What is the Onassis Foundation? An interview with Afroditi Panagiotakou

Q Could you share insights into the founding principles and the core mission of the Onassis Foundation?

A Half a century ago, Aristotle Onassis penned a declaration that laid the groundwork for the Onassis Public Benefit Foundation, embedding a legacy within these words: ‘Aid, Progress, and Development’. Since 1975, the Onassis Foundation has focused on the pillars of Culture, Education, and Health, always striving for a better society.

At its core, the mission of the Onassis Foundation is human-centric: to create the conditions, explore the ideas, and trigger discussions that lead to a better society, while the Onassis ecosystem is quite distinctive in principle and practice, comprising artists, doctors, craftsmen and craftswomen, poets, students, dancers, architects, digital experts, stage managers, and technicians.

Since 1978, we've provided over 7,600 scholarships to students, researchers, artists, and scientists, nurturing their growth and contributions. Our initiatives have spanned from Onassis Stegi to the Cavafy Archive, as well as major donations to Greek healthcare, including the Onassis Cardiac Surgery Centre and the upcoming Onassis National Transplant Centre. In culture, these efforts extended to enhancing the lighting at Athens’ greatest cultural heritage monument, the Acropolis, and installing an inclined elevator to improve accessibility.

We are here to create the conditions that make the world better for everyone by supporting people and their dreams. Or, to echo the lines from Nekyia, now showcased at Brandhaarden: “What we do, with the muses’ help, is here to light up your nights. That is our sole concern. What more would we expect by rights?”


Q How do you perceive your own role as the Director of Culture in shaping the artistic vision of a cultural centre such as Onassis Foundation?

A When we talk about culture, we speak of something more than art; we talk about a way of living. With their sensitive antennae, artists tune into the moment and talk of today and tomorrow right now. We are

here to state that art is not just about production but primarily about process and devel-opment, social change, and freedom of speech. Ultimately, the people who change the art scene are the artists themselves and the audiences. But culture is also about your position as an institution, your stance concerning human rights, democracy, freedom of speech, and, ultimately, free- thinking. Our role is to support artists and their ideas manifesting into words, and this is fundamentally a political act.

The Onassis Foundation is a private, entirely in- dependent foundation. We don't rely on Greek taxpayer money or depend on a successful artistic season or full houses. And this freedom allows us to take risks, something we embrace. Disruption and innovation are in the DNA of the Onassis Foundation. Our large-scale open-air contemporary visual art exhibitions, Plásmata I in Athens (2021) and Plásmata II in Ioannina (2023), introduced a range

of digital installations, immersive events, expanded cinema, holistic AI, and VR experiences to people of all ages, free for everyone. These exhibitions' cross- disciplinary nature spans contemporary time-based visual and performing arts, expanded cinema, digital art, new media, and urban development in harmony with the cities themselves. For Onassis Culture, our ultimate aim is to be a hub where people and intellectual adventures converge – a meeting point for the curious

to explore the happenings around us. It's for those who ponder how art and culture drive social change, harbour bold ideas, and opt to be active citizens.


-|- Q What would you consider to be the signature of Onassis Stegi? What makes a production uniquely Onassis?

A As mentioned earlier, our discussions don't solely evolve around outstanding artistic productions. While the exceptional professionalism demonstrated by our curatorial, production, and technical teams serves as a crucial starting point, it does not exhaust our vision for what a production should be. We view ourselves as political beings, advocating for discussions on democracy, social justice, and human rights. Art and culture serve as our mediums for this purpose. ‘ALL WE HAVE IS WORDS, ALL WE HAVE IS WORLDS’, as goes the neon sign of Tim Etchells that adorns the south facade of the Onassis Stegi building, a point of reference in the city of Athens.

