T a v r o s, Anaxagora 33, 1st Floor, Athens (2026)

09/06/2026

For Our Time Is the Time of Water
Artist Focus #7: Rossella Biscotti

Rossella Biscotti’s Stranded (2021) speaks of this form of physical amalgamation of matter through time. The work’s glass forms, as if shaped by tidal rhythms, light, and exposure, speak of the sea as both site and collaborator. The work treats coastal matter, stillness and movement, wetness and earth, as a fragile archive, where geological time and the legacies of extraction and pollution surface through materials caught between natural process and human intervention.

“Growing up along the shore in southern Italy, the seaside was always a place for collecting, understanding, and decoding—a sort of message board. My childhood was marked by discoveries and assembling, from World War II bullet necklaces, a reminder that the Allies’ arsenal had been discarded just a few miles from the shore, to observing micro-life in pools of dirty water, collecting pieces of bottles and ceramics smoothed by the sea. There were stacks of deformed salty ci******es stranded on the shore, and scattered shoes and clothes left behind by people who had hopefully landed, changed, and run away before being caught by the police. What fascinated me the most was tar. That black, viscous material that came from the sea, creating dark spots and clinging to everything—rocks, sand, beach towels, our bodies. Adults said it was coming from the big ships. We could only see them as blurry shapes moving along the horizon.” –Rossella Biscotti

Opening hours
Wednesday-Friday, 4-8pm
Saturday, 12-5pm

The exhibition For Our Time Is the Time of Water is curated by and .

The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinou Foundation .

Image credits
1 & 5 Rossella Biscotti, Stranded, 2021, glass, various dimensions, Beaufort Biennale, Bredene, Belgium.

2, 3, 4 Pollution-jellyfishes-glass deterioration inspiration for Rossella Biscotti’s work.

06/06/2026

🪉Wednesday, 10 June 2026, 20:00
The Choir for Non-musicians
Performance by Bint Mbareh 🪉

The Choir for Non-musicians is a pedagogical tool that can be turned into any direction. In the case of learning about water, and its kinship with the people who breathe it, mythicise it, and know it like their own skin, we can imagine that the choir is a tool that changes the medium that separates individual human bodies from being made of air into a medium made of sound, coming closer and closer to water through the tangibility of the waves that separate — or integrate — us.

In the words of the artist:
“The main impetus driving my sound-research and vocal practice relates to the making of time, and the epistemologies that challenge linear time. Making is laced with questions of labour, so I explore how time is ‘made’ through the sonic movements of history. In my practice time is known, experienced and propagated through song, storytelling, collectivity, astronomical relations with the world, and cartesian and extremely un-cartesian ways of mapping. [...] The practice takes seriously Palestinian ways of knowing, such as rain-summoning practices and shrine pilgrimage, as instigators to political revolution. I sing and vocalise and make sounds only for that which I seek to find in the future. Sound brings the future a little closer, positing it as a thing communities have agency over, a challenge to temporal closure.”
— Bint Mbareh

Bint Mbareh is a sound researcher with a focus on water in Palestine. Her interest in the physical parallel between the water wave and the sound wave leads her into questions of border dissolutions (between bodies, between states, between tenses), and into the possibility of being enveloped by the voice, by sounding communally similarly to being enveloped by a water body. She challenges settler colonial epistemology by taking seriously palestinian ways of knowing, from rain-summoning music to shrine pilgrimage as an instigator to political revolution.

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The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinou Foundation.

05/06/2026

🗓️ Saturday, 6 June 2026, 16:00
Guided exhibition tour led by Maria-Thalia Carras (exhibition co-curator)

As floods, droughts, and rising seas increasingly shape everyday life, For Our Time Is the Time of Water considers water as a shared and contested condition, shaped by systems of extraction and ecological rupture. Bringing together works by Rossella Biscotti, Alia Farid, Ayesha Hameed, Dafni Lianantonaki, Jumana Manna, Shahana Rajani, and Davra Research Collective (Saodat Ismailova, Zumrad Mirzalieva, Madina Joldybek), the exhibition reflects on water’s political histories and the ways human interventions continue to reshape rivers, seas, wetlands, coastlines, and aquatic ecologies across different parts of the world.

Curation
Maria-Thalia Carras, Mayssa Fattouh

Support
The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinou Foundation.

