Keramikou 28

Keramikou 28 is a neoclassical building in Athens, Greece, in the Metaxourgeio district on Keramikou 28 Street. The building has undergone various names, including ReMap, Kunsthalle Athena, and Communitism. The building was used as a social art center between 2007 to 2023 by three different initiatives, each occupying it during separate periods, closely resembling the Kunsthaus Tacheles in Berlin. In 2017, the building received significant attention among artists, serving as an artist hub for a community of national and international artists who had relocated to Athens during Documenta 14.

The building was transformed into an arts center and used for exhibitions, performances, and initiative projects. The building served as a venue to the Athenian subculture art scene, both for emerging and established artists to exhibit their work and engage in creative pursuits outside traditional galleries and museums.

Original Owner
Before World War II, there was a significant Jewish community in Metaxourgeio, which hosted several synagogues and Jewish establishments in the neighborhood. Among these are the Beit Shalom Synagogue and the Chabad of Athens, which served as key points for religious observance, cultural exchange, and staying connected within the Jewish population of Athens. Consequently, the construction of Keramikou 28 is believed to have taken place discreetly by a Greek-Jewish family that migrated to Athens after the burning of Smyrna. This historical context could be the cause of the limited information about the original owner and the construction of the building.

Utilization to Abandonment
The location of the building might not have been a random choice for construction. The name of the Metaxourgeio district derives from its historical association with silk production (Μεταξουργείο, 'silk factory ', in Modern Greek). This could have been the motive behind the construction of Keramikou 28 in Metaxourgeio, as its initial use was as a garment factory.

Over the course of the 20th century, the building served a variety of purposes, including as a factory, printing press office, bakery, and likely as a venue for numerous other business up until its abandonment in the beginning of the 21st century.

The Evolution into an Artistic Hub
Following the abandonment of the building and the begging of the Greek government-debt crisis, the Athenian art scene saw rapid growth, drawing artists, collectives, and initiatives towards the Keramikou 28 building. This growing interest led to the temporary occupancy agreement of Keramikou 28 during the ReMap1 event, an international contemporary art platform that was open and free to the public, organized by non-profit organization ReMap KM. This multi-faceted artistic initiative, in collaboration with various institutions, notably the 1st Athens Biennale, ran from September 8 to November 24, 2007, and utilized various buildings within the districts of Metaxourgeio and Keramikos, including Keramikou 28.

ReMap1 played a pivotal role in raising awareness of Keramikou 28. The transformation of the abandoned building into a center of artistic activity drew a wider spectrum of art enthusiasts, critics, and curators. This increased awareness not only highlighted the building's potential as a cultural space but also rejuvenated the surrounding area.

Kunsthalle Athena (2010 - 2015)
Kunsthalle Athena, was founded in 2010 during the Greek government-debt crisis and began as a hosted project curated by Marina Fokidis entitled “THE BAR” within one of ReMap's buildings, Keramikou 28. This event took place from May 13 to 17, 2010, and brought more than a thousand people to the then-unknown building. The project was led by curator Marina Fokidis, who wanted to explore the social impact of art institutions in the 21st century, focusing on Athens. Over time, Kunsthalle Athena evolved into a renowned artist-run and community space.

Fokidis, who later became the director of the Athens art office of Documenta14 and the publisher of South magazine, pursued a critical approach towards institutions and ideologies. South magazine, envisioned as a mindset, became a key component of Documenta14, showcasing Fokidis' vision and the changing role of Kunsthalle Athena in the Athenian art scene.

Transitioning into the unrestored neoclassical building on Keramikou 28, Kunsthalle Athena began its journey among a diverse mix of locals, including immigrants, brothels, and drug addicts who had a strong presence in the area. From 2010 to 2015, the building served as a venue for numerous special projects, including exhibitions, performative events, and discursive gatherings. Notable among these was the launch of South as a State of Mind magazine, founded by the Kunsthalle Athena team, which became the official journal of Documenta14 in 2017. A range of renewed artists exhibited at Kunstehalle Athen, including Kostis Velonis, Apostolos Georgiou, Anastasia Ax with other artist like Andreas Angelidakis, Dimitra Vamiali, Juliette Bonneviot, Alexandros Georgiou, Lydia Dambassina,, Annika Larsson, Matthieu Laurette, Ylva Ogland, Angeliki Papoulia, Robert Pettena, Theo Prodromidis, Iraklis Renieris, Yorgos Stamkopoulos, Stefania Strouza, Paul Zografakis, and Socratis Socratous.

The peak of Kunsthalle Athena 's efforts was the final project titled "We'll Meet Again" (2015), featuring a three-day event of lectures, screenings, and performances. Previous exhibitions, such as "This Must Be the Place" (2013) and "This is Not My Beautiful House" (2014), drew inspiration from Talking Heads songs, conveying a sense of social and existential alienation.

Throughout its existence, Kunsthalle Athena aimed to redefine perceptions of life and action, emphasizing community engagement at the nexus of space, artistic expression, and politics. Despite financial challenges, Kunsthalle Athena thrived through collaborative efforts and innovative resource management.

