Tag Archives: Modern Sculpture

Untitled

xn               Γλυπτό Κτήριο Ελεγκτικής Υπηρεσίας Κυπριακής Δημοκρατίαςn

Artist: Theodoulos Gregoriou 

Location: 6 Deligiorgi St., Audit Office of the Republic of Cyprus building, Nicosia. Nicosia district 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was placed at the entrance of the building in 2007. It was commissioned by the Audit Office following the 1992 state law which requires all state entities to invest 1% of their annual budget in artworks which will be placed in their premises. 

Keywords: 

Ceremonial gathering

newn ?????? ???? ?????????? (1)nnn

Artist: Aggelos Makridis

Location: International Larnaka Airport departure area. Larnaka district.

Material: Bronze

Category: Modern sculpture

Photography: Evangelia Matthopoulou

Makrides’ work was made in 2009. Twelve bronze torsi, eleven male and one female, form a circle, in the middle of which is placed a pot. The circle is the usual arrangement of the participants during a ceremonial gathering. In this case the gathering takes place around a ceremonial pot, symbolically referring to the hearth and the sacred fire. The hearth symbolizes origins, and is associated with the eternal flame, which in turn implies commemoration.

Selected sources:
~ Toumazis, Yiannis. 2009. Sense of Place. Nicosia.

Keywords:

Cells

Data-cellsn Data-cells (2)n

Artist: Theodoulos Gregoriou

Location: International Larnaka Airport front entrance. Larnaka district.

Material: Cement, inox, minerals, LEDs

Category: Modern sculpture

Photography: Evangelia Matthopoulou

Theodoulos Gregoriou is the only artist among the nine who worked on the Larnaka airport project to have his works (Cells and Hourglass) outdoors. 

The Cells were installed in 2009 and in a way they are connected to the nearby Hourglass. While the latter comments time-stream, the Cells refer to the basic carrier of life, and thus time, the biological cell. Cells bear certain configurations but at the same time retain the ability to evolve in infinite directions assuming a wide range of material forms, depending on the correlated ‘environment’. Gregoriou’ cells gestate audio sounds, and those cut in half project on their flat surface images of time and life.   

Selected sources:
~ Toumazis, Yiannis. 2009. Sense of Place. Nicosia.

Keywords:

Together

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Artist: Nikos Kyprianou

Location: Entrance of the International Conference Center, Aglandjia. Nicosia district.

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was placed at the entrance of the building in 2012. It was commissioned following a 1992 state law which requires all state entities should invest 1% of their annual budget in artworks which will be placed in their premises.

This artwork was commissioned for the Cypriot presidency of the EU in 2012. The artist uses the 27 wheels to symbolically represent the EU members which are interconnected in such a way that the rotation of one of them has a direct impact on the rest.

Keywords:

The tree of knowledge

tree

Artist: Lia Lapithi 

Location: Agios Spyridionas high school, Kato Polemidia. Limassol district.

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was placed at the entrance of the high school on October 16, 2006. It was commissioned following a 1992 state law which requires all state entities should invest 1% of their annual budget in artworks which will be placed in their premises.

Keywords:

3rd Symposium, Polis Chrysochou

3dr symposiumn

General viewn

Kyriakos Rokos n Kyriakos Rokosn

Kyriakos Rokos

Vasilis Vasili n Vasilis Vasilin

Vasilis Vasili

3rd Symposium
September 20-30, 2011

Category: Modern sculpture, Symposia

Photography: Evangelia Matthopoulou

The symposium was organized by the Polis Chrysochou Municipality and was funded by the Municipality and the Ministry of Education. Two professional sculptors participated from Greece after submitting their proposal to the organizing committee. Additionally two locals, self-taught, were invited by the Municipality. All of them worked with a piece of at least 2 cubic meters local stone. All the works are titled as “Untitled”. The participant sculptors were: Vasilis Vasili and Kyriakos Rokos from Greece, Andreas Constantinou and Andreas Tamamounas from Cyprus. 

Keywords: 

2nd Symposium, Polis Chrysochou

Aktham Abdul Hamidn Andreas Moditisn
Aktham Abdul Hamid                     Andreas Moditis

Andreas Tamamounasn
Andreas Tamamounas

                              Arsenty Lysenkov n Arsenty Lysenkovn                                            Arsenty Lysenkov

          General viewn

                                    Petre Petrov n Petre Petrovn                                                Petre Petrov

Pontus Ersbackenn
Pontus Ersbacken

Tanjia Roeder n Tanjia Roedern
Tanjia Roeder

2nd Symposium

September 14-24, 2010

Category: Modern sculpture, Symposia

Photography: Evangelia Matthopoulou
The symposium was organized by the Polis Chrysochou Municipality and The Friends of Fine Arts association, and was funded by the Municipality, the “Friends” and the Ministry of Education. Five professional sculptors participated after submitting their proposal to the organizing committee. Additionally two locals, self-taught, were invited by the Municipality. All of them worked with a piece of at least 2 cubic meters local stone. All the works are titled as “Untitled”. The participant sculptors were: Aktham Abdul Hamid from Syria, Arsenty Lysenkov from Russia, Petre Petrov from Bulgaria, Pontus Ersbacken from Sweden, Tanjia Roeder from Germany, Andreas Constantinou and Andreas Tamamounas from Cyprus.

Keywords:

1st Symposium, Polis Chrysochou

Abeer Warda n Andreas Tamamounas n
  Abeer Warda                             Andreas Tamamounas

                            Antoine Basbous n Constantinos Moditis n                                                                       Antoine Basbous                    Constantinos Moditis 

                             Fanis Rachoutis n Giorgos Rachoutis n                                                                 Fanis Rachoutis                          Giorgos Rachoutis

Janine Kortz-Waintrop n
Janine Kortz-Waintrop

Liliya Pobornikova n Xavier Gonzalez n
Liliya Pobornikova                  Xavier Gonzalez

1st Symposium
September 15-30, 2008

Category: Modern sculpture, Symposia

Photography: Evangelia Matthopoulou

The symposium was organized by the Polis Chrysochou Municipality and The Friends of Fine Arts, and was funded by the Municipality, the “Friends” and the Ministry of Education. Seven professional sculptors participated after submitting their proposal to the organizing committee. Additionally two locals, self-taught, were invited by the Municipality. All of them worked with a piece of at least 2 cubic meters local stone. All the works are titled as “Untitled”. The participant sculptors were: Abeer Warda from Syria, Antoine Basbous from Lebanon, Janine Kortz-Waintrop from Germany, Liliya Pobornikova from Bulgaria, Xavier Gonzalez from France, Constantinos Moditis and Andreas Tamamounas from Cyprus, Giorgos Rachoutis and Fanis Rachoutis from Greece.

Keywords: 

Olympic Hall Sculptures

Alliancen Citius, Altius, Fortiusn                Alliance                                                            Citius, Altius, Fortius

Blue Paralympicsn Boxern                             Blue Paralympics                                                Boxer  

Collective Dreamn Free as the windn                                           Collective Dream                                 Free as the Wind

Japanese Girl with ribbonn    Japanese Girl With Ribbon                                   

Olympic Spiritn Stainless Dreamsn                                                        Olympic Spirit                                 Stainless Dreams

Synchronized SwimmingnWithout an endn      Synchronized Swimming                                    Without an end

Αφανής Αρμονίη (Hidden Harmony) (2)n Αφανής Αρμονίη (Hidden Harmony) (3)n Afanis Armonie                                                            

Αφανής Αρμονίη (Hidden Harmony) (4)n Αφανής Αρμονίη (Hidden Harmony)n Afanis Armonie                                                  

 Γενική όψη του χώρου (5)n General view of Olympic Hall Sculptures

Olympic Hall Sculptures

Olympic premises, Amphipolis Avenue, Strovolos. Nicosia district

 Photography: Evangelia Matthopoulou

The initiative for the artworks was taken in 2006 by the Cyprus Olympic Committee. 

