The fantasy of Greekness and anti-Hellenism, deeply rooted in the violence of the civil war, still haunts the present – as the reactions to the Prespa Treaty indicate. The title New Parthenon refers to the phrase attributed to Panagiotis Kanellopoulos regarding the detention camps in Makronisos during the (post) civil period: “national sanatoriums”, “treatment centers” for the consciences of Greek leftists who had been infected by the germ of communism. Their goal was to “reform” and re-integrate them into the nation. The prisoners were described as Slavs or Bulgarians who had lost their Greekness, a charge that historically stems from the position of the Communist Party of Greece in 1924, that favored the creation of an independent Macedonia within the Balkan federation, something that changed in 1935. The “cure” included torture, hard labor, speeches, and music. The instrumentalization of music in this context enforces a dark dynamic, contradicting the usual conception of music as a form of art, purposed to refine the psyche.
Nektarios Pappas (GR)
Nektarios Pappas was born in 1972. From 1996 to 2010 he was the manager of Vinyl Microstore, a record store in Athens, which was the breeding ground for the record company Pop Art Records, Yuria Festival for independent music and film, and the internet radio station VM Radio. He is a student of Zafos Xagoraris at the Athens School of Fine Arts. His main field of research is sound installation and his practice aims to create logical inconsistencies in public space.
Anna Papaeti (GR)
Anna Papaeti holds a PhD from the University of London (King’s College London). Her research examines the grid of music, violence and trauma and has been supported by the funding programs “Maria Curie” of the European Commission (FP7, Horizon 2020), DAAD, Onassis Foundation etc. She is a researcher at the “Maria Sklodowska Curie” program at Panteion University regarding the use of music in detention conditions in the post-civil period, during which she has organized the international conference and exhibition titled Soundscapes of Trauma (2019). Papaeti has published in collective volumes and scientific journals, while she has co-authored two special volumes on music, torture and punishment. The diffusion of her work in the public sphere is indicated by her participation at the international exhibition documenta 14, the podcast The Undoing of Music (Museo Nacional Reina Sofía, Madrid) and the installation The Dark Side of the Tune for the exhibition Hypnos (together with Nektarios Pappas: House of Letters and Arts, 2016).
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