*Ancient Days
Days to come stand in front of us...*
16 Frynichou Street, Athens.
One hundred and sixty years after his birth, Constantine P. Cavafy gains a new "home,” from which the unceasing sensibility of his timeless poetry shall be now transmitted. The Plaka building houses, foremost, the Cavafy archive (initially managed by Prof. G. P. Savvidis), which we acquired in 2012 from Manolis Savvidis and to whom we would like to extend our gratitude through these pages. Since then, the Cavafy archive has been constantly enriched with new belongings. Secondly, we were able to acquire and exhibit many of the poet’s original furniture and decorative items, which were transported to Greece by his legal heirs, Alekos and Rica Singopoulo. These came into our possession from their respective heirs, members of the Trechantzakis family, and we feel obliged to underline their contribution. Therefore, in a building that could have also been embedded within the urban fabric of Alexandria, as it belongs to the same era and architectural style, we concentrated our effort on conveying the ambience of the “chambers” where Cavafy lived, alongside his furniture and poems. The objective is not to activate the space as a Cavafy “museum,” but to allow the visitor to grasp the essence of the spiritual and material lives of the poet, as much as possible, with no further artificial sensationalism. I believe that the architectural design by Eva Manidaki and Thanassis Demiris/Flux-office serves this purpose ideally. Finally, in this space, we have gathered a handful of documents from the artistic life of Alexandria during the interbellum era. These painters, Alexandrians themselves, knew and socialized with Cavafy and portray his city for us.
This new space, open to the public and subscribing to the standards of the Onassis Foundation holistic policy, shall operate as a hub of cultural legacy and creation, situated just a few steps away from the Onassis Library and Mandra (our new outdoor event venue); as such, the space aligns itself with the rest of our Cavafy initiatives.
In 2017, the International Cavafy Summer School was established with the participation of Greek and international researchers, amplifying the “reading” of Cavafy’s oeuvre through a scope extending from cinema studies to visual culture.
As of 2019, the entire personal and literary archive of Cavafy, containing manuscripts of poems, hand-compiled printed editions, prose literary works, correspondence, and photographs, has been fully digitized in accordance with optimal contemporary practices and is freely accessible to all scholars and the public at cavafy.onassis.org.
In May 2023, at the festival organized by Onassis USA in New York, artists, academics, and writers highlighted aspects of Cavafy’s oeuvre that maintain a direct contact with our times. Finally, the Onassis Foundation undertook, through sponsorship, the restoration of the Cavafy Residence in Alexandria, in collaboration with the Hellenic Foundation for Culture and, again, under the architectural design of Flux-office.
On Frynichou Street, the Onassis Foundation inserts another landmark in the Athenian center and a novel milestone in Cavafy research.
Anthony S. Papadimitriou President of the Onassis Foundation
CAVAFY ARCHIVE IN PLAKA, ATHENS
Timelessly contemporary, political, sensual, profound, and always relevant, the internationally acclaimed poet C. P. Cavafy compiled and archived his work on a systematic basis, hence creating a unique personal archive. The Cavafy archive consists of more than 2,000 items, including manuscripts of poems, hand-compiled printed editions, prose literary works, articles, studies, and notes by the poet, along with his personal archive rich in correspondence, texts, and photographs.
The Onassis Foundation acquired the Cavafy archive at the end of 2012, safeguarding its preservation in Greece and preventing its potential fragmentation. The Onassis Foundation aims to ensure openness and free access to the archive by the public and researchers, as well as to disseminate the universal nature of Cavafy’s poetry.
Following the publication of the Cavafy Archive’s digital collection in March 2019, which rendered the archive open and accessible to all, the Onassis Foundation invested in creating the Cavafy Archive, a space in Athens dedicated to the poet’s archive, which was inaugurated in November 2023. The aim was to create a space for the poet’s writings and books, his personal items and furniture, surrounded by artworks that enable us to gain an in-depth understanding of his growing impact on artists from his era until today.