Today, twelve artworks made by eleven Cypriot or Cypriot based artists are placed on the ground floor of the Cyprus Olympic premises. All of them refer to the Olympic spirit. In addition to the Cyprus Olympic Committee, each artwork was sponsored by a private entity. 

In front of the Olympic premises is placed Philippos Yiapanis’ Olympic Spirit. The unveiling took place on June 10th 2010. This artwork is the only one commissioned entirely by the Cypriot Olympic Committee.

Title: Alliance

Artist: Theodoulos Gregoriou 

Sponsor: Associations of ΕΟΚΑ 1955-59 fighters 

 

Title: Synchronized Swimming

Artist: Klitsa Antoniou 

Sponsor: Nikolas K. Shacolas

 

Title: Free as the Wind

Artist: Maria Papacharalambous 

Sponsor: Aristo Developers

 

Title: Japanese Girl with Ribbon

Artist: Athina Antoniadou 

Sponsor: Louis Group

 

Title: Blue Paralympics 

Artist: Lia Lapithi Soukiouroglou 

Sponsor: Amberia Global Ventures Ltd

 

Title: Stainless Dreams

Artist: Helene Black

Material: Stainless steel 

Sponsor: Strovolos Cooperative Bank 

 

Title: Citius, Altius, Fortius

Artist: Helene Black

Material: Stainless steel, laminated glass, solar beads, UV fluorescent light

Dimensions: 195 cm x 115 cm x 35cm

Sponsor: Stelios and Chrysi Aggelodimou family

Citius, Altius, Fortius was the ancient Olympic games’ motto for all the athletes. It means Quicker, Higher and Stronger, and underlines the value of personal achievements and completion. 

 

Title: Afanis Armonie (Αφανής Αρμονίη)

Artist: Nikos Kouroussis 

Sponsor: Laiki Group

The title “Hidden Harmony” (Αφανής Αρμονίη) makes part of Heraclitus’ sayings. Kouroussis artwork attempts to highlight the importance of that ancient Greek value in everyday life.

 

Title: Boxer 

Artist: Giorgos Kypris 

Sponsor: Laiki Group 

Mohamed Ali was the inspiring model for Giorgos Kypris’ work who attempts to capture the athlete’s rhythm through the repetition of the form. 

 

Title: Collective Dream

Artist: Melita Couta 

Sponsor: Phanos N. Epiphaniou Ltd 

Melita Kouta’s work comments the power of the social body to encourage the athletes’ efforts. 

 

Title: Without an end 

Artist: Achilleas Kentonis 

Sponsor: Hellenic Petroleum Cyprus (EKO) Ltd

Kentonis comments the athletic arena as the meeting point of humans’ best intentions and efforts. 

Keywords:

Untitled

Γλυπτό Σιακόλειο Εκπαιδευτικό Ίδρυμα (3)n Γλυπτό Σιακόλειο Εκπαιδευτικό Ίδρυμα (6)n Γλυπτό Σιακόλειο Εκπαιδευτικό Ίδρυμα (13)n

Artist: Dimitris Constantinou 

Location: Siakolas Health Educational Central, Lemesos Avenue, Strovolos. Nicosia district

Material: Steel

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was commissioned in 2004 by Nikos K. Siakolas and it was placed in 2006.

Keywords:

Like a tree

P1100071n P1100073n

Artists: Maria Loizidou

Location: Ministry of Transport, Department of Public Works, Strovolos Avenue. Nicosia district

Category: Modern sculpture 

Photography: Evangelia Matthopoulou

The work was commissioned in 1999 by the Department of Public Works. Maria Loizidou is one of the most renowned contemporary Cypriot artists with international presence. Her work explores issues of memory and time in a rather poetic manner, mainly as a result of the materials she uses and her seemingly fragile forms. 

Keywords:

Anelixis (Advancement)

Ανέλιξις (2)n Ανέλιξις (4)n

Artist: Costas Varotsos 

Location: Central Offices of former Popular (Laiki) Bank of Cyprus, Athalassas Avenue, Strovolos. Nicosia district. 

Material: Stainless steel and glass

Dimensions: 12 meters 

Category: Modern sculpture 

Photography: Evangelia Matthopoulou

The artwork was commissioned in 1995 by the former Popular (Laiki) Bank of Cyprus (since April 2013 Bank of Cyprus). 

Costas Varotsos, one of the most renowned Greek sculptors of his generation, used the diagonal form and the spiral of the glass arrangement to capture the power of evolution, motion and advancement of the contemporary Cypriot society. 

“Anelixis” is Varotsos’ second public artwork in Cyprus: his “Poet”, made in 1983, is placed at Ammochostos Gate, the eastern entrance to the old city, close to the Green Line.

Keywords:

Untitled

Γλυπτό KPMG (3)n Γλυπτό KPMGn

Artist: Christos Lanitis 

Location: KPMG offices, 14 Esperidon St., Strovolos. Nicosia district 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

It was commissioned by the Cyprus Branch of KPMG, an international consulting company.

Keywords:

Nuovo Twist

P1090471n

Artist: Beverly Pepper

Location: American Heart Institute/American Medical Center, Spyros Kyprianou Avenue, Strovolos. Nicosia district

Material: Corn-ten Steel

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork is site specific; it was commissioned by the American Heart Institute and placed at the Medical Centre’s premises in 2010.

 Beverly Pepper has worked on versions of this subject, already exhibited at the Memorial Sloan-Kettering Cancer Center, New York, Ralph Klein Legacy Park, and Banker’s Court, Calgary, (Alberta, Canada).

Keywords:

Passing Moments

Γλυπτό Ελληνικής Τράπεζαςn

Artist: Helene Black

Location: Hellenic Bank Head offices, Athalassas Avenue, Strovolos. Nicosia district

Material: Stainless steel

Dimensions: 3 meters the diameter x 2 meters in height

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork is an in situ piece, especially designed for the Hellenic Bank Head Offices. It was commissioned in 2003 and includes motion through light sensitivity, so it opens with daylight and closes at dusk.

Keywords:

3rd Symposium, Limassol

Ahmed El-Stoahyn Kyriakos Rokosn

Ahmed El-Stoahy                               Kyriakos Rokos

Saadia Bahatn Victor Bonaton

Saadia Bahat                                          Victor Bonato

 3rd Sculpture Symposium

2001

  Photography: Vicky Karaiskou

Four artists participated in the third symposium.

Victor Bonato (Germany), “Frozen wave”
The fluid curves of Bonato’s wave make a perfect match with the changing nature of the water they frame, and at the same time insinuate the dynamism of their potential spiral motion.

Kyriakos Rokos (Greece), “Mother of many children”
Kyriakos Rokos decomposes the human figure creating a puzzle of forms and volumes. 

Saadia Bahat (Israel), “Limassol-Haifa, Twin Cities”
The two interlocked marble circles symbolize the two cities, joined by the Mediterranean Sea.

Ahmed El-Stoahy (Egypt), “Couple at rest”
Ahmed El-Stoahy makes a forceful critical comment on the contemporary way of life and the eroded human relations which raise close associations with the Fritz Lang iconic film of 1927, “Metropolis”.

Keywords:

2nd Symposium, Limassol

Christos Riganasn Helene Black n

Christos Riganas                                         Helene Black

Helene Blackn Manolis Tzobanakisn

   Helene Black                                Manolis Tzobanakis

Giorgos HouliarasnVassilis Vassilin

                                  Giorgos Houliaras                               Vassilis Vassili

Maria Kyprianoun

                                                               Maria Kyprianou

2nd Sculpture Symposium

2000

Photography: Vicky Karaiskou

Six artists, four from Greece and two from Cyprus, participated in the second symposium.

Helene Black (Cyprus), “Framed views”
The three frames, made of iron and neon, are arranged in a way to interlock and penetrate space providing framed (and thus restricted) views of the sea or the city, depending on the viewer’s point of view.

