https://hdl.handle.net/123456789/58 Tue, 26 May 2026 05:29:05 GMT 2026-05-26T05:29:05Z https://hdl.handle.net/20.500.14279/36148 Title: Post-fire flood hazards: Integrated modelling, protection measures, economic and policy implications Authors: Nisiforou, Olympia A.; Koundouri, Phoebe; Alamanos, Angelos; Papaioannou, George; Markogianni, Vassiliki; Varlas, George; Basheer, Mohammed; Nagkoulis, Nikolaos; Plataniotis, Angelos; Wise, Russell M.; Xenarios, Stefanos; Papadopoulos, Anastasios; Dimitriou, Elias Fri, 01 Aug 2025 00:00:00 GMT https://hdl.handle.net/20.500.14279/36148 2025-08-01T00:00:00Z https://hdl.handle.net/20.500.14279/35890 Title: SIMONIS, SIMONIS: Nostalgia for signifiers of what never was Authors: Panayides, Omiros Description: This exhibition showcases works of the engraver/designer Kostas Simonis (b. 1901) and the graphic designer Giorgos Simonis (b. 1934), a father and a son, from the 1930s to the 1990s: drafts that never saw the light before, finished designs, product maquettes, tools, and photographs from their archive. Sat, 29 Nov 2025 00:00:00 GMT https://hdl.handle.net/20.500.14279/35890 2025-11-29T00:00:00Z https://hdl.handle.net/20.500.14279/35884 Title: Η Επιστήμη και η Μουσική ως Αλληλένδετοι Τομείς Authors: Menelaou, Melita Sat, 08 Mar 2025 00:00:00 GMT https://hdl.handle.net/20.500.14279/35884 2025-03-08T00:00:00Z https://hdl.handle.net/20.500.14279/35881 Title: Contested Desires: Constructive Dialogues, Research Centre for Museums and Galleries (RCMG) Authors: Pericleous, Vicky Abstract: Introduction This report sets out to provide background research of direct use to the Contested Desires: Constructive Dialogues consortium. Contested Desires: Constructive Dialogues responds creatively to the legacies of European colonisation and the politics of division evident across Europe through a deep recognition of the potential of museums and heritage to become sites where complex questions of culture and identity can be hosted, framed and explored in ways that are inclusive, accessible and productive. Contentious collections and sites are central to this endeavour as project lead ECCOM (2024) sets out: ‘The most important outcome of the project will be to provide heritage professionals with methods, resources and – above all – the confidence to use contested heritage as a focus for constructive, democratic dialogue that reflects the best of European values and contributes to reconciliation across the divisions of the past’. 22 artists from 11 countries will work with heritage partners and local communities to respond to specific contentious collections and sites and generate new artworks, exhibitions, workshops and events. Contested Desires: Constructive Dialogues has, at its heart, an ambition to be a driver of innovation and change, generating new interpretations and relationships and driving inclusive transformation in both the partner heritage organisations and amongst participating groups and communities. Led by discussions at the Contested Desires: Constructive Dialogues kick-off meeting in Rome in January 2024, the report provides background research on: ● key terminology and the conceptual framings of ‘decolonising’ and ‘decoloniality’ in European museums; ● the role of art and artists in generating meaningful dialogue amongst visitors and stakeholders related to contested collections, histories and identities; ● wide-ranging examples of arts-led and arts-centred decolonising practices focused on collections and from a range of lineages of socially engaged art; ● RCMG’s work on ethical frameworks and how this method could support Contested Desires: Constructive Dialogues collaborations; ● RCMG’s work on evaluation and the ways that an emphasis on decoloniality and collaboration will impact what is evaluated and why. Description: 9. UNCOVERED, Nicosia International Airport, 2011, Nicosia, Cyprus. Initiated by Vicky Perikleous. Image credit: Vicky Perikleous, Neither too Far, Not too Close, 2011. Installation, 1-Channel Video/Collage/footage from camera attached on a balloon, 2-Channel Audio, left. Installation at Nicosia International Airport, 2011, right. Description: Uncovered is an art project that took place in Cyprus (2010-13) and was initiated by artist Vicky Perikleous. Focused on making disused public spaces public once again and drawing attention to the spatial logics of control in a country continuing to experience enforced division and high levels of control, the project centred around the site of Nicosia International Airport. When the island of Cyprus was divided in 1974 and a UN buffer zone was put in place, the Airport became inaccessible to residents of the island. By 2011, it had been under the control of the UN for 37 years and was used primarily as the headquarters for the UN peacekeeping force on Cyprus. Focused on raising questions about mechanisms of social control and awareness of the ongoing division and military occupation of Cyprus, the project, which ran for three years, was formally proposed to the UN as part of the peace- keeping process. It involved the commissioning of eight art projects from Greek Cypriot and Turkish Cypriot artists and an exhibition curated by Greek Cypriot Pavlina Paraskevaidou and Turkish Basak Şenova (Şenova 2012). The work also involved guided tours, a symposium and a book. As Şenova (2012) writes: ‘The buffer zone was the natural location for an international (but also bi-communal) event, as it designates a 'non-place' or 'less-place', to use Marc Augé's term It is also considered to be the only place on the island that is politically/ideologically/culturally 'neutral'.’ For Uncovered’s first project, artist Andreas Savva placed replica airport seats at the Ledra/Lokmaci crossing in the buffer zone as a reference to waiting and anticipating the reunification of the country; ‘waiting to board their flight who seem to have been forgotten by history’ (Şenova and Paraskevaidou 2011: 53). ‘Waiting Lounge’ (2011) reworked the spatial and social relations of the crossing - altering the function of the crossing from a space of transit to a more public space where people could spend time - the work drew attention to the ongoing division and occupation of Cyprus and provided a vantage point from which to reflect on the established ways of using the Ledra/Lokmaci crossing. The crossing would soon become a focus for Occupy Buffer Zone, the occupation of the buffer zone by protesters calling for reunification. The exhibition of works eventually took place in an abandoned building near the crossing and included a range of artworks and media. Artworks asked questions about memory, the making of history and how we interpret the past and excavated and provided new vantage points from which to see Nicosia International Airport and the legacies and politics that comprise its present day spatial practices; responding to and challenging, as Argyro Toumazou phrased it, ‘stagnant waters’ (Şenova and Paraskevaidou 2011: 130). Fri, 21 Jun 2024 00:00:00 GMT https://hdl.handle.net/20.500.14279/35881 2024-06-21T00:00:00Z