The Cavafy Archive includes five rooms for public visits: a room with the personal belongings of Cavafy; a room with objects, books, and artworks with references to Cavafy’s work; a room dedicated to Cavafy’s Athens; a room with contemporary works inspired by the poet; and the Reading Room. The archive and library are housed in a specially designed space within the new premises, in accordance with the usual archival practice.
ONASSIS FOUNDATION
The mission of the Onassis Foundation, founded by Aristotle Onassis in 1975, will always be human-centric: to create the conditions, explore the ideas, and spark the discussions that lead to a better society.
The Foundation works to promote the rich contributions of contemporary Greek culture worldwide. The Onassis Foundation's work is based in Athens but spans the globe, focusing on culture, healthcare, and education.
It has awarded more than 7,600 scholarships to young people worldwide since the late 1970s and presents countless cultural events each year. By building the Onassis National Transplant Center (ONTC) until 2024, following the Onassis Cardiac Surgery Center (OCSC) in Athens, it creates the conditions to provide health to all, offering the Greek society a hospital for the transplant of solid organs as well as a center for research and innovation in the field of organ transplantation.
In the US, the Onassis Foundation generously supports and curates cultural programming across various art forms and creative endeavors. Onassis USA, based in New York, includes Onassis X (ONX), a hybrid production and exhibition space in the Onassis Gallery of the Olympic Tower in Manhattan that supports a global artistic ecosystem centered on Extended Reality. Onassis X embodies the Onassis Foundation’s commitment to shaping new practices in digital creativity and focuses on accelerating the development, execution, and mobility of new XR work in key global arenas.
Through Onassis AiR, a program built on the continuous support of artistic research and practice, aiming to foster a space where the artists set the conditions themselves for the development of their work, the Onassis Foundation supports the existing partnerships and members of its broader ecosystem with the local and international artistic community.
And when it comes to culture, it's not just art; it's a way of living. At Onassis Culture, with the Onassis Stegi as its hub, the Onassis Foundation encourages the talent and energy of local and international artists to thrive and starts conversations that aim to shake and shape society. Onassis Stegi is a center of global contemporary culture that, through a series of initiatives and works, promotes dialogue about democracy, social and environmental justice, racial and gender equality, and LGBTQIA+ rights.
Stegi Radio is Onassis Stegi's international web radio, thus a cultural platform that focuses on new music productions, speaking through sounds and ideas, tracing current political and critical thought, and crossing an imaginary archipelago for the bolstering of dialogue that goes beyond borders and dates.
The Onassis Channel on YouTube is constantly evolving and growing bigger by adding new productions, digital concerts, documentaries, online discussions, and unique content, bringing our common digital future into focus.
C. P. CAVAFY
The Cavafy Family
The poet Constantine Cavafy was born in Alexandria, Egypt, on 17 April, 1863. When the new calendar came into effect, the date changed to 29 April, so the latter is customarily cited as the poet’s date of birth. Moreover, it coincides with 29 April, 1933, the date of his death, creating a notable coincidence in the registry. During the 19th to mid-20th century, Greek communities flourished in many Egyptian cities; the largest was that of Alexandria. The poet’s parents, Peter John Cavafy and Hariclia, daughter of Georgakis Fotiadis, had a total of nine children, two of whom died in infancy; one of these was the only girl. Constantine was the ninth and last child. Together with his brother George, who had settled in London, Peter John Cavafy managed a flourishing trading company, “Cavafy & Co.” which traded wheat and cotton.
The Years in England
The family’s prosperity was to be short-lived. Peter John’s premature death in 1870 forced Hariclia to leave Alexandria and seek support for herself and her children from her husband’s brother in England. The family resided first in Liverpool and afterward in London. We have very little information regarding the poet’s roughly five-year stay in England (1872–1877). Naturally, he would have attended school and learned English. In 1877, Hariclia and the children returned to Alexandria; Constantine was enrolled in the Hermes Lyceum of Constantine A. Papazis, where his friends included Miké Ralli and Stefanos Scilizzi, both of whom died young. Constantine composed one of his first poems (“For Stefanos Scilizzi,” 1886) to commemorate his friend’s death, while he kept a journal of sorts regarding the illness and final days of Miké Ralli (1889).