Photo by Stathis Mamalakis

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🗓️ Σάββατο, 6 Ιουνίου 2026, 16:00

Ξενάγηση στην έκθεση με τη Μαρία-Θάλεια Καρρά (συν-επιμελήτρια της έκθεσης)

Καθώς οι πλημμύρες, η ξηρασία και η άνοδος της στάθμης της θάλασσας διαμορφώνουν ολοένα και περισσότερο την καθημερινή ζωή, η έκθεση For Our Time Is the Time of Water προσεγγίζει το νερό ως μια κοινή αλλά και αμφισβητούμενη συνθήκη, διαμορφωμένη από συστήματα εξόρυξης και οικολογικής ρήξης. Μέσα από έργα των Rossella Biscotti, Alia Farid, Ayesha Hameed, Δάφνης Λιαντονάκη, Jumana Manna, Shahana Rajani και του Davra Research Collective (Saodat Ismailova, Zumrad Mirzalieva, Madina Joldybek), η έκθεση αναστοχάζεται τις πολιτικές ιστορίες του νερού και τους τρόπους με τους οποίους οι ανθρώπινες παρεμβάσεις συνεχίζουν να αναδιαμορφώνουν ποτάμια, θάλασσες, υγροτόπους, ακτογραμμές και υδάτινα οικοσυστήματα σε διαφορετικές γεωγραφίες.

Επιμέλεια
Μαρία-Θάλεια Καρρά, Mayssa Fattouh

Υποστήριξη
Η έκθεση For Our Time Is the Time of Water και το δημόσιο πρόγραμμά της πραγματοποιούνται με την υποστήριξη του Athina I. Martinou Foundation.

Φωτογραφία: Στάθης Μαμαλάκης

28/05/2026

PART 1: For Our Time Is the Time of Water
Artist Focus #6: Shahana Rajani

In Shahana Rajani’s Four Acts of Recovery (2025), community members from the Indus Delta trace memories of waters and landscapes that have disappeared from view.

“To draw a map felt like a way to love, remember, invoke, and protect a landscape. It was an invitation to enter hidden worlds. Witnessing these mappings made me understand the expansive capacity of representational acts to become offerings and prayers for protection and remembrance.”

“For the communities of the delta, the act of drawing is not about fixity. It involves a different worldview, a different ethics of relating to land and water. These maps are intimate, tender gestures that enable connection to disappearing geographies. Drawing a map for someone is a gesture of hospitality and generosity….The film is an attempt to center and honor the ways in which delta communities choose to represent their sacred worlds. It’s also an attempt to practice visual representation as acts and ethics of relation, connection, and solidarity. A lot of my research emerges from my collaborative pedagogical project Karachi LaJamia with Zahra Malkani. We organize public courses and research projects in collaboration with indigenous activists and community organizations fighting to protect the city’s land and rivers. Research becomes the collective work of community building. It’s more about learning from those around us, learning from the custodians of the land and the river, learning from communities, and this sense of questioning all of the institutionalized forms of knowledges that we grow up learning and valuing.” (From an e-flux interview with the artist, 2025)

Opening hours
Wednesday–Friday, 4–8pm
Saturday, 12–5pm

For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinos Foundation.

Image credits
1–2–3: Film stills, Shahana Rajani, Four Acts of Recovery, 2025, video, 4K, 17:40 min.

4–5: Film stills, Shahana Rajani, Lines that World a River, 2025, video, 4K, 19:29 min.

6–7–8: Credits Shahana Rajani.

21/05/2026

📍Thursday, 28 May 2026, 20:00 at TAVROS

DESIGN IN AN OCEAN OF WETNESS: Habitation beyond a Troubled Earth Surface
Lecture by Dilip da Cunha (Adjunct Professor GSAPP, Columbia University & Partner Mathur/da Cunha)

Co-organised by Investing for Purpose.

We live in an all-consuming Ocean. Its wetness is everywhere in the air, earth, sea, flora and fauna, precipitating, evaporating, storming, seeping, soaking, transpiring, osmoting, freezing. Yet we do not learn that we live in an Ocean of Wetness. Instead, we learn that we live on an Earth surface called land, served by water.

In this lecture, Dilip da Cunha presents land as a product of design: a surface drawn to separate and confine water, serving as ground for observation, habitation, civilisation and colonisation. Today, this surface faces profound challenges through climate change, sea level rise, floods, mass migrations, species extinction and wars. Rather than problems to solve, these are calls to review a design project. Does an Ocean of Wetness offer an alternative?

