Nikos Alexiou

Nikos Alexiou
Nikos Alexiou
Born 1960
Rethymno, Crete, Greece
Died February, 25, 2011
Athens, Greece
Nationality Greek
Field Visual Art, Contemporary Art, Installation art, Set Design
Training 1982 Academy of Fine Arts Vienna
1984 Athens School of Fine Arts
Works The End, The Gate, Prisms, Solar Houses, San Marco di Venezia, Angel rolling up the heavens

Nikos Alexiou was born in 1960 in Rethymno, Crete, Greece. In 1982, at the age of 22, he moved to Austria and studied at the Academy of Fine Arts Vienna. Two years later, he moved to Athens to attend the Athens School of Fine Arts.[1] His list of personal exhibitions and participation in group art events as a contemporary and visual artist is extensive, with presence outside the borders of his country. Along with the 'pure' art of his installations, he also offered his talent to the public as a scenic (set) director, in selected theatre plays and dance performances. In terms of publicity, his work as a set designer for "Medea" (1993) by Dimitris Papaioannou made him well known to the general public, while his installation "The End" (2007) is perhaps the most widely known of his visual artworks, as it was the official Greek participation at the 52nd Venice Biennale.[2] Prior that, he had participated in the 23rd Biennale of Alexandria (2005),[3][4] in the Outlook and Athens by Art exhibitions (2004 Athens Olympic Games and 2004 Cultural Olympiad),[5] Breakthrough! Greece 2004 in Madrid,[6] Spain, in Free Transit(?) (2003) (Zappeion, Greek Presidency of the EU),[7] DESTE Prize 2003 (DESTE foundation, Greece),[8][9] et al. He lived in the very centre of Athens and died there in February 25, 2011 at the age of 51, after a few months of fighting with cancer.[10]


Contemporary and Visual Art

In 1985, at his first personal exhibition at Desmos Gallery in Athens, he used basic material, commonly found in nature: rock, wood, mud and water. In 1987, he continued his experimentation with nature itself, decomposing it. He created a series of works with the general title Prisms in an effort to analyze the projecting white light into different spaces or even through rain.[11] Later, he made the Solar Houses, which were minimalistic constructions of cane and reeds, sharing a fragile feeling of an absolute geometry, creating "an imaginable garden pavilion" in his own words.

"The End"

Regarding Nikos Alexiou participation in Venice Biennale 2007, Vassilika Sarilaki, a known Art Historian, interviewed him. Interview and text was published entitled In Trance in Highlights Magazine:[12]

A master of space and the sense of the borderline, Nikos Alexiou, an artist known for his delicate works and motifs, his paper embroidered with perforations and his frugal constructions, will be representing Greece at this year’s Venice biennale.

The title of this year’s biennale,(2007) which will be held between June 10 and mid November, is “Think with the senses -- feel with the mind. Art in the present tense”, and Nikos Alexiou’s sensuous installation seems to get to the very heart of the matter. Starting out with the wonderful motifs in the floor mosaics of the Oberon monastery, which he reproduces in endlessly varying colours and designs to articulate an ecstatic world of beauty and moderation. His is a ‘structured chaos’ which balances the geometric nature of the material with the spontaneity of gesture.

Alexiou’s work emerges once more not as a product of a prefabricated idea, but as the source of an all-embracing gift to the beauty of forms. As a product and an engagement of his bodily devotion to it. And it is this which ultimately bestows a natural grace and an aura of redemption on the work.

Alexiou means tradition in the sense ascribed to it by Husserl. That “painting’s past creates a tradition in the artist, a duty to start over differently; not survival, which is the hypocritical form of forgetfulness, but effectual reclamation, which is a noble form of memory.” It is this “reclamation of memory” through the experience of familiarity that he attempts to convey today, though he allows the viewer to see the work unfettered and to lose themselves in the ecstasy of the small, psychedelic world it proposes; a world dotted with coloured motifs which flow in space, with tender sketches of the monastery and intricate digital labyrinths on video.

