Unreal, surreal, however in the end actual, Plásmata 3, the wide-ranging exhibition by Onassis Stegi in Athens, creates a world the place the boundaries between actuality and phantasm dissolve and the on a regular basis turns into magical. By June 15, works by Greek and worldwide artists activate 31 areas in Pedion tou Areos Park, giving area to the analog, the bodily, and the imaginary. These are accompanied by greater than 70 units from DJs and music producers, over 15 talks, 13 movie screenings, and 4 kiosks that includes flavors from the neighborhood’s various communities.
The third version of Plásmata — which means “creatures” in Greek — is an invite to play, to see the world round us otherwise. Reasonably than following Pedion tou Areos Park’s principal pathways, Plásmata 3 invitations us in at evening to discover its hidden groves and gardens and uncover a brand new nocturnal topography that emerges among the many flowerbeds, on its margins, and at its core.
William Kentridge, “Shadow Procession” (1999), animation
Twenty-six artists from various fields have created an unconventional treasure hunt that blends fact and phantasm. New commissions, work from the Onassis Assortment, contemporary tasks by artists from ONX (Onassis Digital Tradition Incubator) and AiR artists’ residency, and extra make up this 12 months’s Plásmata. Simply because the artwork appears to sprout from the park, actions like music occasions, meals, radio broadcasts, talks, and movie screenings interact audiences each evening.
Among the many hybrid works — a lot of that are a part of the Onassis Assortment — are unusual emblems charged with spiritualism, legendary creatures, historic column-pillows guests can lie on comfortably, monuments constructed from shattered Athenian pavement marble, our bodies caught between falling and ascending a staircase to nowhere, glass flowers lit by human embrace, Amazons on bikes, spinning seashells that echo dripping water, and acquainted but uncanny beings who emerge from flowerbeds.
Plásmata 3 doesn’t divide artwork into digital and analog. As a substitute, it emphasizes artwork’s pure evolution by means of time: from shadow puppetry to projection mapping, from portray to movie, from video artwork to up to date digital and post-digital expression. Right here, expertise is a software, not the aim. The artists don’t serve synthetic intelligence — they use it, remodel it, subvert it, surpass it. Guided by creativeness, artists create new narratives that don’t undergo algorithms however query them, reinvent them, and drive them mad.
To study extra, go to onassis.org.
The Inventive Director and Curator for Plásmata 3 is Afroditi Panagiotakou. The Govt Director is Dimitri Theodoropoulos, the Basic Supervisor is Prodromos Tsiavos, and the exhibition design is by Loukas Bakas.
Efi Gousi, “Tectonic Riders” (2025), video set up 
Lakis & Aris Ionas / The Callas, “Punkthenon” (2022), sculpture
Dionysios, “Meditation on Time” (2022), set up