Dilip da Cunha is an architect, design activist and co-founder with Anuradha Mathur of the design platform Ocean of Wetness, committed to imagining habitation in ubiquitous wetness rather than on a land-water surface. He currently teaches at the University of Pennsylvania and has taught at Columbia University, Harvard University, Parsons School of Design and Srishti School of Design in Bangalore. He is the author and editor of several influential publications including Mississippi Floods: Designing a Shifting Landscape, Soak: Mumbai in an Estuary, and The Invention of Rivers: Alexander’s Eye and Ganga’s Descent.

Image credits:

1. Mathur da Cunha, Dhani detail

3. Mathur da Cunha, Varanasi Cracks

4. Dilip da Cunha portrait, Rome, 2021

18/05/2026

For Our Time Is the Time of Water
Artist Focus #5: Alia Farid

In For Our Time Is the Time of Water curated by and , Alia Farid’s Chibayish (2023) is an ongoing moving-image work set in the Iraqi wetlands, a record of friendships developed across borders on the eastern Arabian coast, arriving at the confluence of the Tigris and Euphrates rivers.

“The film isn’t scripted; it’s emerging, and it continues to develop to this day. My practice isn’t medium-specific. I’m interested in ideas, and those ideas are expressed in different formats. Sometimes it’s a sculptural upshot of the thinking, sometimes it’s moving image, sometimes it’s sound, sometimes it’s found objects. Having different kinds of representations of this thought process helps me wrap my head around some of the questions that I may have. Different types of representation address the same concerns that I have around how resources are being harnessed, and how the introduction of fake borders has affected the social atmosphere of the Gulf, a kind of interruption within what is otherwise a continuous landscape.” (Alia Farid)

Opening hours
Wednesday–Friday, 4–8pm
Saturday, 12–5pm

For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinos Foundation.

Image credits
1 & 3 Alia Farid, Chibayish, 2023, video. Installation view as part of For Our Time Is the Time of Water, TAVROS, 2026. Photo credits: Stathis Mamalakis.

2 & 4 Alia Farid, Chibayish, 2023 (film still), UHD video, colour with sound, 15΄03΄΄. Production: The Vega Foundation and Doha Film Institute. Courtesy of the artist and Sfeir-Semler Gallery, Beirut / Hamburg.

14/05/2026

Μια βροχή μας σώζει (; )
Σε συνεργασία με το Ίδρυμα Χάινριχ Μπελ, Γραφείο Θεσσαλονίκης, Ελλάδα

🗓 Τετάρτη 20 Μαΐου 2026
🕖 19:00–20:30
📍 TAVROS, Αναξαγόρα 33, 1ος όροφος, 17778 Ταύρος, Αθήνα

Ομιλητές: Κωνσταντίνος Λαγουβάρδος (Διευθυντής Ερευνών, Εθνικό Αστεροσκοπείο Αθηνών), Αναστασία Καραδημήτρη (δημοσιογράφος, Inside Story), Γεωργία Κανελλοπούλου (μηχανικός γεωπεριβάλλοντος, Το Μπουλούκι)
Συντονισμός: Θοδωρής Χονδρόγιαννος (δημοσιογράφος)

Έχουμε εισέλθει σε μια περίοδο «παγκόσμιας υδατικής χρεοκοπίας». Ξηρασίες και περιστατικά ρύπανσης που κάποτε φάνταζαν προσωρινά σοκ γίνονται χρόνιες συνθήκες, ενώ όλο και πιο έντονες βροχοπτώσεις οδηγούν σε ακραία πλημμυρικά φαινόμενα.

Στο πλαίσιο της έκθεσης For Our Time Is the Time of Water, η συζήτηση στρέφει την προσοχή πέρα από τη διατάραξη του κύκλου του νερού, στην εργαλειοποίησή του ως πεδίο ελέγχου και διεκδίκησης.

Ποιοι ανταγωνίζονται σήμερα για το νερό; Ποιες πιέσεις βιώνουν τόποι και κοινότητες εντός και εκτός Αττικής; Και ποιος είναι ο ρόλος της τεχνολογίας στη σύγχρονη υδατική κρίση;

Φωτογραφία: Felix Gething

Η έκθεση For Our Time Is the Time of Water και το Δημόσιο πρόγραμμα υλοποιείται με την υποστήριξη του Ιδρύματος Αθηνάς Ι. Μαρτίνου.

07/05/2026

For Our Time Is the Time of Water
Artist Focus #4: Jumana Manna

In the current exhibition curated by Mayssa Fattouh and Maria-Thalia Carras, Jumana Manna presents Water Arms (2019), a series of ceramic sculptures that evoke fractured irrigation systems, improvised infrastructures, or bodily extensions. Suggesting both containment and collapse, the works reflect on the entanglement of human, vegetal, and mechanical life, tracing the fragile politics of water circulation and survival.