Taken together, the recollective designs, the fragmentary motifs moving imperceptibly on video, constantly changing shape, and the intricate patterns suspended in mid air define a new aesthetic world open to the imagination, to experience, to the viewer’s “individual breath”, and in so doing render largely relative the classical view of stability and the objectivity of space. Meaning the guise of material crops up again and again as a concept in Alexiou’s work as a pretext for taking a fresh look at our inner world and the way it is naturally reflected on the outside. And this might ultimately be art’s prime subject.

  • What will the installation you will be showing at the Venice biennale include exactly, and how will it be structured?

Nikos Alexiou: The work functions as a theatrical machine. Because the way it is set up ‘plays’ with the viewer. Inside its gate, there is a large screen with a video projected on it which invites the viewer to proceed further in, essentially to wander around on ‘stage’, into the heart of the machine. Meaning the viewer doesn’t watch from outside; he enters something that surrounds him on all sides. Behind the screen, there is a series of intricate hanging ‘embroideries’ which mirror the banners with different designs from the Iveron monastery.

  • What was it that moved you about this particular floor from the Iveron monastery? Were you just interested in its form, or were your personal experiences your starting point, given that you’ve been visiting the monastery since 1995?

These things are strange, as you know. You come into contact with something and you don’t know what it is that moves you… It could have been something else. But this floor was in the very centre of the church, and living in the monastery you would cross it several times a day. So the reasons I chose it were related to my experiences of it, and with my familiarity with it.

  • But as I can see from the video, in a sense these designs function as a pretext for a “meditative loss”...

Yes, they do. Meaning that what I do is lay all these lines out in a place in a ‘give ‘em all you’ve got’ sort of way. But see how nice it is… enjoy it. It’s a trip; isn’t that what they say.

  • It really is delightful. It reminds me of Arabic motifs...

You’re pretty far off the mark there. These are Greek motifs; we’ve had them since 300 BC. They’re designs you grow up with.

  • Why did you entitle the work “The end”?

I was referencing a wonderful text by Beckett with that title which really suited the work.

  • Which part of it?

Well, this design, these lines are on a knife-edge, a frontier. They are birth and death at once. Which is something Beckett’s text exudes, too. Which is why whether it’s a screen or a ‘curtain’ or a piece of paper, it’s always inscribed in one dimension. One level. It’s the beginning and the end together… Because the “End” here reminds me of the title descending the screen at the end of a film. And it’s a state of ecstasy that arises from the ‘reality’ of the work. It’s a trance.

  • And how do this state, these images, differ from pop art?

It is pop art. This video we’re watching now, for instance, is playing around with the Sixties…

  • And with psychedelia?


  • Fine, but someone might wonder “Hey, how can he combine the floor from the Iveron monastery, which has its own particular experiences, octagonal cosmological symbols, mandalas, meditation and so on with a neo-pop or psychedelic idiom?

And what’s neo-pop? Exactly that… Jimmy Hendrix and Our Father who art in Heaven.

  • Apart from the obvious, is there any sort of concealment here? In your perforated curtains, for instance, through whose delicate fabric one sees and does not see?

There is the allure of the knife-edge again, of translucence in 2 dimensions.

  • Meaning you’re primarily interested in the surface. Does your work have a symbolic dimension?

Yes. Anyone can find any symbol they like in there. Meaning you see something and say: “Ah, that’s a garden” or a universal symbol. It’s whatever you see.

  • I asked you if your work was related this time to symbols because these patterns are joined together into mandalas, which are cosmic symbols, but also because the masters of abstraction—Mondrian, Kandinsky, Malevich, Kupka, Itten—were closely bound up with the metaphysical and its symbolism. And that’s no accident…

Metaphysical… Can’t we just say physical? That’s what I call it.

  • I’m not using ‘metaphysical’ in the sense of ‘non-real’ or to convey a suspicious or negative connotation. It’s just that the geometric form is a symbol in itself. In this sense, it produces specific senses and ideas. For instance, there were the theosophical views of Mondrian, who defined the vertical as spirit and the horizontal as material, or the “spiritual component” of colours and shapes and what Kandinsky or Itten defined as geometrical harmony. That’s what I’m talking about. Do the traditional, archetypal motifs you use reference symbolisms or not?