Move to Constantinople
1882 saw a nationalist uprising in Egypt; the British navy intervened (the British would rule over Egypt for the following seventy years); Alexandria was bombarded, and foreign residents began to abandon the city. Among them was Hariclia, who this time hurried to her family home in Constantinople. The poet described the journey in a journal written in English, which he titled “Constantinopoliad, an epic.” We have only tentative information regarding his three-year stay in Constantinople. During those same years, he composed his first verses in both Greek and English, as well as prose in the style of encyclopedia entries. Around the end of 1885, the family returned to Alexandria, and Constantine assumed various jobs. Over the next several years, the family would experience the successive deaths of numerous family members. Cavafy’s brother Peter John (named after their father) died in 1891, their mother Hariclia in 1899, followed by George (1900), Aristides (1902), and Alexander (1905). His remaining two brothers would die in the 1920s, Paul (1920) and John (1923), leaving Cavafy the last surviving sibling. He had obtained steady employment in 1892, when he was hired by the Third Circle of Irrigation, under British control, where he worked for the next 30 years. From 1908 until the end of his life, he lived alone in the apartment at what was then 10 rue Lepsius, in October 1964 renamed rue Sharm el Sheikhj and later renamed rue Cavafy.
During his years in Alexandria, Cavafy traveled only infrequently, be it to the Egyptian interior (Cairo) or abroad. In 1897, he and his brother John embarked on a two-month journey to Paris and London. In the summer of 1901, he visited Athens for the first time, in the company of his brother Alexander, and kept a journal in English regarding the trip, with detailed accounts of what he saw and whom he met, including Kimon Michailidis, publisher of the journal Panathinaia, the poet Ioannis Polemis, the painter Georgios Roilos, and Grigorios Xenopoulos. Cavafy went on to exchange letters with Xenopoulos, who in 1903 wrote “A Poet,” historically significant as the first extensive piece about Cavafy’s work to be published in Athens, in Panathinaia. The poet would again visit the Greek capital in 1905 to visit his brother Alexander, who was being treated in a hospital there and would eventually die later that same year. Cavafy’s last trip to Athens came in 1932, for reasons of his own health.
Visits to Athens
Cavafy’s apartment on the second floor of what was then 10 rue Lepsius would, over time, become his customary place for meeting with Alexandrian intellectuals as well as visitors from Greece. His unusual publication method, certain personal idiosyncrasies, as described by his associates, and his always pointed references to literary figures and books began to create an aura of legend around his person. His public image acquired strong (sometimes distorting) features from the descriptions of the well-known writers and poets, Greek and foreign alike, who visited him, including Filippo Tommaso Marinetti and E. M. Forster. Friends (and sometimes enemies) of his work gave accounts of their conversations with Cavafy either orally or in writing. This sharing of private conversations, as well as excerpts from interviews, also gave rise to the public exchange of mutually negative comments between Cavafy and Kostis Palamas, in an era in which Cavafy’s poetry had begun to threaten Palamas’ omnipotence. The recognition of Cavafy’s importance was often accompanied by parodies (sometimes vicious) that took aim either at the poet himself or at particular poems. After the poet’s death, this trend continued with the parodic mockery of a range of themes, thereby confirming the robust and continual permeation of his lines into everyday life, which continues to this day.
Τhe Cultural and Artistic Environment of Alexandria
During the early decades of the 20th century, alongside the commercial and financial activities of the Greeks of Egypt, significant cultural and artistic movements had developed in both Alexandria and Cairo, most notably the appearance of a range of periodicals and books (even by Athenian writers), satiric yearbooks, and literary journals (Serapion, Grammata, Nea Zoi, Propylaia, Panaigyptia, Argo, Foinikas), which in time found distribution throughout the Greek-speaking world. Poems by Cavafy, as well as studies or commentaries on his work, not always positive or well-intentioned, appear in all of these journals. The peculiarities of his poetry, his own personal idiosyncrasies, and his solitary life in the apartment on rue Lepsius without a telephone or electricity comprised an exceptional case that departed from the usual models. Slowly but steadily, his poetry began to spread both in the Egyptian communities and in Greece, acquiring faithful fans as well as fanatic opponents.