Maria Kyprianou (Cyprus), “Birth”
Kyprianou uses the archetypal symbol of life, the egg, as an allegory to gestation and time.

Manolis Tzobanakis (Greece), “Sacrifice”
Using reinforced concrete and stainless steel, two materials characteristic of Tzobanakis’ work, he creates a snapshot of despair and agony, physical or emotional, which consumes the trapped human figure.

Giorgos Houliaras (Greece), “Synthesis”
In a block of marble Houliaras unfolds the potential shapes of life which can emerge from an amorphous raw material, commenting on the multiple possible options coexisting at the ‘beginning’.

Christos Riganas (Greece), “Alcyone”
Riganas uses the myth of Alcyone to comment on human hubris, punishment and compassion.

Vassilis Vassili (Greece), “Way out”
Vassislis Vassili’s core raw stone creates a spontaneous discomfort to the viewer who cannot overlook the stiffness and the bland statement of its monolithic existence.

Keywords:

1st Symposium, Limassol

Costas Dikefalosn Giorgos Tsiaras n

              Kostas Dikefalos                                             Giorgos Tsaras

Giorgos Tsiarasn Kyriakos Kallisn

                Giorgos Tsiaras                                                     Kyriakos Kallis

Nikos Kouroussisn Thodoros Papayiannisn

              Nikos Kouroussis                                    Thodoros Papayiannis

 

1st Sculpture Symposium

 August 1999

 Photography: Vicky Karaiskou & Evangelia Matthopoulou

Five artists, three from Greece and two from Cyprus, participated in the first symposium.

Costas Dikefalos (Greece), “Cultural Wave”
Costas Dikefalos spiral and wavy forms on stone are characteristic of his work. His “Cultural Wave” refers both to the actual dominant element of water of the seafront, and to the primordial dissemination and enrichment of cultures through sea trade and traveling. 

Kyriakos Kallis (Cyprus), “Sculpture installation”

Kallis’ cross-like installation is based on the use of personal symbolisms and is built on successions of metal strips, wavy lamina and stone volumes. The bull head is the only figurative item symbolizing earth and the vital forces. 

Thodoros Papayiannis (Greece), “Binary Unit”
The two in one figures by Papayiannis bear his distinct style of archaic geometry and rigor. Papayiannis’ endeavors in the Mediterranean culture has profoundly influenced his work since the very beginning of his artistic career and turn his human figures into archetypical totems.

Nikos Kouroussis (Cyprus), “Dialogue with time and space”
Kouroussis’ minimal synthesis is based on two minimal geometric forms, a stone cylinder and a stainless metal triangle providing a cryptic interpretation of time and space.

Giorgos Tsaras (Cyprus), “Gates”
The asymmetric and diagonally arranged gates and the intervention of the ramps in Tsaras’ work challenge the actual and symbolic function of the gate as a passage and a threshold that allows the communication between two opposite parts.

Keywords:

Nicosia Symposium

Genti TavanxhiunBeata Rostasn

        Genti Tavanxhiu                                Beata Rostas

Christos Lanitis n Giorgos Moisisn

                  Christos Lianitis                                     George Moisi

Gonzalezn Petre Petrovn

           Xavier Gonzales                                        Petre Petrov

xn Arne Maelandn

Beatriz Carbonell Ferrer             Arne Maeland

Sculpture Symposium in Nicosia

4-16 April 2011

The symposium was organised by The Friends of Fine Arts and Nicosia Municipality, and was funded by the Ministry of Education. Ten sculptors participated from all over Europe:

Agnessa Petrova and Petre Petrov from Bulgaria, Arlindo Arez from Portugal, Arne Maeland from Norway, Beatriz Carbonell from Spain, Beata Rostas from Hungary, Genti Tavanxhiu from Albania, Xavier Gonzalez from France and George Moisi and Christos Lanitis from Cyprus. The sculptors participated after submitting their proposal to the organizing committee. All of them worked with a piece of at least 2 cubic meters local Cypriot stone. All the works are titled as “Untitled”.

After the conclusion of the symposium most of the artworks were located in various parts of Nicosia city. Nicosia Municipality plans the construction of a sculpture park, possibly in part of the ditch outside the Venetian walls of the old city.  

Artist & location in the city:

Arne Maeland: Crossroads Kennedy and Archbishop Makarios III Avenues.Nicosia

Beata Rostas: Archbishop Makarios III Avenue, opposite Hilton hotel, Nicosia

Beatriz Carbonell Ferrer: 34 Demostheni Severi Avenue, in front of the Embassy of    France building, Nicosia

Genti Tavanxhiu: Archbishop Makarios III Avenue, Kaimakli area, Nicosia

Petre Petrov: Presidential Palace Avenue, Nicosia

Xavier Gonzalez: Agiou Andrea Avenue, in front of Evaggelistria Church, Palouriotissa area, Nicosia

Christos Lanitis: Crossroads Nikis and Griva Digeni Avenues, Nicosia

Keywords:

Memorial to the 3rd Company of 211 Infantry Battalion (211 ΤΠ) dead and missing

3ος λόχος 211 ΤΠ Καϊμακλί (3)n

Artist: Nikos Kouroussis

Location: Saint Varvara church, Kaimakli area, Nicosia. Nicosia district

Material: Granite and stainless steel

Dimensions: 2.20 meters x 50 cm x 50 cm

Category: Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative for the memorial was taken by the association of the 3rd Company of 211 Infantry Battalion and the unveiling took place on April 9th 2011.

In contrast to the norm Kouroussis chose an abstract, but symbolic, form for the commemoration. The spiral arrangement of the granite layers adds motion and lightness to the column. Spiral motives throughout civilizations and art history have very distinct and shared symbolisms: The upward, coil motion symbolizes evolution, continuity, the power of life and the concept of endless time. On the other hand, in this case, the end form alludes to the DNA graphic pattern which is a very concrete symbol of biological evolution in time. Shedding all superficial, narrative and destructive visual elements which usually accompany memorials and war memorials in particular, Kouroussis captured the power and the essence of time, life and memory in a simple and minimal form.

Selected sources:
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee) 14.3.01/10, documents September 11, 2005; October 7, 2005.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee) 14.3.01/12, Meeting Minutes June 15, 2006.
~ Αρχείο Δήμου Λευκωσίας (Nicosia Municipality Archive), 06-7.17 document June 6, 2006; Meeting Minutes June 15, 2006.

Κeywords:

The Resolution

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA Ψήφισμα Λήδρας (3)n

Artist: Theodoulos Gregoriou 

Location: Border crossing on Ledras pedestrian, Nicosia. Nicosia district.

Material: Cement and aluminum 

Dimensions: 4.20 meters the diameter x 6 meters in height

Category: Turkish Invasion, Modern sculpture

Photography: Adrienne Christiansen & Evangelia Matthopoulou

The initiative for the artwork was taken in 1992 by the Nicosia Municipality. The Ministry of Education and Culture ran a competition in April and May 1995. Theodoulos Gregoriou won and his work was donated to the Nicosia Municipality by the Cultural Services of the Ministry of Education and Culture on the occasion of the European Cultural Month.

In October 1995 the artwork was placed in front of the National Guard border crossing post at the end of Ledras street. Gregoriou’ work is only meters before the Green Line that divides Nicosia since 1963. 

“The Resolution” is a protest to the violation of human rights. On the round cement basis of approximately a meter in height, part of the text of the Universal Declaration of Human Rights is written in embossed Greek letters. A stack of steel lances diagonally arranged hit the center of the text, symbolically destroying it.

Theodoulos Gregoriou is a renowned contemporary artist with important presence in the international art scene. Because of the proximity to the crossing point his choice was based on the thought that the artwork should insinuate its meaning rather than aggressively state it. His aim was to capture the attention of those passing and engage them in a thought process. 