Communitism (2017 - 2023)
Communitism, much like Kunsthalle Athena, emerged within the Kerameikou 28 building in Metaxourgeio during the Greek government-debt crisis. The group was originally founded in 2016 as a project to motivate community structures to activate abandoned cultural heritage buildings in Athens. The distinction between these two initiatives lies in their affiliations. Communitism was closely linked with the subculture art scene of Athens, while Kunsthalle Athena maintained connections with the mainstream art scene, including blue-chip galleries, museums, and art fairs.

The group originally initiated at a neoclassical building located at 15 Paramythias & 57 Salaminos streets in Metaxourgeio, not far from Keramikou 28. With the start of Documenta14, more artists relocated to Athens, many of whom became involved with Communitism and eventually moved to Keramikou 28 in 2017, which had been empty for two years.Keramikou 28 under Communitism was more complex and functioned differently from how the building was used by ReMap and Kunsthalle Athena. Under the umbrella of Communitism, the building was organized into distinct circles, each with its own goals and responsibilities. This structure allowed for the simultaneous operation of multiple autonomous initiatives within the same physical space. During this time, the building hosted a vibrant ecosystem where artists, activists, and community members exchanged ideas and collaborated on projects. Over the years, Communitism was shaped by a variety of projects and initiatives that contributed to its development. Notable initiatives include Balkan Can Kino Film Festival, Kino 28, Free the Kitsch Film Festival, Perspectives Art, Typographio, Keramo Lab, Butterflies & Camels, MEME Athens, and the last to join the building, PS: (Project Space), which during the COVID-19 pandemic took over the space previously occupied by MEME Athens. While MEME Athens was one of the most well-known initiatives in the building, they split from Communitism in 2020 over a controversy regarding autonomy, leading to considerable distrust and acrimony within the community. Communitism featured both established and emerging artists from diverse media through MEME Athens and PS: (Project Space), including Ron Athey, Karl Heinz Jeron, Alexis Vasilikos, Frank Holbein, Ronny Bulik,  Gianni Kazakis, and many other artists such as Chris Doulgeris, Grigoria Vryttias, Orestis Giannoulis, Danae Kriki, Dimitris Liosis, Beatriki Markopoulou, Lydia Miligou, Katerina Botsari, Ioanna Bouzika, Christos Oikonomou, Stelios Papagrigoriou, Angelos Tortikolis, George Anthikolou, George Anthopoulou, Dylan Meade, Charlotte Nieuwenhuys, Hermes Pittakos, Sara Sani, and Veronique Tromokratish.

In May 2023, Communitism, the last initiative in the building, faced a legal eviction due to the gentrification of the area. The property owners, motivated by the rising property values in the neighborhood, wanted to sell the building to a Jewish businessman, ultimately leading the group to peacefully depart. However, the purchase was blocked by the Bios Cultural Center which bought the building to prevent its commercial redevelopment and preserve it as an art center. Today, the building of Keramikou 28 stands as a symbol of the Athenian art scene through the numerous exhibitions, performances, and projects hosted within its walls.

Film, TV and Music
The building's architectural beauty made it an attractive location for film productions, including those for platforms like Netflix and Amazon Prime Video, as well as Greek cinema. Notable films shot inside the building include "What If..." (2012), "Greek Salad" (2023). The film initiatives of the building included Kino 28, Free the Kitsch Film Festival, and Balkan Can Kino, which was the most organized and consistent film initiative in the building, active between 2017 and 2018. Initially, Balkan Can Kino screened films, created audiovisual workshops, and held an alternative film festival. During the first year of the group's operation, a series of screenings was organized on the theme "Retrospectiva: Women in Greek Filmography." In December 2017, Balkan Can Kino hosted "The Unseen Movies Festival," organized by the Greek collectivity of the Pugnant Film Series.

In the following year, screenings were held almost every Friday and Saturday on the ground floor, featuring different themes and genres of filmmaking, including tributes to filmmakers with live Q&A sessions. In April, the group hosted the Trashxploitation Short Film Festival from Paris, France. In May 2018, they organized a three-day stop-motion animation workshop, resulting in three films created by the 15 participants. In July of the same year, Balkan Can Kino participated in "Our Festival" at the Theatre of Rematia with screenings and a stop-motion animation workshop for children. In November 2018, the group traveled to Thessaloniki, organizing film and video art screenings in various art spaces and cafes in the city.

The 1st Balkan Can Kino Symposium took place from November 2–11, 2018, hosted by Communitism. The symposium featured film screenings, lectures, discussions, and workshops with film professionals such as Giorgos Tseberopoulos, Antonis Tolakis, Pavlos Mavrikidis, Dimitris Panagopoulos, and film theorist Flavia Dima. Additionally, a panel discussion was organized by the Institute of Experimental Arts, and a workshop was conducted by Iranian artist Rosh Zeeba. The event also included a presentation of the Video Art Miden festival from Kalamata, the Berlin film school filmArche, and the school for migrants and refugees "Farzad Kamangar" in Athens. Throughout the symposium, a photography exhibition was presented in collaboration with the Department of Photography and Audiovisual Media of the School of Applied Arts of the University of West Attica at the MΕME Gallery.