“I have been thinking about the overlaps between material ruination and psychological weight, how bodies and places respond and mutate, get reconfigured in the process of survival. My sculptural practice is both a witness to and celebration of the social afterlives of castoffs, fragments that are at once a sign of infrastructural and emotional breakdown, and of unruly potential. The selecting and making of objects is an ongoing homage of and conversation with improvisational assemblages that arise as bittersweet forces of creativity, acts of ‘taking matters into our own hands’. Charged material moments that relate to various infrastructures inspire, are mimicked, and elaborated on within the sculptural process itself.” Jumana Manna

🗓️ Opening hours
Wednesday–Friday 16:00–20:00, Saturday 12:00–17:00

📍The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of a grant from the Athina I. Martinos Foundation.

Image: Courtesy the artist. The text is an excerpt from the exhibition text Thirty Plumbers in the Belly, 2021.

05/05/2026

🎬 13 May 20:00 🎬Prophecies from the Sea - Athens Edition
Curated by Rami el Sabbagh & Nour Ouayda

This film program focuses on film and video works made in moments of transition following catastrophes. In these instances, time collapses on itself as past, present and future. The program proposes that films occupying such liminal spaces become forcibly prophetic as they do not only speak of past experiences, but they also conjure future events.

A first edition of this program was composed by Rami el Sabbagh and Nour Ouayda in 2020.

Prologue | Hassan Julien Chehouri | 2019 | 30’’ | No Dialog

“I made this short video in 2019, shot on my phone from my balcony which overlooks the port. Overlooking the 2700 tons of ammonium nitrate.”

Hassan Chehouri is a Beirut and Paris-based filmmaker working with hybrid forms, focusing on memory, space and fleeting moments.

Dog River (Nahr el Kaleb) | Liana Kassir & Renaud Pachot | 2017 | 15’ | Arabic with English Subtitles

Two tired combatants wait for night to fall, by the Dog River.

Liana Kassir and Renaud Pachot met in Paris and have since collaborated on essays and short films between Beirut and France. Their first feature film The Sea and Its Waves (2023) was selected at Cannes IFF’s ACID Section.

Enter Corridors | Lara Tabet | 2025 | 12’ | In English

“Enter Corridors” investigates the interspatial and intertemporal connections of marine habitats, tracing the entanglements between human and non-human organisms, natural and built environments, and the ecologies that bind them.

Lara Tabet is a medical doctor and trans-disciplinary artist working across photography, installation, video and bio-art, engaging ecology, science and politics.

This Haunting Memory that is Not my Own | Panos Aprahamian | 2021 | 31’ | in Western Armenian and Arabic with English Subtitles

Through semi-fictional storytelling, the film
confronts the extraction and violence inflicted on human and nonhuman bodies along Beirut’s shorelines, its port, and the Karantina district.

Panos Aprahamian is a Berlin-based filmmaker, media artist, and writer from Beirut whose work explores spectral temporalities, landscapes, and social relations.

The screening is part of the current exhibition’s public programme, curated by Maria-Thalia Carras, Mayssa Fattouh and Manto Psarelli. The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinos Foundation.

Image credits:
Image 1: Dog River (Nahr el Kaleb), Liana Kassir & Renaud Pachot, 2017
Image 2-3: Enter Corridors, Lara Tabet, 2025
Image 4: Prologue, Hassan Julien Chehouri, 2019
Image 5: This Haunting Memory that is Not my Own, Panos Aprahamian, 2021

03/05/2026

Last weekend at Tavros Solidarity School, we gathered with mothers and children for Carrier-Bag Theory of Function, a workshop led by Navine G. Dossos. Working collectively, we created zero-waste bags using sections of Horizon (2026), combining hand sewing, machine stitching, and tape to shape forms that used every part of the material while opening space for imagination.

Developed from a photograph taken during the artist’s journeys between island and mainland, Horizon translates the sea’s shifting surface, distorted through rain on a ship’s window, into a textile that carries traces of memory and movement. Through the workshop, this image became wearable, transforming the sea as a carrier of bodies into a shared act of making and resourcefulness.

🧷 The exhibition For Our Time Is the Time of Water and its public programme are realised with the support of the Athina I. Martinos Foundation. This workshop was part of the exhibition’s educational programme, supported by John S. Fafalios Foundation.

📸 Photos: Aristotel Nikolli

T a v r o s

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