Selected sources: 
~ Αλήθεια (Alithia), March 29, 1995, p. 2.
~ Αλήθεια (Alithia), October 10, 1995, p. 2.
~ Μάχη (Mahi), August 20, 1995, p. 17. 
~ Σημερινή (Simerini), July 19, 1995, p. 4. 
~ Φιλελεύθερος (Fileleftheros), October 11, 1995, p. 19. 
~ Αρχείο Δήμου Λευκωσίας (Nicosia Municipality Archive), 06-7.8, document December 30, 1992. 
~ Αρχείο Δήμου Λευκωσίας (Nicosia Municipality Archive), 06-7.18, document July 17, 2008.

Keywords:

The shot blasting

Γλυπτό Σφαιροβόλος (1)n Γλυπτό Σφαιροβόλος (8)n

Artist: Aristidis Patsoglou 

Location: Embassy of Greece building, Lord Byron Avenue, Nicosia. Nicosia district

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The statue was donated to the Greek ambassador in Cyprus by the sculptor Aristidis Patsoglou, and was sponsored by the Greek Bank and Efthyvoulos Paraskevaidis. It was placed in 2005.

Keywords:

The poet

Γλυπτό Ο Ποιητής (3)n Γλυπτό Ο Ποιητής (5)n

Artist: Costas Varotsos 

Location: Ammochostos Gate, Nicosia. Nicosia district 

Material: Iron and glass 

Dimensions: 6 meters 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The sculpture was donated by Deste Foundation of Contemporary Art to the city of Nicosia. The president of Deste Foundation, Dakis Ioannou, a Cypriot in origin, is a very well known art collector of contemporary art worldwide. 

The “Poet” was made by Costas Varotsos in 1983, and in 1985 it was placed at Ammochostos Gate, the eastern entrance to the old city close to the Green Line. 

Costas Varotsos, one of the most renowned Greek sculptors of his generation, used glass in order to capture the power of motion, and virtually expand the poet’s presence in the public space. Glass is a characteristic material of Varotsos’ work but the “Poet” was the first work he attempted of this scale. His second attempt was in 1988 when he constructed the “Runner”, located in front of Hilton Hotel and the National Gallery in Athens.

The attempts to locate the “Poet” sculpture at “Ohi” (Όχι, No) square in the old city of Nicosia did not come to fruition. Consequently the artwork was moved and placed in the Ammochostos bastion gardens, a rather isolated and disproportionate spot compared with the Poet’s size and importance. 

Selected sources:
~ Πολίτης (Politis), July 7, 2002, p. 2. 
~ Αρχείο Δήμου Λευκωσίας (Nicosia Municipality Archive), 06-7.12, documents December 6, 2001; January 15, 2002; February 15, 2002; March 26, 2002.
~ Αρχείο Δήμου Λευκωσίας (Nicosia Municipality Archive), 06-7.17, document October 7, 2004. 

Keywords:

Fifty doves

IMG_0983 - Copyn IMG_0983n IMG_0985n

Artist: 50 Cypriot artists 

Location: Limassol Medieval Castle, Richardou & Berengarias St. Limassol district. 

Material: Mixed materials

Category: Modern sculpture 

Photography: Vicky Karaiskou

The project “50 doves” was commissioned by the Cyprus Chamber of Fine Arts (E.KA.TE) and the Limassol Municipality celebrating the 50th anniversary of the Democracy of Cyprus. It was part of the broader cultural events organized by the Press and Information Office. The project made part of the exhibition entitled “Reading the Castle’s history through contemporary works” and was curated by Dr Nantia Anaxagorou.

Keywords:

Memorial to the Latsia dead and missing

Μνημείο πεσόντων και αγνοουμένων Λατσιών (8)n Μνημείο πεσόντων και αγνοουμένων Λατσιών (9)n

Artist: Maro Bartzili 

Location: Latsia Town Hall, Yiannos Kranidiotis Avenue. Nicosia district 

Dimensions: 3 meters x 5 meters 

Material: Brass

Category: Inter-communal conflicts 1963-64, Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative was taken by Latsia COOP Bank in early 2009 and the unveiling took place on December 20th 2009. The memorial is dedicated to those who died during the 1963-64 inter-communal conflicts and the Turkish invasion, and to the 1974 missing.

According to the art competition call: “The artist is required to express the concepts of heroism and the sacrificial spirit of the dead. At the same time an explicit hint to the missing needs to be obvious along with the hope for their return”. 

The wining artist Maro Bartzili proposed a modern synthesis where the distinct geometric elements balance with the human figure in a way that “intense lyricism and softness, motion and immobility coexist”. 

According to her proposal, the monument will invoke “the sacrifice, the strength and courage, along with the hero’s serenity confronting death or captivity [..] On the left hand side two figures, a female and a male, emerge from the material, symbolize the sacrifice, the loss and the wailing for the dead and missing […] The flower like shape they form is reminiscent of the bud that blooms, in the same way sacrifices come into fruition. In this way the two figures symbolize hope, too. The figure on the right hand side makes part of the geometric construction, becomes leverage, the driving force for all the claims for our missing people and their return”. 

The vertical geometric surface bears the names of the dead and missing and functions as a commemorative stele, too. The whole construction uses the wall of the Town Hall as a theatrical backdrop and, unlike most memorials, is placed lower than the ground level in a way that suggests emersion. 

Selected sources:
~ Αρχείο Δήμου Λατσιών (Latsia Municipality Archive), no 75.14:1/2, documents April 22, 2009; March 15, 2010; July 9, 2010.
~ Αρχείο Δήμου Λατσιών (Latsia Municipality Archive), no 75.14:1/1, documents January 15, 2004; April 11, 2007; July 22, 2008; Meeting minutes July 21, 2008.

Keywords:

Memorial to the Kontemenos dead and missing

Μνημείο πεσόντων Κοντεμένου (3)n Μνημείο πεσόντων Κοντεμένου (7)n

Artist: Unknown

Location: Spyros Kyprianou Avenue, Lakatamia. Nicosia district 

Category: Inter-communal conflicts 1958, Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative for the memorial was taken by the community of Kontemenos, currently in the occupied area of Cyprus. The unveiling took place on June 12th 2011.

The falling fighter’s figure, cut in metal plates, imitates the slow motion of a film’s frames. His repeated silhouette composes an eloquent narration which eliminates all the secondary visual items, indispensible and inevitable in a naturalistic composition, thus focusing on the main event: the perishing. The lack of any detail produces an inclusive and symbolic image of actual or metaphorical death. The raised hand alludes to a weapon or, vice-versa, the raised weapon alludes to the familiar spasm of the body that has been shot. This summarizing process adds expressive power to the depicted figure, while the surrounding architecture construction frames it in a plain and clear manner.  

Keywords:

Memorial to the Geri dead and missing

Μνημείο Ηρώων και Αγνοουμένων Γερίου (2)n Μνημείο Ηρώων και Αγνοουμένων Γερίου (5)n

Artist: Christos Lanitis 

Location: Heroes’ square. Geri. Nicosia district

Material: Stone

Category: ΕΟΚΑ 1955-59, Inter-communal conflicts 1963-64, Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative was taken by the Board of Geri Community. The symbol on top of the low pedestal with the names of dead and missing imitates a flame, although in rather abstract and condensed forms. The flame is the symbol of the fragile and transient nature of life, but also reminiscent of the existence and the spirit of the deceased. In Greek commemorative monuments, either in public places or in cemeteries, the flame (or a torch) is placed on pedestals or stele, on the tombs or on low platforms along with other symbols implicit of the identity and the deeds of the deceased. In some cases, short dictums, or more rarely a bust of the dead, or a bas relief with his/her portrait make part of the commemorative place. 