The Onassis Foundation's financial self-sufficiency and independence enable courageous, restless, and daring artists to find ways to showcase unexpected works. One such example is the groundbreaking theatre production directed by Anestis Azas and Prodromos Tsinikoris this season – a first-ever featuring non- professional Roma actors on stage, set to be presented at Brandhaarden as Romáland. In the same season and very recently, at Onassis Stegi, we've engaged in unexpected encounters with international artists. Tiago Rodrigues presented the thrilling contemporary play Catarina and the Beauty of Killing Fascists, while Tilda Swinton graced us with the living exhibition Embodying Pasolini. We also hosted the preview screening of Yorgos Lanthimos' much-anticipated new film Poor Things with Emma Stone. These events are part of an annual program brimming with contemporary, unconventional, and liberating rituals that call for a deeper immersion in creating a fairer society.


Q Can you tell us what makes Onassis Stegi uniquely different compared to other theatre companies in Greece, in your own opinion?

A Onassis Stegi isn’t your typical theatre company, venue, or just another ongoing festival. It arrived amid Greece’s socio-political and cultural turmoil in 2010 like a spaceship, offering a fresh cultural paradigm.

It encouraged artists to explore the world and urged audiences to embrace intellectual challenges and social change. True to its name (Stegi in Greek translates to ‘rooftop’, ‘home’, and ‘shelter’), it became the corner- stone of culture, serving as Greece’s primary production house. It has commissioned, presented, and globally promoted numerous works in theatre, performance, dance, music, and visual arts by both local and international artists.

Since 2010, over 200 Greek artists have ventured beyond borders. Notable figures like the world renowned choreographer Dimitris Papaioannou paved the way for a whole generation of internationally recognised Greek dance creators. Thanks to Onassis Stegi’s ‘Outward Turn’ cultural export program, Euripides Laskaridis, Christos Papadopoulos, RootlessRoot, Patricia Apergi, Katerina Andreou, and Ioanna Paraskevopoulou have gained global acclaim. For instance, Lena Kitsopoulou, a playwright, director, singer, and performer, who takes her Rebetiko band

to Brandhaarden, has also staged her works abroad. Similarly, actor and director Nikos Karathanos presented Aristophanes’ ancient comedy The Birds at various international venues, gaining recognition globally.

In our residency program, Onassis AiR, we ask fellows to step away from project thinking. Instead, we invite them to participate in the process, become part of the community, explore Athens, and move beyond their comfort zones. Onassis fellows can be anyone – from established, globally recognised artists like director Lukasz Twarkowski to emerging local talents like Mario Banushi, as well as curators, designers, dancers, chefs, gardeners, activists, writers, educators, legal advocates, performers, economists, architects, filmmakers, and practitioners from any medium or discipline worldwide.

Q How does Onassis Stegi ensure its programs are accessible to diverse socio-economic groups or underrepresented communities within Greek society?

A At Onassis Stegi, our mission is to ensure art is accessible to everyone. We provide discounts for young adults, seniors, large families, soldiers, students, and more. Plus, our neighbours can grab tickets for just €7. During this autumn's production of Romáland, we welcomed over 1,000 Roma spectators, many of whom experienced theatre for the first time. Our commitment extends to ensuring accessibility for those with visual impairments, aiming to enable everyone to revel in the wonder of the arts. But our dedication to inclusivity continues beyond that. We're actively engaged in Europe Beyond Access, a European program integrating disabled performing artists into the continent's cultural scene. We're passionate about creating a space where everyone, regardless of ability, feels acknowledged and celebrated in the arts. This initiative, combined with our ongoing efforts for accessibility, is a vital part of our mission to cultivate a truly diverse and inclusive cultural landscape.


Q How do the productions we can see at Brandhaarden 2024 reflect and align with the broader vision and values of Onassis Stegi?

A These productions aren’t just performances. They’re gateways that spark meaningful discussions and serve as portals to worlds hidden behind our everyday realities.

Earthquake bravely brings together trans femininities, non-binary individuals, people with different body types, immigrants, and sex workers on stage. They share the hate speech they’ve faced – whether in life or on social media – simply for being who they are.