The “Legend” of rue Lepsius
Early Publications
1886 saw Cavafy’s very first publications: the prose piece “Coral from a Mythological Perspective” in the newspaper Konstantinoupolis and the poem “Bacchic” in the journal Esperos in Leipzig. Both, like many other poems and prose pieces of his early years, were signed Constantine F. Cavafy and were later silently repudiated. It has been suggested that the “F” in his signature stood for a second baptismal name (Fotios), yet the official baptismal register contradicts this view, referring to a single Christian name. Most likely, it was a gesture of respect and honor toward Cavafy’s maternal grandfather, Georgakis Fotiadis. For the remainder of his life, he continued to publish prose and poetry in newspapers, yearbooks, and journals in Alexandria, Leipzig, Constantinople, Cairo, and Athens, though he never published a book. Several of these issues contain responses to the poet regarding the fate of the poems that he submitted for publication from time to time, primarily during the early years of his public presence.
Editorial Practice
We first meet with the idiosyncratic editorial method Cavafy followed throughout the remainder of his life in 1892, when he printed a broadside containing the poem “Κτίσται” (“Builders”), followed a few years later by the four-page leaflet “Τείχη/My Walls” (bilingual edition, 1897); “Δέησις” (“Prayer,” 1898); “Τα
(“The Tears of Phaëthon’s Sisters”) and “Ο
(“The Death of the Emperor Tacitus”), under the joint title “Αρχαίαι
(“Ancient Days,” 1898); and, lastly, an eight-page leaflet containing the poem “Περιμένοντας
(“Waiting for the Barbarians,” 1904). In subsequent years, he collected offprints of poems that had appeared in various journals―or had individual poems printed―and formed packets of works, which scholars retrospectively organized into two categories: two “volumes” (1904 and 1910) and ten “collections,” which contained poems from the years 1910–1932. These quasi-books never circulated commercially; rather, the poet himself sent or gave them to friends and admirers of his work, maintaining fastidious distribution lists. This novel publication method rendered his equally novel poetry elusive and highly sought-after. His entire poetic production was later grouped by G. P. Savvidis into four categories: the 154 poems of the “canon,” comprising the poems Cavafy himself put into circulation in his two “volumes” and ten “collections” plus one that was unpublished but assumed to be ready for printing on his death; the “Repudiated” poems of his early period; the “Hidden,” which Savvidis originally called the “Unpublished” and were not published in Cavafy’s lifetime; and the “Unfinished,” drafts of poems that the poet never completed.
Nea Techni and Alexandrini Techni
By the 1920s, many young readers in Athens had turned their attention to Cavafy’s poetry; some wrote to ask for collections of his printed poems or composed commentaries on his work. A first public, notable example of the Athenian reception of his work was the rather hodge-podge tribute in the journal Nea Techni (1924), in which a plethora of writers expressed their largely positive opinions about the poet being honored. The tribute was conceived by Marios Vaianos, who corresponded with the poet but never met him and had taken it upon himself to act as Cavafy’s agent in Athens, offering significant help in facilitating Athenian intellectuals’ communication and contact with the Alexandrian poet. In 1926, the dictatorship of Pangalos awarded the poet the Order of the Phoenix, the only distinction he received during his lifetime. The same year, when most of the important Alexandrian journals had ceased their publication, a new literary and artistic journal, Alexandrini Techni (1926–1932), appeared in Alexandria, which Cavafy not only directed from behind the scenes but supported financially in order to promote his work and to refute any negative comments his work might attract. The relevant news columns also note sporadic, isolated translations of his poems into foreign languages
Translations of His Poetry
The earliest English translations of poems by Cavafy were attempted by John Cavafy, the poet’s brother (responsible for the translation in the bilingual edition “Τείχη/My Walls,” 1897), and George Valassopoulo, who translated several poems by Cavafy that were included in E. M. Forster’s books about Alexandria and also published in T. S. Eliot’s journal The Criterion. During Cavafy’s lifetime, translations of his poems into European languages were rare, appearing most often in foreign-language anthologies of Modern Greek poetry. An actual translation explosion took place after the Second World War and continues to this day, with frequent new editions, even in languages that already boast several prior translations.