Keywords:

Memorial to the dead Policemen

Μνημείο πεσόντων αστυνομικών (7)n Μνημείο πεσόντων αστυνομικώνn

Artist: George Kyriacou

Location: Police Headquarters, Lemesou Avenue, Aglandjia. Nicosia district

Category: Public Figures, Inter-communal conflicts 1963-64, 1974 Coup, Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The memorial was funded by the Cypriot policemen. It was commissioned in 1968 and was delivered in 1973. The unveiling took place on April 15th 1973.

According to the art competition call it should depict: “the exacerbation of the sacrificial spirit of the dead Policemen”. According to the artist George Kyriacou “the two gigantic hemispheres assimilate to two gigantic police helmets and constitute the basis of the monument. They balance in a subtle way implying policemen’s difficult task to safeguard and keep in balance the counterweighing social and political forces”.

The same symbolisms are attributed to the vertical brass construction.

Selected sources:
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968, Meeting Minutes December 30, 1969.

Keywords:

Memorial to Evaggelos Florakis (Ευάγγελος Φλωράκης) and the National Guard officers

Μνημείο αξιωματικών ΕΦ (πτώση ελικοπτέρου Ιούλιος 2002) (5)n

Artist: Nikos Kouroussis 

Location: National Guard Headquarters, Lemesou Avenue, Aglandjia. Nicosia district

Category: National Guard, Modern sculpture

Photography: Evangelia Matthopoulou

The memorial is dedicated to the five military officers who died on July 10th 2002 in the Bell 206 helicopter crash at Kouklia, Pafos district. The initiative for the memorial was taken in 2004 by the Committee of Police Officers’ Co-operative Bank of Cyprus. The unveiling took place on July 11th 2005. 

Selected sources:
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee) 14.3.01/6, document September 17, 2003; competition call document; Meeting Minutes January 26, 2004.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee) 14.3.01/7, document February 26, 2004.

Keywords:

Memorial to the Greco-Turkish alliance

Μνημείο Ελληνοτουρκικής Φιλίας (4)n Μνημείο Ελληνοτουρκικής Φιλίας (5)n Μνημείο Ελληνοτουρκικής Φιλίας (7)n

Artist: Unknown

Location: Greco-Turkish Alliance Square, Larnakas Avenue, Aglandjia. Nicosia district

Material: Cement and Brick

Category: Inter-communal relations, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative for the monument was taken in 1982 by the committee for Aglandjia environmental improvement. Before Aglandjia became a municipality this committee was the only official authority for Aglandjia area. The decision ignited intense reaction from “Kyriakos Karaolis” nationalist association that took it as “an attempt that undermines the fighting spirit and morally enslaves our people […] The timing for such monuments is unrealistic when the biggest part of Aglandjia fields are occupied”. Equally intense were the reactions of the inhabitants, a large part of which are refugees from the occupied areas, commenting: “If they dare go through the ‘Monument of Disgrace’, we will have no choice but to burn it”.

The unveiling took place in 1983.

Selected sources:
~ Σημερινή (Simerini), August 12, 1983, p. 9.

Keywords:

Material-Time

Μνημείο Ζήνωνα Κιτιέα (1)n Μνημείο Ζήνωνα Κιτιέα (3)n

Artist: Nikos Kouroussis 

Location: The University of Cyprus, 75 Kallipoleos Avenue, Aglandjia. Nicosia district 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork is dedicated to Zenon Kitiefs (Ζήνων Κιτιεύς) and was an initiative taken by the first University of Cyprus graduates of 1996. Zinon (334-363 B.C.) was originally from Kition, a village outside Larnaka city and lived in Athens, where he founded the stoic philosophical school. The unveiling took place in June 1996.

Keywords:

2nd Symposium, Kato Polemidia

Agnessa Petrovan Ali Al Mahmeedn

Agnessa Petrova                       Ali Al Mahmeed

Andrei V. Balashovn Arlindo Arezn

                                  Andrei V. Balashov                             Arlindo Arez

Christos Lanitisn Miguel Islan

                          Christos Lanitis                                                     Miguel Isla

Petre Petrov (2)n Xavier Gonzalezn

                                     Petre Petrov                                             Xavier Gonzalez

2nd Symposium 

October 10-25, 2009

The second symposium at Kato Polemidia was organized by The Friends of Fine Arts and the Kato Polemidia Municipality. It was funded by the Ministry of Education, the Kato Polemidia Municipality and The Friends of Fine Arts. Ten professional sculptors participated after submitting their proposals to the organizing committee. All of them worked with a piece of at least 2 cubic meters local stone. All the works are titled as “Untitled”. 

The participant sculptors were: Agnessa Petrova from Bulgaria, Ali Al Mahmeed from Bahrain, Andrei V. Balashov from Russia, Arlindo Arez from Portugal, Miguel Isla from Spain, Daniel Jones from England, Obai Hattoum from Syria, Xavier Gonzalez from France, Petre Petrov from Bulgaria, Christos Lanitis from Cyprus. 

After the conclusion of the symposium the works by Miguel Isla and Christos Lanitis were placed at Kale Vounari location, with the sculptures from the first symposium. The sculptures by Agnessa Petrova, Ali Al Mahmeed, Andrei V. Balashov, Arlindo Arez, Xavier Gonzalez and Petre Petrov (who participated in both symposiums) are placed at a road junction on Pafou Avenue, in the Kato Polemidia town.

Keywords:

1st Symposium, Kato Polemidia

Antonis Myrodiasn Colin Figuen

                        Antonis Myrodias                                                 Colin Figue

Canan Zonmezdagn Elio Liivn

Canan Sonmezdag                         Elio Liiv

Emil Adamecn Giorgos Moisisn

Emil Adamec                     George Moisi

Petre Petrovn Sergei Lopukhovn

Petre Petrov                                                    Sergey Lopukhov

Simona De Lorenzon Stefania Palumbon

Simona De Lorenzo                                    Stefania Palumbo

1st Symposium 

October 6-18, 2008

The first symposium at Kato Polemidia was organized by the Cyprus Chamber of Fine Arts and Christos Lanitis, who represents the International Association for Monumental Sculpture Events (AIESM). It was funded by the Ministry of Education, the Kato Polemidia Municipality and The Friends of Fine Arts. Ten professional sculptors participated after submitting their proposals to the organizing committee. All of them worked with a piece of at least 2 cubic meters local stone. All the works are titled as “Untitled”. 

The participant sculptors were: Colin Figue from England, Emil Adamec from Czech, Sergey Lopukhov from Russia, Elio Liiv from Estonia, Canan Sonmezdag from Turkey, Stefania Palumbo from Italy, Antonis Myrodias from Greece, Simona De Lorenzo from Italy, Petre Petrov from Bulgaria, George Moisi from Cyprus.

After the conclusion of the symposium all the artworks were placed at Kale Vounari location, a hill slope outside Kato Polemidia town. The area is arranged as a public park. 

Keywords:

Understanding, Solidarity and Fellowship

Γλυπτό Κατανόηση, Αλληλεγγύη και Συναδελφοσύνη (3)n Γλυπτό Κατανόηση, Αλληλεγγύη και Συναδελφοσύνηn

Artist: Philippos Yiapanis 

Location: Archbishop Makarios III and Grigoris Afxentiou Avenues, Mesa Geitonia. Limassol district

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was commissioned by the Limassol-Amathounta Lions Club. 

Keywords:

Twinning

Γλυπτό Διδυμοποίηση (5)n Γλυπτό Διδυμοποίηση (10)n

Artist: Philippos Yiapanis

Location: Triandrias (Triumvirate) square, Mesa Geitonia. Limassol district

Category: Modern sculpture, International relations

Photography: Evangelia Matthopoulou

The work was commissioned by the Mesa Geitonia Municipality on the occasion of its twining with Triandrias (Triumvirate) Municipality of Thessaloniki, Greece. The unveiling took place on April 10th 2009.