I’m not interested in symbolisms. I use all that to shape another reality. What that reality has to say is another matter altogether. What matters to me is how you stand in front of an art-work. I don’t look at it head on, I perceive it at my side. It’s beside me, in other words. It’s something I perceive better with my shoulders and my back.

  • What do you mean exactly?

I mean you have to be exactly where the work is. To be present at a given time and place, that’s enough. And then you carry it around you as a memory.

  • That reminds me of what Zen teaches about the experience of the ‘here and now’. You know that some people would refer to the minimal bamboo constructions you used to do as Zen constructions?

Why not… that’s Zen, too.

  • Do you think 21st-century art should return to the concept of the beautiful which came in for so much stick during the 20th?

I don’t think it came in for any stick. I’d say that beauty was held aloft again in both the 20th and 21st centuries. The concept of beauty is integral to art.

"San Marco di Venezia"

"The Gate"


Set Designer

In his years at the Athens School of Fine Arts, he met Dimitris Papaioannou, a well known Greek stage director, choreographer, and visual artist, who at that time was also in his early years, studying Art at the same institution. They became friends and worked together in various projects. In 1990, Nikos Alexiou proposed a collaboration, using his own work as a base for Dimitris Papaioannou to work upon. They created The Last Song of Richard Strauss, which later became The Songs trilogy.[13] The Last Song, which proves itself the first of a series of successes for Dimitris Papaioannou Omada Edafous Dance Theatre company, glimpsed only a part of Nikos Alexiou's talent as a Set Designer,[14]. However, it was two years later, in 1993, when he collaborated again with Dimitris Papaioannou for Medea, designing the sets of that work with a major success.

"“Medea” was born in 1993 by the “Omada Edafous” dance company, giving the company great success, and being the point that marked the artistic collaboration of Dimitris Papaioannou with Nikos Alexiou."[15]

Art Collector

His love for Art extended to the point of being an art collector himself and seems he started collecting art works from his early years. In the summer of 2009, he decided to reveal his collection of works by 70 modern and contemporary artists, including Adam Chodzko, Amy O’Neill, Jim Shaw, Jimmie Durham, Andisheh Avini, Yuken Teruya, Antonis Kiriakoulis, Deanna Maganias, Giannoulis Chalepas, Elena Poka, Ilias Kafouros, Kostis Velonis, Dimitris Papaioannou, Mantalina Psoma, Emmanouil Zacharioudakis, Simon Periton, Marie Francoise Poutays, Mary Redmont, Michael Michaeledes, Minas, Spyros Litinas, Stephen Dean, Vasso Gavaisse, Vangelis Vlahos, Yorgos Papountzis among others.[16] The Exhibition took place at the Bazeos Tower in Naxos, a 17th century tower that was initially built as a monastery.[17] Although in this exhibition he was the Curator himself, the presentation of his collection itself, under the title Tower Tower could be regarded by some as an art work of his too, for his wish to present it as a parallel universe to his own, as a whole which was constantly expanding along with his experiences and feelings. The fact the exhibition was held in such a building, an ex-monastery and the creativity of the days preparing the exhibition, gave birth to a mixture of feelings and motivations that led him in creating videos with the tower of Bazeos itself, seeking ways to experiment with scales[18] and shadows,[19] two of the inner emotional lines connecting his own work with his art collection.

List of Works

As a restless artist, Nikos Alexiou had participated a large number of group exhibitions and also there are many works that were never exhibited or still not known to the public. The following list is not complete; it only depicts a selection of his known works.[20][21][22][23][24][25][26]

Solo Exhibitions


"The Sense of Order",[27][28] Margini Arte Contemporanea, Toscana, Italy, Curator: Paolo Emilio Antognoli Viti
"San Marco di Venezia 2010",[29][30][31][32] Zoumboulaki Gallery, Athens, Respondent: Emmanouil Zacharioudakis


"The End",[33] Museum of Byzantine Culture, Thessaloniki, Curator: Υorgos Tzirtzilakis


