires pitted against fears and unease, not only for bygones but also for what is yet to come.

The goals we set at the dawn of our lives are often succeeded by unexpected twists and frustrations, as years turn into an incessant struggle for survival.

However, the Time we are left with is teeming with the hope of restoration of our psychological balance, so that we are ultimately led to redemption.

“Pears in the Afternoon”, Karoline Schneider


Pears in the Afternoon, is a portrait series created between 2010 and 2018.

Originally a fine artist, I swapped my brushes for a camera and my colours for photochemistry. That’s how the ‘paintings’ that I never painted emerged.

In wet plate photography, I found a suitable medium to bring my images into being. Due to its very analogue nature, its distorting effects and its slow unfolding the wet plate process comes very close to the process of painting. At the same time, I use the so-called objectivity of photography to develop my own artistic imagery.

My artistic focus is on the portrait in the broadest sense: I’m always looking for the special quality of my subject, whether person, prop or situation. 

For me, it is never about the portrait of an individual, it’s about the portrait of the human being per se. 

Alexandre Silberman/INSTITUTE

“DIFFERENCES & REPETITIONS”, Alexandre Silberman


“My territories are beyond grasp, and not because they are imaginary, but on the contrary, because I am in the process of outlining them.”

Gilles Deleuze and Felix Gattari, A Thousand Plateaus


Established in 1968 for the purpose of fragmenting the Île-de-France’s “red belt,” the Seine-Saint-Denis department was formed in a way that simultaneously attached it to and isolated it from Paris. Ideologically split from the concomitant capital, it was also demographically, economically, and culturally so, all while still being “the periphery of.” In opposition to Paris’s immutable heritage, the area asserted its own identity through its heterogeneity, the plurality of its voices, and the radicalness of its mutations.
As the 2024 Olympic Games loom, of which it is one of the biggest beneficiaries, the Seine-Saint-Denis finds itself caught up in monumental building sites, whose scope contrasts with the reality on the ground. Former vast agricultural plains that have become the most extensive industrial area in Europe, it is now suffering from its early urbanization. The most cosmopolitan department, but also the poorest in mainland France, it is also one of the
youngest. Facing a prominent past and a difficult current situation, Seine-Saint-Denis is entering the 2020s with lofty ambitions for the future.
At a time when an army of cranes are working the ground just as much to build a shiny future as to bury an annoying present, it is an entire territory which makes its strata appear to our eyes. Agricultural and industrial, natural and urban, poor and opulent, all these asynchronous layers make up a complex landscape, both spatial and temporal, crossed by a constant balance of power. That opposing the morbid repetition of the identical, of the established order and to reestablish, and the vigorous repetition of the difference, that of the life that disappears and springs again.
Here, the latter has never seemed so beautiful.
But it has also, unfortunately, never seemed so fragile.

“GOOD ENOUGH”, Vasiliki Stamou


Mother good enough.

It’s a piece of art through which I’ am willing to approach the relationship between mother and daughter, it is considered to be important, many-sided, defining, unnegotiable. The starting place of that photographic depiction was my own personal chase and impulsive consideration about the relationship between me and my mother.
Each photograph is an aspect of reality that describer that unique bond.
Winnicott first ever brought in the meaning of “good enough” mother who covers the basic needs of her child, but not all of them, she let it be autonomous. She makes it possible to become mature and self. Contained during adulthood. She is neither deficient, nor very kind.
Each mother should face the shadows of her own past and complete against them giving real love to her child, she can find the balance between delimitation of her own behavior and the affection that gives to her child.
In that relationship nothing is considered to be given and defined from the beginning. That kind of emotional tie is alive, being modified, contextually but mother is always “there”. It’s a cycle of life during which mother turns into daughter and daughter becomes mother. Τwo leading rοles in a woman’s life.
That internal pursuit drove me to visit women who attach themselves to that unique relationship, shooting them at their homes, as they are mirrored in my eyes, complicating a dreamy reality, balancing between their own reality and my personal imagination.

“The Voice of the Cicada”, Vassilis Vasileiou


“Oh, tranquility!

Penetrating the very rock,

A cicada’s voice.”

