The Breeder

01/06/2026

Green Man I
Stoneware clay, colour slips and transparent glaze
25cm x 25cm

Luke Edward Hall
Dancing with Serpents
, Athens
23rd May–16th June 2026

28/05/2026

・・・
We are thrilled to announce our 3rd Contemporary Intervention Program exhibition

Malvina Panagiotidi. Bucolic Fever
Dialogue with Alekos Fassianos

On view until October 11th
Curation Ioanna Piperigos
We would like to deeply thank our

Major Donor

Stavros Niarchos Foundation

CIP Donor


Insurance Donor


and

©️Malvina Panagiotidi, Courtesy the artist and The Breeder, Athens, Commissioned by the Alekos Fassianos Museum_Photo copyright Paris Tavitian

28/05/2026

The Breeder presents Dancing with Serpents, Luke Edward Hall’s fourth solo exhibition at the gallery. Hall is a multidisciplinary artist and designer working across drawing, painting, ceramics, interiors, and fashion, blurring distinctions between fine and applied arts. His practice unfolds as a form of world-building, constructing a vivid and fluid visual language in which mythology, folklore, and everyday life converge. Across media, his work is unified by a poetic sensibility, at once intimate and expansive, where figures, landscapes, and symbols drift between the real and the imagined.

📸

13/05/2026

Alexandra Christou

09/05/2026

22/04/2026

In ancient Greek mythology, Zeus transforms into a swan to approach Leda, blurring the line between divine desire and violence.

Through three distinct practices, artists revisit this enduring motif, unfolding it across gesture, form, and memory.

Alexandra Christou
Mythology Leda with the swan, 1992
oil on canvas
150 x 120 cm

Luke Edward Hall
Swan boy, 2025
oil pastels and chalk pastels on paper
59 x 42 cm

Kostas Paniaras
Summer Nostalgia, 1997-1998
acrylics on canvas
115 x 90 cm

21/04/2026

This exhibition following the solo presentation of Eleni Pitari-Pangalou’s drawings curated by Anna Mikoniati in 2024, serves as a targeted reacquaintance with her artistic practice, which ranged beyond the dominant narratives of modern Greek art. This focused presentation unveils an artist with a clear artistic identity and an autonomous and coherent body of work, whose contribution can now be credibly reintegrated into the broader map of Greek modern painting.

ELENI PITARI-PANGALOU
Touching Space
March 12, 2026–May 9, 2026
Breeder Feeder Athens

14/04/2026

Even when myth surfaces, as in Untitled (Mythology Leda with the swan) (1992), the emphasis is not on theatrical drama but corporeal ambiguity. The myth is reclaimed as an intimate encounter, stripped of grandeur and returned to the body.

In her work, intimacy becomes a process without reference, entirely entrusted to the pictorial space; in the street scenes, the female bodies almost completely displace the external space. If the erotic works assert female desire, the portraits of women on the streets claim space for female existence in the public sphere. These portraits depict women — many of them s*x workers — whom Christou encountered in central Athens: in front of hotels, wandering the streets, lingering near telephones and doorways.

Christou does not moralise. She does not dramatise their vulnerability nor romanticise their hardship. Instead, she places them at the centre of the canvas and allows them to occupy it fully. A hand on a hip, a cigarette mid-gesture, a sideways glance — these become gestures of autonomy.

Alexandra Christou
THE GRAVITY OF DESIRE
March 12, 2026–May 9, 2026

27/03/2026

・・・
I am so glad to present the development of this new body of work at

These works have largely been inspired by the ancestral pastoralist practices of the Sarakatsani and Vlach peoples of Northern Greece. With this work I have tries to depict the local ecosystems of the mountains where these people grazed their flocks emphasising on plants like, Aspalathus, Sideritis (mountain tea) and Pournari.

At the same time I am trying to challenge ideas of representation in painting. I do this by adopting an approach that aims not to objectify it’s subjects i.e the above mentioned plants, and the goat sculptures but rather to create an environment where both the works and the viewer can share horizontally. By diminishing all aspects of space from the paintings - horizon line, sky and perspective- the viewer is positioned amidst the plants rather that observing them from at far. This disgraces the distance between subject / object, mind / body, human / nature. Working towards a sense of expanded painting.