"The End", 52nd Intemational Art Exhibition, La Biennale di Venezia, Venice, Greek Participation, Curator: Υorgos Tzirtzilakis
"The End",[34] Zoumboulaki Gallery, Athens
"The End",[35] Françoise Heitsch Gallery, Munich


Unlimited Contemporary Art,[36][37] Athens
365 Art Project Gallery, Athens


Lola Nikolaou Gallery, Thessaloniki
Rebecca Camhi Gallery, Athens


Gallery 3, Athens


Exerevnitis Gallery,[38] Athens


Museum of Contemporary Art of Crete in collaboration with "Tzamia Krystalla" Gallery,[39] Hania
Lola Nikolaou Gallery, Thessaloniki


Athens Art Gallery, Athens

1994, 1989, 1987, 1985

Gallery 3, Athens


ZM Gallery, Thessaloniki


Desmos Art Gallery, Athens


Innsbrucker Werkstatt, Innsbruck

Group Exhibitions


Childhood Project, Charity Art Event at Melina Mercouri Municipal Cultural Centre, Athens


Celestial Contrakt,[40] Schwartz Gallery, London, Cur. Christina Mitrentse and Jonas Ranson
Expanded Ecologies,[41][42][43] National Museum of Contemporary Art, Athens, Cur. Daphne Vitali


Athensville,[44] Parallel Plan, ART ATHINA 2008, cur. M. Fokidis
Games without Frontiers, Zoumboulaki Gallery, Athens, cur, T. Stathopoulos
Summer 2008, Zoumboulaki Gallery, Athens
Connected,[45][46] Spilioti Projects Gallery, Athens


Disco Coppertone,[47] Locus Athens and OLP Piraeus, cur. Maria Thalia Karas and Sofia Tournikiotis
Heterotopias: Recreation maid in Greece,[48] 1st Biennale of Contemporary Art Thessaloniki, Thessaloniki, cur. T. Stefanidou
Locus Athens - The Workshop,[49] Zouboulakis Gallery, cur. Maria Thalia Karas and Sofia Tournikiotis, Athens


Apolis, Hellenic American Union, Athens, cur. C. Velonis
Totems of the City, METRO Underground Station, Chalandri, Athens, cur. T. Moutsopoulos
22 Winter Festival Seragevo, Hotel Evropa, Serajevo, cur. C. Petrinou
23rd Biennale of Alexandria, Benaki Museum, Athens, cur. C. Petrinou
The Scarecrow, Institution E. Averof, Metsovo, cur. Ο. Danyilopoulou
An Outing, L. Beltsios Collection, Trikala, cur. S. Bahtsertzis


23rd Biennale of Alexandria, Alexandria, Egypt, cur. C. Petrinou


Athens by Art, Athens, cur. C. Petrinou
Aus der Ferne, Aus der Nähe, Aus der Mitte, Galerie Françoise Heitsch, Munich
Aus der Ferne, Aus der Nahe, Aus der Mitte, European Patent Office, Munich, cur. F. Heitsch, M. Poalas
Breakthrough! Greece 2004, Sala Alcala 31, Madrid, cur. K. Gregos, D. Zacharopoulos, S. Papa


Outlook, Athens, cur. C. Joachimides
Deste Prize 2003, Deste Foundation, Athens
The Pioneers, L. Beltsios Collection, Macedonian Museum of Contemporary Art, Thesasaloniki, cur. D. Zacharopoulos
Free Transit, Zappeio, Athens and Porto Caras, Halkidiki, Greece, cur N. Argyropoulou
Sketching Out Today, Tommorow, Yesterday, Macedonian Museum of Contemporary Art, Thesasaloniki, cur. L. Tsikouta


The Pionners, L. Beltsios Collection, Kalambaka, cur. D. Zacharopoulos
The Magic,[50] Ktima Pavlidi, Paiania, cur. M. Maragou


Glossalgia,[51] Hellenic-American Union, Athens, cur. M. Stefanidis & N. Argyropoulou


P + P = D, Macedonian Museum of Contemporary Art, Thesasaloniki, cur. Y. Tzirtzilakis