The Final Trip to Athens
Beginning in the late 1920s, the poet was troubled by a discomfort in his throat. “That is what made him put cigarettes out hastily, become more and more quiet when in company, and be overcome at times by a sudden melancholy,” as Stratis Tsirkas writes. He was diagnosed with throat cancer and encouraged by his doctors to travel to Athens for further treatment. He was accompanied on the journey by his heirs, Alekos and Rica Singopoulo. His presence in the Greek capital met with a great deal of publicity in the Athenian press. He remained for four months (July–October 1932), was treated at the Hellenic Red Cross Hospital, and underwent a tracheotomy, which caused him a permanent loss of his ability to speak. His visitors at the hospital communicated with him by way of written notes. On his final trip, he met many Athenian writers in person who recorded their—not always positive—impressions. Before his departure for Alexandria, the couple Kostas and Eleni Ourani threw a party in his honor, where the composer and maestro Dimitri Mitropoulos performed his work 10 Inventions, a piece for piano based on ten poems by Cavafy.
Death and International Recognition
Near the end of 1932, after the poet had returned to Alexandria, a tribute to Cavafy appeared in the Athenian journal Kyklos. Meanwhile, the state of his health worsened. In April 1933, he was admitted to the Greek Hospital of Alexandria, where he breathed his last on April 29; he was buried in the Cavafy family grave in the Greek cemetery in Shatby. The simple plaque reads: Constantine P. Cavafy / Poet / Died in Alexandria on 29 April, 1933.
According to criticism, Cavafy’s early poetry showed the influence of romanticism; he subsequently passed through periods of Parnassianism and symbolism to culminate, in the longest and most mature phase of his work, in poetic realism. His ironic language is immediate and powerful, far removed from the obsessions of demoticism; his erotic themes are unapologetic; and the treatment of contemporary events by means of history is perceptible throughout his work. With his lifelong, unfailing devotion to the Art of Poetry, Cavafy spoke of love and death, of the violence and intoxication of power, of political opportunism and the failure of great ideals. Today, he is internationally recognized as one of the greatest poets of the 20th century.
Text
by
Dimitris Daskalopoulos, poet, bibliographer, and critic
Translated by Karen Emmerich
Cavafy’s
CAVAFY ARCHIVE
ABOUT CAVAFY
THE PERSONAL BELONGINGS OF CAVAFY
CAVAFY NOW
THE READING ROOM
ATHENS OF CAVAFY
THE PERSONAL BELONGINGS OF CAVAFY
What items surrounded C. P. Cavafy in his apartment? A collection of the poet’s personal items and furniture reflects the scene of his private space in Alexandria. Among photographs, vases, frames, a copy of his glasses, his desk, and other tiny and large objects, six portraits of the poet created by contemporary artists stand out. Reproductions of the poems interact with the objects in the space and transport us into the world of Cavafy’s poetry. The only items never touched by the poet but exhibited in the space are his death mask, as well as the first edition of Cavafy’s poems, edited by Rica Singopoulo and illustrated by Takis Kalmouchos, which was printed in 1935, following the poet’s death.
ABOUT CAVAFY
Following the room with the poet’s personal items, this one adds to the remnants of recollections from the environment of his house in Alexandria and expands on what is already known about the poet. Through his artifact collection, porcelains and ceramics from China, and arabesque furniture made of wood and ivory, we indeed come closer to Cavafy.
In the same room, we can also further explore the poet’s profile as a reader through a selection of the 966 books from the poet’s library that have survived to the present day. Historical studies, religious texts, literary books, and journals offer us an initial glimpse into the poet’s personal library. Some of these books even bear Cavafy’s CPC stamp.
