Canvassed Encounters – Encounters on Canvas is the title of the exhibition hosted at the Herakleidon Museum in Athens from 1 August to 15 October 2024 on the subject of weaving and clothing at all stages of their functional chain. Drawing on the entire chaîne opératoire of textiles (manufacture, use, recycling) and on the wide scope of textile consumption, ranging from indispensable everyday items to artistic masterpieces, from low to high culture, the fabrication of “culture” or “civilisation” as a heterogeneous admixture of diverse and anything but authentic elements lies at the heart of this exhibition.

Seen through the uninformed gaze of Alissa, an unaccompanied refugee child who travels across Europe just as European explorers once roamed the rest of the world, awkward comparisons appear, rather than established or even scientific ways of acting and thinking.

What does she know and how does she see through:

• the history of textile labour;
• fashion or a recycling of various forms of sewing and dress;
• the imago mundi decorating certain textiles;
• various ways of interlinking work on textiles with writing at the level of both raw material and metaphor;
• the dissociation of the plant origin of fibres from the floral representation on textiles;
• modern era Western painting as “oil on canvass”;
• the shaping, clothing and depiction of the human body;
• the resourceful use of this trait in order to both conceal and reveal different tropes of sociability;
• the use of textiles in establishing a home and its often coterminous gendered division of labour;
• and, last but not least, the ways in which all the above translate into lived experience?

Curated by: Dimitra Douskou, Iris Tzahili, with the contribution of Sophia Vakirtzi and Vaya Papazikou

Original works by: Polyxeni Angelidou, Lida Anastasiadou, Angela Castresana, Sophie Desrosiers, Sara Ettlinger, Marie-Helène Galton, Christian Grelier, Marina Kassianidou, Yannis Rogdakis, Iris Tzahili.

The exhibition serves under the auspices of the Ministry of Culture and UNHCR, the UN Refugee Agency, Representation in Greece.

 See also: The Herakleidon Museum celebrates the European Heritage Days

As I sat amidst the vibrant atmosphere of the Ancient Theatre of Epidaurus, watching Aeschylus’ The Suppliants, I was struck by the timelessness of its themes. This poetic and deeply political play, written over 2,500 years ago, resonates with issues that are very relevant today: the right to asylum, the vulnerability and resilience of women fleeing persecution, and the broader question of women’s place in society. The play, masterfully directed by Marianna Calbari, was brought to life by an outstanding cast and the awe-inspiring voices of the Chorus, along with the captivating vocals of Marina Satti. It was a profoundly moving experience, offering not only a reflection on the past but also a powerful lens through which to examine the struggles of the present.

The Suppliants tells the story of fifty daughters of Danaus, who flee from Egypt to Argos, seeking asylum from forced marriages to their cousins. They throw themselves at the mercy of King Pelasgus, appealing to his sense of justice and the sacred laws of hospitality. Their plea is not just a request for protection; it is a demand for their fundamental human rights. This echoes the experiences of countless women today who are forced to flee their homes to escape gender-based violence, persecution, and oppression.

Asylum is a concept deeply rooted in the moral and legal traditions of many societies. It is a recognition that some individuals, due to the extreme threats they face, must be granted safety beyond their own borders. However, in today’s world, the right to asylum is under increasing strain. As we grapple with the complexities of forced displacement across the globe, the response from many countries, including those with democratic traditions, has been mixed at best. This is particularly true for women, who often face additional layers of vulnerability. They are at risk not only from the circumstances they flee but also from exploitation and abuse during their journey and even after reaching a supposed safe haven.

In The Suppliants, the women are not passive victims. They assert their right to control their own destinies and resist the imposition of power over their bodies and lives. This assertion is as crucial now as it was in ancient Greece. Today, women who seek asylum are not just escaping immediate physical threats; they are also fleeing from societies that deny them autonomy, equality, and dignity. The struggle of the Danaids is thus emblematic of a larger fight for women’s rights—one that continues in many parts of the world.

Moreover, the play raises important questions about the responsibilities of those who receive the plea for asylum. King Pelasgus is caught in a dilemma: should he honour the ancient customs of hospitality and protect the suppliants, or should he bow to the pressure of the Egyptian suitors and avoid conflict? This mirrors the difficult choices faced by states today, particularly in Europe, where the refugee and broader migration issue has sparked intense political debate. Aeschylus does not offer easy answers, but he underscores the moral imperative of compassion and the dangers of turning away those in need.

The voices of the Danaids still resonate in my mind but also echo through the ages, calling us to remember our shared humanity and the responsibilities that come with it. Let us not turn a deaf ear.

*This is a translation of an op-ed hosted in Greek at the newspaper TA NEA on 16 September 2024 on Aeschylus’ tragedy The Suppliants staged in the summer of 2024 by Greek Art Theatre Karolos Koun and Neos Kosmos Theatre under the direction of Marianna Kalbari.

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