P + P = D, Deste Foundation, Athens, cur. Y. Tzirtzilakis


Greek Artists - Quests 1950-2000, Centre for Contemporary Art, Rethymno, Crete, cur. M. Maragou


Alexiou-Varotsos-Totsikas-Tsoklis, Mayia Tsoklis Gallery, Athens


Magasin, House of Cyprus, Athens, cur. A. Von Fürstenberg
International Meeting of Sculpture, European Cultural Centre of Delphi, Delphi, cur. S. Papa


Spira 1, Circulo de Bellas Artes, Madrid, cur. S. Papa
Egoism, House of Cyprus, Athens, cur. K. Stavopoulos

Borderline 80-90, Municipal Art Gallery, Athens, cur. M. Stefanidis
Itérations, Fondation Danae, Pouilly, France
2nd Minos Beach Art Symposium, Minos Beach, Agios Nikolaos, Crete, cur. D. Koromilas


Revolution, French Institute, Athens


5 Greek Artists - 30 Works, Salle de Conferance de la Communaute Europeenne, Brussels and Laiterie Centrale, Strasbourg, cur. N. Misirli
Meetings, Highlights, Conflicts, Municipal Gallery, Athens, cur. K.Stavropoulos


Jeune Sculpture 87/1, Porte d’ Austerlitz, Paris
3rd Biennale of Young Mediterranean Artists, Barcelona, Spain, cur. S. Papa


2nd Biennale of Young Mediterranean Artists, Thessaloniki


5th Biennale of Sculpture, Skironio Museum Polychronopoulos, Megara

Set design works

La Puppe
Directed by Anna Kokkinou, Set Design by Nikos Alexiou[52]
Sfendoni Theatre, Athens

Schreber’s nervous illness
Directed by Stelios Krasanakis, Set Design by Nikos Alexiou[53]
Alekton Theatre, Athens

Medea 2
Conceived, Directed and Choreographed by Dimitris Papaioannou
Set Design by Nikos Alexiou[54]

Athens Festival – “Meet in Beijing”, National Centre for the Performing Arts, Beijing, 1 and 2 August 2008 - Pallas Theatre, Athens – from 1 October 2008

Το Αμάρτημα της Μητρός μου
Directed by Kostas Kapelonis, Set Design by Nikos Alexiou
Karolos Koun Theater of Art

Medea - Euripides
Directed by Giorgos Lazanis, Set Light and Costumes Design by Nikos Alexiou
Ancient Theatre of Epidaurus

Suppliants - Aeschylus
Directed by Stavros Doufexis, Set Design by Nikos Alexiou, Light Design by Nikos Alexiou and Eleftheria Deco
Ancient Theatre of Epidaurus, 1994

Memoria del Olvido
Directed and Choreographed by Denise Perdikidis, Set Design by Nikos Alexiou
Teatro Olimpia de Madrid, 1994 - tour in Germany, Switzerland, Festival de Teatro Clásico de Mérida, Dansa Valencia, Cabildo Insular de Las Palmas de Gran Canaria, 1994