Similarly, Romáland presents an ensemble of five non-professional Roma actors sharing their stories – along with the historical stigma of being viewed as a dangerous ‘other/stranger’ – for the first time in Greece.

The House is a thought-provoking shock delivered by Dimitris Karantzas, one of Greece’s most celebrated directors. When we invited him to Stegi, we didn’t want just another great performance of a classic playwright’s work. We challenged him to create something daring, something that pushes boundaries. Dimitris rose to the challenge, crafting an hour-long live performance with minimal dialogue and unyielding tension, redefining theatre as a biopolitical ritual.

Constantinopoliad places a handmade book at its heart, read collectively by the audience, within a capti- vating sound installation. It’s based on the coming-of-age journey of the great poet C. P. Cavafy, inviting spectators to confront their own experiences. It’s a tribute to a poet’s legacy, transcending every artistic facet.

Lastly, Nekyia is a journey to the otherworldly, to the arcane, to our deepest selves. It reimagines Odyssey with keyboards, vocals, musical saws, and even ghosts. This unique presentation of one of the most captivating parts of the Homeric epic – detailing Ulysses’ descent to Hades and his encounter with departed loved ones, including his mother – is a truly captivating viewing and listening experience.

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Q Could you please share some insights into the theatre’s sustainability initiatives, particularly regarding the building's eco-friendly practices, approaches to sustainable scenography, and efforts to minimise the environmental impact of travel associated with productions?

A Since 2017, we’ve been on a mission to significantly reduce Onassis Stegi’s carbon footprint through a range of eco-friendly initiatives. We’ve optimised the building’s central control system, regulating lighting and air conditioning to only what’s necessary for each area. To conserve water, we’ve set up a rainwater tank for irrigating plants in and around the building. The bushes on our premises are all native to the Cyclades, making them highly resilient to sunlight, heat, and water scarcity, helping us cut water usage to a minimum. Plus, we’ve got solar panels on our office block, heating water for the kitchens across different levels. And as of last year, we’ve been harvesting veggies from our rooftop garden for our daily use. In 2019, Stegi was nominated for the London Creative Green Awards in the best newcomer category, competing against major players like London’s Barbican Centre and Opera North in Leeds. We were the only art centre from Greece participating in this global green initiative.

Meanwhile, we continually strive to utilise natural and recyclable materials in our set constructions as much as possible. We're also putting effort into designing touring-friendly and compact sets, aiming to maximise each production's touring potential and prolong its life. Once a production's life cycle wraps up, we're all about reusing props and set materials. We've set up a handy ‘props inventory’ accessible to all artistic teams, and we reach out to other theatres and organisations to donate these materials. When we plan tours, we're all about minimising our carbon footprint. We carefully coordinate destinations to reduce the team's flights and freight transport impact. Plus, we opt for buses and trains whenever they're feasible alternatives.


Q Is there a way in which you measure the impact your work has on society?

A Let’s say this: thousands of voices have risen both for and against us, online and offline.


Q And are there any future goals you’re excited about right now?

A The future lies within the present. That’s why there’s a thrill in what we do each day – what we’ve achieved, what we aim for, even what we’ve missed. It’s all about embracing adventure, discovery, and desire.

Right now, we’re delighted that Brandhaarden’s tribute showcases the productions that have been the backbone of this year’s Onassis Stegi programming. These theatre, dance, and music productions embody a vision that goes beyond entertainment – it’s about a way of life and a culture that challenges stereotypes, champions accessibility and inclusion, ignites debates, and forges connections between diverse cultures. They showcase examples that inspire, illuminating the shadows and reminding us not to get accustomed to darkness. Because, ultimately, life must win. To use the opening lines of C. P. Cavafy’s poem ‘Ithaka’: “As you set out for Ithaka hope the voyage is a long one, full of adventure, full of discovery. Laistrygonians and Cyclops, angry Poseidon – don’t be afraid of them: you’ll never find things like that on your way as long as you keep your thoughts raised high, as long as a rare excitement stirs your spirit and your body.”

We’re here to awaken that rare excitement.