Yiapanis’ characteristic fluid shapes are applied here in the forms of two birds. Their naturalistic features gave way to two abstractive forms which underline sameness through the repetition, and preserve the artist’s familiar upwards motion of his artworks.

Keywords:

Untitled

Γλυπτό Γυναίκας (5)n Γλυπτό Γυναίκας (9)n

Artist: Philippos Yiapanis 

Location: Fasoula. Limassol district

Dimensions: 109 cm x 54 cm x 54 cm (the pedestal)

Category: Modern sculpture 

Photography: Evangelia Matthopoulou

The artwork was commissioned by the Fasoula community board and it was placed in 2010. An identical work of Yiapanis is located on Nissi Avenue, at Agia Napa, Ammochostos district.

Keywords:

Petreon sculpture park

Ancient theater & tragedians n Grigoris Afxentiou n

Monument to April 1st, 1955 n

Mother with eight children n

Petreos n

Siamese n

Artist: Savvas Koulendros 

Location: Mazotos, Savvas Koulendros’ private property. Larnaka district.

Material: Stone from Kivides, Lympia and Xylofagou

Category: Modern sculpture

Photography: Evangelia Matthopoulou

 Petreon open air park is a privately owned park, open to public on appointment. The name of the park comes from the Greek word “petra” (stone) and refers to the material used for all the artworks. Savvas Koulendros is a self-taught sculptor. For more information visit www.petreonsculptures.com

Keywords: 

Hephaestus statue

OLYMPUS DIGITAL CAMERA

Artist: Vasilis Kattos 

Location: Technical School of Nicosia, Aglandjia. Nicosia district.

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The statue was commissioned by the Aglandjia Technical School, with the initiative of the students of 1983-1984 class.

Keywords:

Rainbow – Uplift

Γλυπτό Ουράνιο Τόξο- Ανάταση (4)n Γλυπτό Ουράνιο Τόξο- Ανάταση (15)n

Artist: Nikos Kouroussis

Location: Kolokasidis roundabout, Agios Dometios. Nicosia district.

Category: Turkish Invasion, Modern sculpture

Photography: Evangelia Matthopoulou

The initiative for the art piece, which would symbolize Cypriot peoples’ will for freedom and resistance, was taken and realized in 1975 by the artist Nikos Kouroussis.

Contrary to the norm and the aesthetics of the monuments which refer to political events, Kouroussis worked in an abstract synthesis: A number of interlocking rings are diagonally arranged among them in a way to cover the entire roundabout area. According to a 2005 document the symbolical intension of the work was to promote the Olympic spirit ideals of friendship, peace, cooperation and reconciliation. In 1997-98 the necessary restoration works, due to the gradual erosion over time, ignited controversial discussions on the necessity to keep or remove the artwork altogether.

Selected sources:
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/3, Meeting Minutes November 27, 1975.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee), 14.3.01, document June 1, 2001.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee), 14.3.01/5, document February 25, 2003.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee), 14.3.01/10, document July 25, 2005.

Keywords:

Memorial to the Armenian Genocide

Μνημείο Αρμενικής Γενοκτονίας (1) n

Μνημείο Αρμενικής Γενοκτονίας (12) n  Μνημείο Αρμενικής Γενοκτονίας (14) n

Artist: Giorgos Kalakallas 

Location: Larnaka marina, Finikoudes beach walk, Athinon Avenue. Larnaka district. 

Material: Brass and granite 

Category: Armenians, International relations, Inter-communal relations, Modern sculpture

Photography: Evangelia Matthopoulou

The monument marks the place where Armenian refugees, fleeing persecution during the “Armenian massacres” or “Great Crime” of 1915, first landed in Cyprus. According to the plaque inserted on the nearby wall “It represents the gratitude of the Armenian nation towards the people of Cyprus for their assistance and generosity to those refugees and stands in memory of the countless victims of the Armenian genocide”. 

The creation of the memorial was a joint effort on part of Cyprus and Armenia. It was initiated by the Armenian Representative in the Cypriot parliament Bedros Kalaydjian and funded by Cyprus government. The unveiling took place on May 28th 2008. 

Selected sources:
~Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee) 14.3.01/9, document May 19, 2005; July 19, 2005.

Keywords:

Gulls

Γλυπτό Γλάροι (6) n Γλυπτό Γλάροι (8) n

Artist: Theodoros Papayiannis

Location:  Evropis (Europe) square, Athinon Avenue, Larnaka. Larnaka district. 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The artwork was commissioned in 1995 and was funded by the Larnaka and the Larnaka-Kition “Rotary” clubs as well as by individual contributors. The unveiling took place in May 1996. It is located on the city’s beach walk, the most populated Larnaka location.

Selected sources:
~Απογευματινή (Apogevmatini), July 25, 1994.
~Μάχη (Mahi), May 16, 1996.
~Χαραυγή (Haravgi), February 4, 1996.

Keywords: 

Hourglass

P1090233 n  

P1090234 n

P1090236 n P1090239

Artist: Theodoulos Gregoriou

 Location: International Larnaka Airport front entrance. Larnaka district.

 Material: Stainless steel, aluminum, LEDs

 Category: Modern sculpture

 Photography: Evangelia Matthopoulou 

Theodoulos Gregoriou is the only artist among the nine who worked on the Larnaka airport project to have his works (Hourglass and Cells) outdoors. Hourglass was installed in 2009 and measures “time through civilization where the past meets the future”. The steel cones are reminiscent to the cypress trees, closely connected with afterlife in the Greek tradition. The three steel heads, two male and one female squeezed between the mass of the cones, are emblematic of respective periods of ancient Greek art.

Selected sources:
~ Toumazis, Yiannis. 2009. Sense of Place. Nicosia.

 Keywords:

Memorial to the Athienou dead

Μνημείο πεσόντων κατά τους εθνικούς αγώνες (1)n

Μνημείο πεσόντων κατά τους εθνικούς αγώνες (5)n Μνημείο πεσόντων κατά τους εθνικούς αγώνες (6)n

Artist: George Kyriacou 

Location: Panagia Chryseleousa church yard, Athienou village. Larnaka district. 

Material: Bronze 

Category: EOKA 1955-59, Modern sculpture

Photography: Evangelia Matthopoulou

The memorial was constructed after an initiative by Major Panayiotis Koumenis between 1970 and 1984. No further information regarding dates is available. The names of the dead are carved on the marble pedestal. What differentiates this memorial from the vast majority of commemorative locations in Cyprus is the modern, abstract sculpted form on the top of the pedestal, where usually national symbols or allegoric features, such as the victory or liberty, are usually placed. Nevertheless the pedestal per se, and furthermore its height, implies respect and authority, underlines the ‘distance’ between the viewers and the object in vision, and obliges them to raise their heads in order to take a close look. 

Keywords:

Machairas commemoration place

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA

Ομοίωμα Ολοκαυτώματος Γρηγόρη Αυξεντίου (7)n Ομοίωμα Ολοκαυτώματος Γρηγόρη Αυξεντίου (12)n Ανδριάντας Γρηγόρη Αυξεντίου (2)n Ανδριάντας Γρηγόρη Αυξεντίου (25)n

Photography: Adrienne Christiansen & Evangelia Matthopoulou

Grigoris Afxentiou (Γρηγόρης Αυξεντίου) statue

Machairas Golden Eagle

“Threshing floor and Machairas’ Eagle” Memorial 

All three memorial pieces are dedicated to Grigoris Afxentiou, one of the most renowned EOKA 1955-59 fighters. Georgios Grivas (known by the nickname Digenis) personally recruited Afxentiou counting on the invaluable experience he had as a lieutenant in the Greek army, where he served between the years 1948 and 1952. Afxentiou was killed, trapped in his hideout in Machairas area, Troodos Mountain, after a long battle. The British soldiers burned the cave he was hidden in, after his refusal to surrender.

