Artvisor highlights a range of art practices and shows surrounding this year’s Art Athina. Marking its 30th anniversary, the fair took place at the former Fix Factory in Athens, reaffirming its role as one of Europe’s longstanding contemporary art fairs. Bringing together leading Greek and international galleries, the fair highlighted a diverse programme of curated exhibitions, performances, and talks. This edition reflected Athens’s importance as a cultural hub in the Mediterranean, with satellite events across the city and collaborations with major institutions including the National Museum of Contemporary Art (EMST).

The Onassis Foundation staged a dynamic presentation. Manousos Manousakis’s Cosmologies unfolded in elaborate drawings that reimagined the triad of City (2020), The Slaughterhouse (2022), Child’s Room (2022) invoking dystopian and utopian visions inspired by Kentaro Miura and Hieronymus Bosch.

Panos Tsagaris presented In Rapture (2025), a canvas layered with gold leaf, acrylic, ink, colour pencil, and silkscreen. The work exemplified his engagement with sacred iconography and ritual, opening up a meditative reflection on transcendence, fragility, and contemporary spirituality.

Belgian-born, Mexico-based artist Francis Alÿs was featured with works from his Camguns series. Known for his conceptual and multidisciplinary approach, Alÿs transforms everyday materials into poetic objects that explore anthropological and geopolitical systems. The sculptures combined playfulness with unease, gesturing to the fragility of power structures.

Mantalina Psoma showcased paintings that move familiar pictorial codes of bedroom interiors into fictional, almost uncanny realms. Her peculiar realism generates a silent yet charged atmosphere, inviting viewers into states of introspection and existential questioning.

Historical resonance was brought by Jannis Kounellis’s Senza Titolo (Agamennone) (1973), a lithograph, chalcograph, and collage that reaffirmed his central place within Arte Povera. Evoking myth and theatre through modest means, the work connected the present edition of Art Athina with the legacies of European avant-garde practice.

Silvia Kouvali gallery presented enamel paintings from Ulrike Mülle long-running series Signs and Shields (2024). Produced in uniform dimensions, the series allows subtle shifts in colour and geometry to unfold into open-ended associations, resisting fixed meaning.

At Kalfayan Galleries, paintings by Adrian Paci, who represented Albania at the 2014 Venice Biennale, balanced intimate painterly gestures with themes of migration and identity.