Visual Concept by Nikos Alexiou and Dimitris Papaioannou, Set Design by Nikos Alexiou
K.N.S. Theatre, Antwerp – Belgium, 28–29 September 1993 - Kotopouli – Rex Theatre, Athens - Greece, 20–25 April 1994 - Ypsikaminos, Patra - Greece, May 1994 - Argos Ancient Theatre, Argos - Greece, June 1994 - 2nd International Dance Festival, Kalamata - Greece, July 1996 - 4th Festival of Contemporary Expressionistic Dance, Chania - Greece, August 1996 - Ferres and Komotini - Greece, August 1996 - 1st Musical Theater Meeting, Ancient Dimitriada, Volos - Greece, September 1996 - Melina Merkouri Amphitheatre, Veroia - Greece, September 1996 - Dassos Theatre, Thessaloniki - Greece, 17–18 September 1996 - Vrachon Theatre, Melina Merkouri, Athens - Greece, October 1996 - Riverside Studios, London - UK, 12–14 March 1998 - Anfiteatro na Doca, EXPO ’98, Lisbon - Portugal, July 1998 - Theater De La Croix Rousse – 8th Biennale of Dance, Lyon – France, 14-18th September 1998 - Pattichio City Theater, Limassol - Cyprus, September 1998 - City Theater, Nicosia - Cyprus, September 1998 - Pattichio City Theater, Larnaca - Cyprus , September 1998 - Anderson Center for the Arts, Concert Theater, Binghamton University / - Performing Arts Center, Albany University / - The Performing Arts Center, Purchase College, New York - USA, 9-16th October 1999 - Ataturk Kultural Center, Grand Hall, 12th International Istanbul Theatre Festival, Istanbul - Turkey, 18th May 2000 - Gerard Bechar Theatre, DancEuropa Festival, Jerusalem - Israel, June 2000 - Suzanne Dellal Center, Tel Aviv - Israel, June 2000 - Papagou Municipal Theater, Athens – Greece, June–July 2000 - Nikos Kazantzakis Theatre, Heraklion - Greece, July 2000 - San Marino Stage Fesival, San Marino, August 2000

Ηλέκτρας κομμοί - Aeschylus, Sophocles, Euripides
Directed by Roula Pateraki, Set Design by Nikos Alexiou
Athens Concert Hall, Athens, November 1993

Directed by L. Vogiatzis, Set Design by Nikos Alexiou

The songs
Edafos Dance Theatre In collaboration with Nikos Alexiou
Artists' Building, Athens - from 17 April 1991

Catalogues - Books

  • "Patterns 2. Design, Art and Architecture" by Barbara Glasner, Ed. Schmidt Petra 2008
  • "The End" Catalogue for the 52nd Intemational Art Exhibition, La Biennale di Venezia, 2007, Greek Participation, Curator: Υorgos Tzirtzilakis, Texts: Dimitris Liakos, Christopher Marinos, Υorgos Tzirtzilakis, published by Ministry of Culture, Athens 2007
  • "Nikos Alexiou - Angel rolling up the Heavens", Texts by Alexandra Koroxenides and Christina Petrinou, Cube Art Editions 2005
  • "Breakthrough!, Grecia 2004" Texts by K. Gregos, S. Papa, D. Zacharopoulos, published by Comunidad de Madrid, 2004
  • "ausderferne ausdernähe ausdermitte" Texts by Kristine Schönert, Sotirios Bahtsertzis, Thanassis Moutsopoulos, Publisher: European Patent Office Munich, 2004
  • "OUTLOOK" curated by Christos M. Joachimides, Catalogue texts by Yorgos Tzirtzilakis, Daniel Birnbaum, Boris Groys, Arthur C. Danto, Nicolas Bourriaud and Nikos Daskalothanassis, Athens 2003
  • The Pioneers, L. Beltsios Collection, Text by D. Zacharopoulos, Futura editions, 2002
  • "Spira I" Text by Sania Papa, edited by Circulo De Bellas Artes Madrit, Greek Minister of Culture, European Cultural Center of Delphi, 1992
  • "Athens - Ancient and Modern: Athens in the Twenty-First Century" by Marina Kotzamani, "PAJ: A Journal of Performance and Art, Volume 31, Number 2, May 2009 (PAJ 92)"
  • "Was bedeuten all die wilden Kringel?" by Michael Pilz "Die Welt" 16 November 2007
  • "I Padiglioni dei Sensi" by Laura Larcan "La Repubblica" 9 June 2007
  • "De Venise à Athènes, les biennales se suivent et se ressemblent" by Georges Férou "L' Humanité" 7 July 2007
  • "L’art contemporain en Grèce, de Byzance à Venise" by Yves Kobry "L' Humanité" 7 July 2007
  • "Nikos Alexiou" by Alexandra Koroxenidis "Frieze Magazine" Issue 74, April 2003
  • "An artist’s vision of Mount Athos" by Alexandra Koroxenidis, "Kathimerini English Edition" 5/2/2003
  • "Nikos Alexiou, diversified artist, full of surface contradictions" by Alexandra Koroxenidis, "Kathimerini English Edition" 15/11/2001