Today, his hideout, close to the monastery, is restored and serves as pilgrimage for Cypriots. It is not known at what point the nickname “Golden Eagle of Machairas” was attributed to Afxentiou. A version points to Georgios Grivas who supposedly called him “Golden Eagle of Pentadaktylos”. The golden eagle’s (Aquila pennata or Hieraaetus pennatus) natural environment is Pentadaktylos Mountain (in the occupied part of the island), where a certain area is also known as “aetofolia” (eagle’s nest). However, the inscription “Golden Eagle of Machairas” which decorates the pedestal of his bust at the Memorial to the Lakatamia dead and missing (Nicosia district), explicitly links the nickname with his extensive activity at Machairas and not at Pentadaktylos. 

In February 2006 a museum was inaugurated at Machairas, dedicated to his life and deeds. The material used for all three pieces listed here is brass.

The initiative of Grigoris Afxentiou statue was taken by the artist Nikolaos Kotziamanis and Archbishop Chrisostomos A’, and funded by the Cypriot Church. The oversized statue (7.5 meters in height, initially planned to reach the 20 meters) is placed on a plateau adjacent to Machairas monastery. The unveiling took place on March 1st 1992. According to Kotziamanis it is aspired to “become a universal symbol of freedom and fighting spirit”. 

George Kyriacou was the artist who created the golden eagle, an abstractive sculpture of 7 x 7 meters, and the “Threshing floor and Machairas’ Eagle” memorial. 

The initiative for the Golden Eagle sculpture was taken in 1971 by the Cypriot Federation of Reserve Officers (POEA/ΠΟΕΑ), the Cypriot Workers Confederation (SEK/ΣΕΚ), and the Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle (SIMAE/ΣΙΜΑΕ). The unveiling took place on March 2nd 1997. 

The “Threshing floor and Machairas’ Eagle” memorial is reminiscent of his burned body in life size. Placed in the middle of a circle 12 meters in diameter, paved with marble, it attempts an explicit and implicit reference to the mythical iconic hero of Greek tradition, Digenis Akritas, who legendarily fought with death at the “threshing floors”. 

The historic events ignited an abstract, expressionistic formulation of the deformed body, which lie almost dismembered on the bare stone. The textures of the brass further underline the contrast between the materials and the wildness of the natural environment, exacerbating the dramatic feelings.   

The initiative for this memorial was taken in 1997 by the Cypriot Federation of Reserve Officers (POEA/ΠΟΕΑ), the Associations of EOKA fighters, and the Cypriot Workers Confederation (SEK/ΣΕΚ).

The Cypriot Chamber of Fine Arts expressed its’ strong opposition with regard to the oversize scale of the statue. Through the press its’ members argued that it is “of barbaric nature and alien to the historical greatness of Greek art”, implying the physical scale of all ancient Greek art and architecture. The family of the dead fighter strongly supported the artist’s proposal and thus, the project was concluded.

The Golden Eagle and the monastery panoramic images are courtesy of Dr. Adrienne Christiansen. 

Selected sources:
~ Αγών (Agon), August 4, 1972, p. 3. 
~ Αλήθεια (Alithia), January 28, 2009. 
~ Μάχη (Mahi), January 29, 2009, p. 12.
~ Σημερινή (Simerini), March 24, 1983, p. 3.
~ Φιλελεύθερος (Fileleftheros), August 24, 1979, p. 4.  
~ Φιλελεύθερος (Fileleftheros), October 28, 1989, p. 12.
~ Φιλελεύθερος (Fileleftheros), November 1, 1989, p. 18. 
~ Φιλελεύθερος (Fileleftheros), November 12, 1989, p. 6
~ Φιλελεύθερος (Fileleftheros), November 16, 1989, p. 6.
~ Φιλελεύθερος (Fileleftheros), January 30, 1990, p. 10.
~ Χαραυγή (Haravgi), June 30, 1971, p. 8.
~ Χαραυγή (Haravgi), August 4, 1972, p. 1.
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/9, document May 19, 1970. 
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/13, document August 2, 1995. 
~ Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle, 17.1.2002, vol. 1-2, documents October 1, 2002; February 22, 2002; February 2, 2009; Meeting Minutes January 12, 2006; June 26, 2008; November 6, 2008; January 29, 2009.
~ Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle, 17.94.7, vol. 7, document March 15, 2005. 
~ Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle, 17.2009.10, document February 25, 2009; Meeting Minutes February 12, 2009.
~ Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle, 17.2009.11, document May 12, 2009.

Keywords:

Memorial to the EOKA 1955-59 fighters

Μνημείο πεσόντων αγωνιστών ΕΟΚΑ 55-59- Δίπτερο Νίκης (3)n

Μνημείο πεσόντων αγωνιστών ΕΟΚΑ 55-59- Δίπτερο Νίκης (7)n Μνημείο πεσόντων αγωνιστών ΕΟΚΑ 55-59- Δίπτερο Νίκης (4)n

Artist: George Kyriacou 

Location: Entrance of Kakopetria village. Nicosia district

Material: Bronze 

Dimensions: 151 cm x 79 cm x 79 cm

Category: EOKA 1955-59, Modern sculpture

Photography: Evangelia Matthopoulou

The figure is also known as Victory. The implied male fighter is alluded to through the abstract lines and volumes of the sculpture, while the curvy wings could also insinuate a shield, depending on the point of view of the viewer. What is notable in this memorial is the level of abstractness in its forms and volumes, which is remarkably rare in Cypriot memorials and commemorative notions in general. 

The memorial was commissioned by SIMAE (Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle), Kakopetria Community Committees, a private committee for the monument and the Cypriot Workers Confederation (SEK/ΣΕΚ). The unveiling took place on June 27th 1993. 

Keywords:

Panayiotis Toumazos (Παναγιώτης Τουμάζος) statue

Ανδριάντας Παναγιώτη Τουμάζου (5)n

Ανδριάντας Παναγιώτη Τουμάζου (13)n

Artist: George Kyriacou 

Location: Area “Saranta-Mili” (40th-Mile), Kakopetria-Troodos road. Nicosia district. 

Material: Bronze 

Category: EOKA 1955-59, Modern sculpture

Photography: Evangelia Matthopoulou

With the exception of the archaic helmet and the shield, and unlike the commemorative tradition in Cyprus, the figure is depicted in a remarkably abstract way, as an ideogram of all male fighters. However, the visual reference to these two items, secure the respect to the ancestral tradition, balancing the bold aesthetic result of the statue.

The statue was commissioned by SIMAE (Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle), the Kakopetria Community Committee, a private committee for the memorial and the Cypriot Workers Confederation (SEK/ΣΕΚ). The unveiling took place on June 27th 1993. 

Keywords: 

Monument to Memory and Honor

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA Μνημείο ΕΟΚΑ 1955-59, Ανδριάντας Γρίβα (8)n Μνημείο ΕΟΚΑ 1955-59, Ανδριάντας Γρίβα (17)n

OLYMPUS DIGITAL CAMERA  old location

Artists for the Monument for Memory and Honor: 

Sculptor: Nikos Kouroussis, Architect: Margarita Danou

Artist for Georgios Grivas (Γεώργιος Γρίβας) statue: 

Theodoulos Theodoulou

Artist for the reliefs: Evangelos Moustakas

Artist for the paintings: Andreas Makariou

Location: Chlorakas coast, Agios Georgios/Alyki location. Pafos district.

Dimensions: 14 meters, + 1.5 meter the stainless steel rays of the Monument

2.5 meters the Grivas statue

Category: EOKA 1955-59, Modern sculpture

Photography: Adrienne Christiansen & Evangelia Matthopoulou

The initial planning and the meetings for the construction of an extensive memorial area started in 1993 among SIMAE (Board for the Historical Memory of the EOKA 1955-59 struggles), Chlorakas community and the EOKA 1955-59 Fighters’ Union. The memorial area commemorates two historical events. The first is the arrival of Georgios Grivas (known as Grivas Digenis) at Chlorakas on November 11, 1954 with a view to organize and lead EOKA (National Organization of Cypriot Fighters) guerilla struggle. The second is the capture of “Agios Georgios” boat by the British soldiers on January 25, 1955. The arrangement of the place would include the already existing small museum where “Agios Georgios” boat was kept. The artistic proposals were submitted to the special committee SIMAE created for this specific reason.