Matsuo Basho, Haiku  


The way that we approach our everyday life, our habits and routines reflect more or less conscious choices. The human-induced alterations on the natural environment, which surround these choices through structures and constructed spaces, as well as the objects that accompany human activity, are in a dialectical relationship, influencing us in a more impactful way than we believe they do. The purpose of this feedback process between persons, structures, objects and habitual behaviors is no other than the accomplishment of the ideal conditions, the pursuit of a comfortable life and, ultimately, a happiness that is to be found in scenes lacking heroism and drama.



Cultural Center of Ioannina (Agias Marinas 55)
Duration: 25.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00


Group exhibition of 20 photograph teams of the “ENTEFXIS” network:


“To kounoupi” – collective for photography & visual arts – Athens

Ar8 – Agrinio

METApolis – Athens

Diafragma26 – Photography group from Athens

Photoerevnites – Athens

PhotoProletarii – Athens

art.A’s  PhotoGroup FOA


Efodos – Drama

Center for Creative Photography of Thrace

5+1 klik together – ABGO Igoumenitsa

FOSPI – Photoclub Ioannina

Kavala Photo Club

Photography club of Komotini

Corinthian Photography Club

Larissa Photography Club – ”FLL”

Paros Photo Club

A.S.T.O. – we communicate

Photography club of Patras ”IDIFOS”

Lefki The Photography and Film Club of Chania

Photometria Student Awards 2021

Curation by Ioulia Ladogianni and Tasos Papadopoulos


St George’s Gate (Tunels of Castle)

Duration: 25.9 – 3.10.2021

Mon. – Sun.: 17:00 – 22:00


Exhibition of the 5 best portfolios of the competition Photometria Student Awards 2021, judged by Lila Zotou!

“Blyertspenna”, Eva Vei


Last spring I visited my family in Stockholm for several weeks. My cousin, Kristina, has been diagnosed with autism. Even though she has not the ability to speak, write or read, she always holds a pencil in her hand. During my stay I photographed Kristina and her parents, focusing on everyday moments, exploring their codependent relationship . By isolating everyday items that work as symbols I was interested in the connection between words and objects and non verbal communication between them. My aim was to portray the protected environment they’ve built for her and to explore the power of the language of hands.

“Findings”, Athanasios Thiriou


The series concerns the capture of objects and scenes in the urban area of ​​Athens and its suburbs, at night, while the city is sleeping. Its goal is to isolate elements of the city whose original value has changed and at the same time to present a less photogenic aspect of it, during its non-peak hours. The use of the bright frontal flash has been done deliberately, as it helps with the isolation of the items. The series “findings” are an ever-changing project that tries to get finished. These 5 images are a very small part of it.

“Abandonment”, Christina Rosi


My need to describe the feeling of abandonment as I experienced it at a young age led me to create my first photographic project. I was born in Agious Saranda, Albania. My parents’ nationality is Greek and they belong to the Greek minority of Albania. I grew up there till seven years old, for quite some time without my mother, who for long periods was in Greece for work.

All the time I stayed there, I filled my time playing in the abandoned houses of those who had died or left for Greece. My imagination as a kid, gave to those places a human nature. I felt that they were left alone, like me, and so somehow, I identified with them. I felt guilty when I had to leave them following my mother in Greece later.

Since then, I subconsciously – and lately more consciously – observe any abandoned space when I meet it. Houses and public buildings that are no longer in use, left to the ravages of time. Engraved with the marks of their previous life or their current vandalism, I am always moved as I continue to attribute this human nature in them, as I did as a child. I photograph them, because only in this way can I protect them from ultimate oblivion.

“Samba”, Stefania Nikou


The pleasant return to the homeland, due to a pandemic and a sudden death of a relative of mine, are the artistic intention for the above photo series.

“Visited Places”, Chrysa Katsantoni


Τhe photo series Visited Places consists of 20 photos created through Google Earth application, a graphical imaging program of the earth that composes images and information from satellite and aerial photos and was available as an application on my mobile phone. I browsed through the possibility provided by the application, in different parts of the world and with a print screen I photographed images that piqued my interest, mainly suburban and rural landscapes.

The idea of the work was born and implemented during the quarantine. A period full of restrictions, including travelling.

I found that, while the application functions as a presumption of truth that the place exists, we can not experience it with our senses. It exists while reaching us as an image, but we do not experience it except in a digital way. It finally looks like a copy of a place and it is impossible to find out the original place.

Through these photos, we visit the places in a new way. The resulting images could be characterized as non-places. Maybe these photos show a place-border that is still under construction.