  1. ^ Nikos Alexiou CV at Margini Arte Contemporanea
  2. ^ "Nikos Alexiou represents Greece at the 52nd Venice Biennale"
  3. ^ 23rd Biennale in Alexandria Catalogue by Cube Art Editions
  4. ^ 23rd Biennale in Alexandria Review
  5. ^ "Outlook" exhibition at 2003 Cultural Olympiad
  6. ^ To Vima daily newspaper for "Breakthrough!" exhibition in Madrid In Greek
  7. ^ FREE TRANSIT (?): Series of events organized by the Greek Presidency to showcase contemporary Greek art
  8. ^ DESTE Prize 2003 : Text
  9. ^ DESTE Prize 2003: Installation
  10. ^ "Acclaimed Artist Nikos Alexiou passed away" In Greek
  11. ^ Magazine article (1987) In Greek
  12. ^ Interview and text is provided here translated to English by Vassilika Sarilaki (the author herself) who also gave the kind permission of publishing it in wikipedia.
  13. ^ Dimitris Papaioannou writes about Nikos Alexiou in Lifo newspaper In Greek
  14. ^ The Last Song of Richard Strauss in Dimitris Papaioannou wikipedia page
  15. ^ Medea
  16. ^ Bazeos Tower Festival 2009
  17. ^ Bazeos Tower History
  18. ^ Scale Naxos 2008 video
  19. ^ Shadows Naxos 2008 video
  20. ^ Selection of his work at Nikos Alexiou Website
  21. ^ "A Draw Lesson" In Greek
  22. ^ Nikos Alexiou CV at Margini Arte Comtemporanea
  23. ^ ArtFacts
  24. ^ Nikos Alexiou CV at Zoumboulakis Galleries site
  25. ^ Nikos Alexiou Bio In Greek
  26. ^ Nikos Alexiou CV at Cube Art Editions>
  27. ^ The Sense of Order text by Paolo Emilio Antognoli Viti
  28. ^ Reference in Saatchi Gallery website
  29. ^ San Marco di Venezia 2010 review at The City of Athens official visitor's website
  30. ^ San Marco di Venezia 2010 at Skai News In Greek
  31. ^ San Marco di Venezia 2010 review at In Greek
  32. ^ San Marco di Venezia photos and texts while work was in progress
  33. ^ The End at the Museum of Byzantine Culture
  34. ^ Newspaper Kathimerini article for The End at Zoumboulakis Galleries In Greek
  35. ^ Françoise Heitsch Gallery
  36. ^ Nikos Alexiou Solo Exhibition at Unlimited Contemporary Art
  37. ^ Angel rolling up the Heaven and Redd Pavilion at Unlimited Contemporary Gallery
  38. ^ Article on Nikos Alexiou work at The Vima newspaper, with reference to his solo exhibition at Exerevnitis Gallery In Greek
  39. ^ Museum of Contemporary Art of Crete in collaboration with "Tzamia Krystalla" Gallery
  40. ^ Photo of Nikos Alexiou installation at Celestial Contrakt group exhibition in UK
  41. ^ National Museum of Contemporary Art in Athens Blog
  42. ^ Expanded Ecologies group exhibition info in Yasmin List
  43. ^ Expanded Ecologies group exhibition texts
  44. ^ Art Athina 2008 programme
  45. ^ Connected group exhibition at Visual Arts in Greece catalogue
  46. ^ Nikos Alexiou video for Connected group exhibition
  47. ^ Locus Athens: Disco Coppertone
  48. ^ 1st Biennale of Contemporary Art Thessaloniki
  49. ^ Locus Athens - The Workshop
  50. ^ The Magic group exhibition In Greek
  51. ^ Glossalgia group exhibition at Hellenic-American Union
  52. ^ La Puppe at Theatre Sfendoni In Greek
  53. '^ Schreber’s nervous illness at Alekton Theatre In Greek
  54. ^ Medea 2 review at Kathimerini newspaper In Greek

External links

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