Kouroussis’ Monument to Memory and Honor was placed at the exact place where George Grivas disembarked marking the start of EOKA struggle. According to the artist’s initial description, the two pillars, made of cement and coated with bronze, originate from the shape and symbolic function of a belfry – as a call to arms – while the stainless steel rays on the top would depict a ship. His proposal was promoted in November 1996 as the most appropriate of all submissions for consideration. Nevertheless during the process of the construction the ship depiction was abandoned by Kouroussis and the abstract arrangement of rays took its place. The unveiling of the Monument took place on November 26th 2000.

Georgios Grivas statue was commissioned by SIMAE; the General Georgios Grivas Digenis Foundation; and the EOKA 1955-59 Fighters Union. It is an exact copy of Georgios Grivas’ statue at Limassol, made by the same artist, Theodoulos Theodoulou. The unveiling took place on November 26th 2000.

The statue was initially placed in front of the Monument to Memory and Honor. After intense protests by the artist Nikos Kouroussis and the architect Margarita Danou, it was moved and placed close to the nearby commemorative wall.

The reliefs on the commemorative wall that connect the monument with the museum are sculpted on white marble by the Greek sculptor Evangelos Moustakas. They narrate the arrival of Grivas, the weapons’ transportation and the capture of “Agios Georgios” boat. They were commissioned by SIMAE and the EOKA 1955-59 Fighters Union.

After its capture, “Agios Georgios” boat was sold by the British in 1960 in an auction. The Mayor of Pafos, following Makarios’ III instructions, bought the boat and placed it in a covered area, constructed for that purpose. This initial construction was renovated and expanded in 1994 and, again, in 2000. Today it is named ”Agios Georgios Boat Museum”. In addition to the boat, inside the museum remnants of the guerrilla guns and ammunition are displayed, while black and white photographs of EOKA fighters decorate part of the walls around the boat. The paintings on the walls follow a distinct aesthetic of socialist realism and capture such symbols as the Greek flag and the cross; figures of the crew; “Agios Georgios” boat; “Sirin” ship (with which Georgios Grivas arrived in Cyprus in November 1954); and stylized scenes of the debarkation.

Approximately 200 meters from Alyki location where Georgios Grivas disembarked in 1954, Zina Kanther built a small chapel dedicated to Saint George. The Diocese of Pafos commissioned the frescoes made by George and Alexander Konstantinidis.

Selected sources:
Φιλελεύθερος (Fileleftheros), August 26, 1993, p. 17.
~ Φιλελεύθερος (Fileleftheros), June 14, 1996, p. 16.
~ Φιλελεύθερος (Fileleftheros), July 5, 1996, p. 11.
~ Φιλελεύθερος (Fileleftheros), November 10, 1998, p. 2.
~ Φιλελεύθερος (Fileleftheros), November 27, 2000, p. 10.
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/13, Meeting Minutes November 8, 1995.
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/14, Meeting Minutes May 3, 1996.
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/16, Meeting Minutes February 25, 1998.
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/18, document December 11,1998.
~ Αρχείο Συμβουλευτικής Επιτροπής Μνημείων Υπουργείου Παιδείας & Πολιτισμού (Advisory Monuments’ Committee), 14.3.01/5, document February 27, 2003.
~ Ιστορικό Αρχείο ΣΙΜΑΕ (Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle), 17.2008.9, documents January 11, 2008; June 6, 2008; Meeting Minutes May 13, 2008.
~ Ιστορικό Αρχείο ΣΙΜΑΕ (Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle), 17.2009.10, document April 16, 2009; Meeting Minutes April 26, 2002; April 9, 2009; May 7, 2009.
~ Ιστορικό Αρχείο ΣΙΜΑΕ (Historical Archive of the Board for the Historical Memory of the EOKA 1955-59 struggle), 17.2009.11, documents May 12, 2009; June 12, 2009; October 27, 2009.

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Memorial to Pafos dead during the Second World War

Πεσόντες Εθελοντές Πάφου Β ΠΠ (6)n

Artist: Aghela Sofokli 

Location: Georgios Griva Digeni Avenue, Pafos Municipality. Pafos district.

Material: Stone

Category: War Volunteers, Modern sculpture

Photography: Evangelia Matthopoulou

In March 1994 the Cyprus Veterans’ association World War II submitted a request to Pafos Municipality with regard to the construction of a memorial dedicated to all those who died during World War II.

In October 1994 the Veterans’ association established and announced the 11th of November as the day for commemoration of the dead of both World Wars. The request for the memorial was granted a year later by the Municipality authorities and the unveiling took place on June 15th 1997.

Selected sources
Φιλελεύθερος (Fileleftheros), March 2, 1996, p. 20. 
~ Αρχείο Δήμου Πάφου (Pafos Municipality Archive) 8.1991, documents March 4, 1994; April 17, 1995.

Keywords:

Past presence

Γλυπτό Past Presence (2)n Γλυπτό Past Presence (3)n

Artist: Helene Black

Location: Pafos International Airport

Material: Steel, metallic auto paint, granite, fluorescent lights 

Category: Modern sculpture

Photography: Evangelia Matthopoulou

The work was commissioned in 2008 by the Hermes Airports and is installed at the entrance to Pafos airport. 

The metallic, two dimension cruciform female figures are originated from the picrolite figurines dated in the Chalcolithic period of the island (approximately 3.500-2.400 B.C). Following the shapes of their original prototype, Helene Black’s figurines are geometric, built on clear vertical and horizontal lines, indicating their particular features with cuts in their metallic surface. The picrolite Chalcolithic figurines symbolized fertility and a considerable number of them were found in the area of Palaipafos, nearby the airport, where one of the most celebrated Afrodite’s sanctuaries was located. Hence, it is believed that over time they developed into the cult of Aphrodite, goddess of fertility, too. 

Selected sources:
~ Toumazis, Yiannis. 2009. Sense of Place. Nicosia.

Keywords:

Architectural and artistic intervention at the entrance of Museum of Maritime Life

1n 2n 3n 4n

Architect: Zinon Sierepeklis

Location: Museum of Maritime Life, Agia Napa. Ammochostos district. 

CategoryModern sculpture

Photography: Evangelia Matthopoulou

The museum has been created in collaboration with Pierides Foundation.

Keywords:

Freedom message to the world

2n

3n 1n

Artist: Philippos Yiapanis

Location: Cavo Greco, Agia Napa. Ammochostos district. 

Material: Brass and stainless steel 

Dimensions: Approximate height: 3.60 meters

Category: Modern sculpture

Photography: Evangelia Matthopoulou

On September 8th 1999, Phillipos Yiapanis submitted to the Agia Napa Municipality authorities his thoughts with regard to the sculpture he had already proposed. Part of the project description is phrased as follows: 

“The birds will be facing east, welcoming the new millennium. They are arranged in an ascending form, symbolizing the sun’s path. This rising line could also symbolize Agia Napa’s growth. The sphere is an allegory of earth […]. The lamina symbolizes the wave (the sea) and the birds, coming from the sea, are sitting on the waves”.

On the dedicatory plaque, on the basis of the artwork, Yiapanis notes: “From Cyprus, to the World. From Earth, to Eternity. Message of Peace, Friendship, Freedom. Belief to God and to Man. 1/1/2000 A.C.”.

Selected sources
~ Κρατικό Αρχείο Κύπρου, Αρχείο Πολιτιστικών Υπηρεσιών Υπουργείου Παιδείας & Πολιτισμού (State Archive of Cyprus): 268/1968/19, documents September 8, 1999; September 14, 1999.

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