Two sculptures are standing side by side on the terrace of the MOMus-Museum Alex Mylona, a neoclassical residence of the early 20th century. Two works by Alex Mylona, Kouros and Kore, in a rhythmic interaction of lines, structures and shapes. The sculptor encapsulates the forms of archaic sculptures and transforms them creatively, with a unique sense of geometry and volume. Two solitary bodies dominate the city's horizon and converse under their secret codes. Two bodies-houses, locked in their own, lyrical, isolation. [Alex Mylona, Kouros, 1997, marble, 132 x 39 x 31 cm Kore, 1997, marble, 128 x 35 x 25 cm, MOMus-Museum Alex Mylona]

Still a student at the National Technical University of Athens, but having already apprenticed with Tsarouchis (the year he took part in the first post-war Panhellenic Exhibition and shortly before starting his great career in architecture), Kosmas Xenakis continues to be fascinated by music and interior of the house: not only for the architecture of the home space, but for the sound of the piano that fills the architectural space and changes the emotional landscape of the times and the figures that look towards us. [Kosmas Xenakis, “The piano”, 1948, tempera on fabric, 958,8x73,9 cm, Donation of Alexander and Dorothy Xydis to MMCA, MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

The family hearth is a place where one can weigh, even with closed eyes, the past and present of generations, the personal and the collective in the narrow social nucleus, where the self and its idol learn to converge or diverge, where a selfie can potentially become a field to recollect unresolved affairs. [Katerina Tsakiri, From the series "Family Affair", 2014-2015, MOMus-Thessaloniki Museum of Photography]

This youthful drawing depicts the view of houses Liubov Popova saw from her window when she was sixteen. The representation of the buildings seen, as she mentions, ‘from the apartment on Mitninskaya Street alongside the river’ in St. Petersburg, records the young artist’s impressions of the urban landscape of the Russian capital, which Popova visited with her family after they had moved to Moscow from Yalta in 1906. The young painter realizes that the view from the window to the big city offers powerful images that embody the intricacies of human life, images completely different from those of nature. [Liubov Popova, “View from my window onto houses”, 1906, MOMus-Museum of Modern Art-Costakis Collection]

“The white marble from the Dionysus quarries is the material which I use, and which best expresses me today. Simple, but full of light and life, it has an autonomous quality. Complicated forms do not suit it;they would hide its beauty. Clear, plain lines, such as the circle, the semicircle, the square, the rectangles have always been what one might call “symbolic” shapes. What has always played a dominant role in my work is synthesis, with instinct as its guiding forces”. Alex Mylona, 1986 [Alex Mylona, Cyclades II, 1984, Marble, 105x90x30cm, MOMus - Museum Alex Mylona]

It may be April 1st. It’s definitely five past three. The title of the work of Apostolos Georgiou signals, with almost detective precision, the time. A time, which painting freezes. A time, which may imply either the absence of any event or the presence of an event that we are unaware of, even of it’s a crime. The markers of this watch are created by human bodies, which intertwine, carrying one another. In this state of stability and insecurity at the same time, reality is defined not only by individuals and events but also by their psychological weight. [Image: Apostolos Georgiou, “Five past three”, 2006, acrylics on canvas, 260x230 cm, Donation of the artist to the Macedonian Museum of Contemporary Art, MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art & State Museum of Contemporary Art Collections]

The civil war in Russia (1918-1920) found Solomon Nikritin trying to escape from Ukraine to Moscow in order to survive. He managed and in 1920 he entered the VKHuTEMAS Higher Artistic and Technical Studios, where he studied art. His early drawings capture the scary memories of War. Nikritin said: “What I have painted here is fact, reality and truth. The attitude of each figure was made from the sketch of a concrete person, caught in the moment of a concrete, real situation. My intention has added nothing, exaggerated nothing, lessened nothing, symbolized nothing. All this I say myself and so it was”. [Solomon Nikritin, from the ‘Memories of War’ series, c. 1924, MOMus - Museum of Modern Art-Costakis collection]

A house’s interior is usually structured on the base of personal taste, of the current or a former tenant, in order to serve a condition of functionality, stability, security. In this staged self-portrait Vassilis Constantinou focuses through such an environment somewhere vaguely outside the curtain, as an observer on the line of an existent as well as psychological limit. How defensive can we become safeguarding the limit between the inside and the outside? How available are we to feel what is going on outside the closed circle, outside tradition, outside the frame, outside the constructed Cavafian “walls”? To what extent have we finally ignored the capability of photography, that seems destined to serve the faithful representation of the real, to outline also internal transition, turbulence and doubt? [Vassilis Constantinou, Untitled, 2015, From the series "Family Frames", MOMus-Thessaloniki Museum of Photography]

An installation with many notebooks and other objects emerged from the workshops conducted by the artist Dimitris Ameladiotis in the women's and men's departments at the 3rd Thessaloniki Second Chance School in Diavata in the spring of 2019. The concepts elaborated there concerned the words “circle”, “skein”, "cube","nest","sun". Among the notebooks, that of Amalia, a prisoner. [Image: Amalia's notebook page] [From the exhibition "Honorable Outlaws - Face. Freedom. Silence" at MOMus -Experimental Center for the Arts]

Can words express the size of our emotions? How can our actions highlight the significance and the range of events? The Greek sculptor Alex Mylonas (1923-2016) illustrates the word LOVE, creating a great work in public space. Four white elements compose the sculpture entitled "LOVE" (1986, iron, 270X300 cm), located outside the MOMus - Μουσείο Σύγχρονης Τέχνης / Museum of Contemporary Art, inside the TIF-HELEXPO fair grounds. Three capital letters are presented in their entirety, while the letter P (Π in greek) is implied, as it is formed by the vertical sides of the other letters. No matter how you attempt to 'read' the work, it is sure to signify the profound human nature of the work of the creator, as she has said, "life does not fit into the work of art, it is found, it exists within it". [Alex Mylona, LOVE, 1986, iron, 270X300 cm, MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]