A series of paintings shed ample light on the poet’s relations with his contemporaries, such as Theodoros Rallis, one of the most eminent Greek Orientalist painters, who maintained a studio in Cairo and appeared to have developed a unique artistic communication with the poet, as well as later artists, such as Nikos Hadjikyriakos-Ghika, who had never met Cavafy but savored his poetry.
CAVAFY NOW
Modern-day artists create works inspired by the life and work of C. P. Cavafy. How does the poet converse with contemporary visual and film artists? How does the poet’s oeuvre and figure, as well as the Cavafian milieu of Alexandria, surface through works and commissions by the Onassis Foundation? We witness the global and timeless influence of the poet, 160 years after his birth anniversary, through eight video works from the “Visual Cavafy” project and the handmade book that was read collectively by the audience during the performance “Constantinopoliad,” first presented at the “Archive of Desire” festival in New York in the spring of 2023. The works on display at Frynichou Street unfold their storylines around Cavafy’s life and Alexandria—where the newly restored Cavafy House is located—carving a path of communication between the stories these two buildings are eager to share with us.
ATHENS OF CAVAFY
Cavafy had a complex and somewhat contentious relationship with Athens, a city he revered, albeit with a slight Phanariot condescension. “I love Athens so much,” he wrote in a letter dated 1903. Athens undoubtedly fascinated him. He viewed the Greek capital as the gateway to his poetic recognition and desperately sought the critical approbation of his Athenian readers. Athens’ literary establishment both resisted and exalted him, challenging him to actively promote his reputation and cultivate strategic relationships. By the end of his life, Cavafy had succeeded in establishing himself as a legitimate Greek poet with a reputation on par with his Athenian counterparts. However, that achievement was ultimately overshadowed by the pain that Athens came to represent in his later life. Whereas Cavafy’s first two trips to Athens in 1901 and 1903 were exciting and full of discovery, his final two trips were of a different nature altogether. When he visited Athens in August of 1905, it was to see his dying brother Alexander, who had contracted typhoid fever. When the poet returned in 1932, he had been diagnosed with throat cancer and underwent a tracheotomy at the Red Cross Hospital. Cavafy’s final Athenian reception was marked by adulation and sympathy, a belated but bittersweet validation of his mounting literary success. That his surviving archives would ultimately find a permanent haven in Athens marks his final triumph in the world of Greek Letters, establishing his now undisputed status as the foremost poet of Greece.
Exhibition curators:
Peter Jeffreys, Associate Professor of English at Suffolk University, Boston, USA
Gonda Van Steen, Professor, Koraes Chair in the Centre for Hellenic Studies and Department of Classics at King’s College London, UK
“I went to Athens—as to a Mecca—decided to like it and I kept my word to myself. …In all this, I assure you I was not activated by patriotism. I simply let myself be guided—as I like to do at times—by Sentiment and Illusion.”
(From a draft of a letter by C. P. Cavafy to Marigo Cavafy, wife of his cousin, dated 1902 and written in English.)
THE READING ROOM
The Reading Room is where the public encounters the physical archive of Cavafy. This room hosts two sections of artworks. In the “Portraits of Cavafy” section, the Alexandrian poet is presented through the eyes of eminent Greek and international artists in six unique portraits by Nikos Engonopoulos, David Levine, Giorgos Ioannou, Sotiris Sorogas, Aria Komianou, and Yannis Kyriakidis. On the other hand, the section “Egyptiotes Painters” invites us to imagine everyday life in Alexandria during the era of C. P. Cavafy through ten artworks created by contemporary with the poet Egyptiotes —Nikolaos Gogos, Takis Kalmouchos, Dimitris Litsas, and Thalia Flora-Karavia— that capture fragments of life in the city where he was born and lived himself. Finally, contemporary Egyptian visual artist Farida El Gazzar portrays moments in time and the environment of Alexandria and Egypt.
ONASSIS FOUNDATION
BOARD OF DIRECTORS
Anthony S. Papadimitriou President of the Board
Costas Grammenos Vice-President of the Board
Dennis Μ. Houston Vice-President of the Board
Florian Marxer Vice-President of the Board
Stefanos P. Tamvakis Member of the Board
Michael-Spyros Sotirhos Member of the Board
Simon Critchley Member of the Board
Karen Brooks Hopkins Member of the Board
Paul Holdengräber Member of the Board
Nikolaos Karamouzis Member of the Board
Panayotis Touliatos Member of the Board
Mary Κaragianni-Μichalopoulou Member of the Board
Eleni Panagiotarea Member of the Board
Konstantinos Bikas Member of the Board
Peggy Antonakou Member of the Board
ONASSIS FOUNDATION
Afroditi Panagiotakou
Artistic Director
Dimitris Theodoropoulos Εxecutive Director
ONASSIS CAVAFY
ARCHIVE
Marianna Christofi
Onassis Archives Manager
Eleanna Semitelou
Project Coordinator
Christina Kostoglou
Project Coordinator
ACADEMIC CONSULTANTS
Peter Jeffreys
Associate Professor of English at Suffolk University, Boston, USA
Amalia Pappa
Deputy Director General of the General State Archives (G.S.A.), Greece
Gonda Van Steen Professor, Koraes Chair in the Centre for Hellenic Studies and Department of Classics at King’s College London, UK
CAVAFY ARCHIVE ACADEMIC COMMITTEE
Stathis Gourgouris
Professor of Comparative Literature and Society at Columbia University, New York, USA
Maria Boletsi
Endowed Professor of Modern Greek Studies at the University of Amsterdam (Marilena Laskaridis Chair) and Associate Professor in Comparative Literature at Leiden University, The Netherlands
Martha Vassiliadi
Associate Professor of Philology at the Aristotle University of Thessaloniki, Greece
Bart Soethaert
Principal Investigator at the Cluster of Excellence “Temporal Communities: Doing Literature in a Global Perspective” (EXC 2020) and post-doctoral researcher at Frei Universität Berlin, Germany
Amalia Pappa
Deputy Director General of the General State Archives (G.S.A.), Greece
Peter Jeffreys
Associate Professor of English at Suffolk University, Boston, USA
Christina Dounia
Professor Emerita of Modern Greek
Literature at the National and Kapodistrian University of Athens, Greece
Takis Kayalis
Professor of Modern Greek Literature at the Hellenic Open University, Greece
Vicente Fernández González
Associate Professor of Translation and Interpreting (Modern Greek) at the University of Malaga, Spain
Design & Curation
Flux-office:
Eva Manidaki
Thanassis Demiris
Efthymios Dougkas
Flux-office Collaborators
Ismini Linthorst
Eleni Arapostathi
Lighting Design
Eleftheria Deko
Construction of Exhibition Units
Sirigos Deluxe Furniture
Construction of Special Lighting
Athanasios Kalkanis
Conservation of Artworks
Athens Art Conservation:
Archondia Adamopoulou
Evgenia Stamatopoulou
Reproduction of Archival Items
Babis Lengas
Hanging of Artworks
Christos Stefanidis
Eirini Panagioti
Technical Advisor
Pantelis Stefanis
Project Coordination
Marianna Christofi
Vlassis Adraktas Rentis
Eleanna Semitelou
Building Restoration Contractor
K. I. Papadopoulos Ltd.
CAVAFY
PUBLICATION CREDITS
Director
Afroditi Panagiotakou Advisors
Dimitris Theodoropoulos Demetres Drivas
Alexandros Roukoutakis
Artistic Direction
Christos Sarris
Editor
Marianna Christofi
Publication Management
Christina Kosmoglou
Graphic Design
Georgia Leontara
Coordination
Elisavet Pantazi
Copy Editor
Margarita Grammatikou
Translation & Text Editing
Vassilis Douvitsas
Print Management
Yiannis Alexandropoulos
16B Frynichou Street Plaka, Athens 105 58
Opening days and hours
Tuesday, Thursday, Saturday 11:00-18:00
Admission free
E-mail cavafyarchive@onassis.org