Until November 2024, the National Museum of Contemporary Art (EMΣT) presents a cycle of exhibitions, in four parts, exclusively dedicated to the work of women artists or artists who identify as female, under the broader umbrella title, What if Women Ruled the World?
On 8 March 2024, International Women’s Day, Part II of the exhibition cycle opened with six new projects by five international artists:
Yael Bartana
Claudia Comte
Hadassah Emmerich
Lola Flash
Malvina Panagiotidi
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Hadassah Emmerich | Epicurean Eden
WHAT IF WOMEN RULED THE WORLD? Part ||
The mural will debut as part of the ‘What If Women Ruled the World’ Part II exhibition cycle, but will remain on display at the museum for a couple of years. Furthermore, the project is slated for completion in June, ideally aligning with the inauguration of ‘What If Women Ruled the World’ Part IV. Notably, the installation will include then specially crafted art rugs developed in collaboration with Art Rug Projects Athens.
Hadassah Emmerich has become known for her exuberant paintings, collages and murals that intricately weave stylised representations of exotic fruit, body parts and vegetal elements into bold eroticised ornaments. Her work reflects an immersive and visceral exploration of the body and identity, navigating the realms of the sensory and the sensual while delving into the commodification of desire, the erotic and the exotic.
The sensuality of her painting resides not only on the surface of the image, but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. Referring to the visual language of advertising and Pop art, she creates images that examine the aestheticisation of the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique.
For the first presentation of her work in Greece, Emmerich has created a new large-scale, site-specific expansive wall painting which covers part of the museum’s ground floor foyer and mezzanine, taking over its entire education space. Consisting of several murals, a large frieze on the balcony of the mezzanine that connects to the ground floor and mezzanine, and several murals on the latter, including two monumental columns and sitting areas, the result is an immersive and colourful Gesamtkunstwerk.
About Hadassah Emmerich
*Heerlen (NL), 1974
Lives and works in Brussels
Hadassah Emmerich studied at the Academy of Fine Arts in Maastricht, HISK Flanders and Goldsmiths College, London. Recent exhibitions include: Skin of the Shapeshifter, SUPRAINFINIT, Bucharest (2023); Botanical Body Bliss, Galerie Ron Mandos Amsterdam (2023); False Flat, Bonnefanten Museum, Maastricht (2022); Abrasive Paradise, Kunsthal KAdE, Amersfoort, NL (2022); Trailblazers, 150 years Royal Award for Painting, Royal Palace, Amsterdam (2021); BXL Universel II: multipli.city, CENTRALE for Contemporary Art, Brussels (2021), BuahTangan, ISA Art Gallery, Jakarta (2020); The Great Ephemeral Skin, De Garage, Mechelen (2019). Her work is held in numerous public collections including the Rijksmuseum, Amsterdam, the Bonnefanten Museum, Maastricht, MuZee, Oostende, The Flemish Parliament and the Federal Government Collections, Brussels, Gemeentemuseum and the Ministry of Foreign Affairs, The Hague and the Museum for Modern Art, Arnhem, NL.
Hadassah Emmerich’s art is a multifaceted exploration that transcends conventional boundaries, inviting viewers into a world where sensuality, feminism, and identity intersect. With a commitment to pushing the limits of her creative process and addressing urgent themes with depth and self-awareness, Emmerich stands as a visionary artist shaping the contemporary art landscape. 
Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Hadassah Emmerich’s work. The sensuality of her painting resides not only on the surface of the (erotic) image but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. Referring to the visual language of advertising and Pop art, she creates images that both aestheticise and problematize the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique. In this way, Emmerich succeeds in making the act of looking truly provocative. 
- Nina Folkersma
About EMΣT | The National Museum of Contemporary Art Athens
EMΣT | The National Museum of Contemporary Art Athens is the leading national institution for contemporary art and visual culture in Greece, and one of the flagship institutions in Southern Europe and the Eastern Mediterranean. It began its operation in 2000. In the first years of its existence, it was a nomadic institution, hosted by institutions such as the Athens Concert Hall and the Athens Conservatoire, as its new home – the former Athenian landmark, the industrial modernist FIX brewery – was being retrofitted as a state-of-the art contemporary art museum. In 2015 it moved into its new premises while in 2020, a part of its collection was installed and EMΣT finally opened to the public.
SUPPORTED BY
The exhibition Hadassah Emmerich forms part of the Residency Program of the Project SUB 6.4, “Actions to promote Greek cultural exports and strengthen the Greek cultural name by the National Museum of Contemporary Art Athens”, which is implemented within the framework of the National Recovery and Resilience Plan “Greece 2.0”, funded by the European Union – NextGenerationEU.
Hadassah Emmerich’s project is supported by the Mondriaan Fund.

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The Acropolis, perched atop a hill about 150 meters high in the heart of Athens, is visible from many parts of the city.

Originally built for defense and refuge, the Acropolis was also a place where the ancient Athenians worshipped the goddess Athena. When discussing Athenian culture, the Parthenon, the Erechtheion, the Temple of Athena Nike, and the Propylaea are essential components of the Acropolis, highlighting its importance. These sites are crucial for understanding Athenian culture and are must-sees. I visited in December, during the off-season, and both the Parthenon and the Erechtheion were under renovation and inaccessible; however, even from a distance, one could sense their former glory. Climbing to the top offers panoramic views of Athens, a dense expanse of white houses stretching as far as the eye can see. Both theaters are breathtaking. Only the buildings themselves remain on the Acropolis; a visit to the Acropolis Museum to carefully examine the preserved artifacts is highly recommended. Otherwise, you&#39;ll only be able to gaze at the columns and imagine its past glory.

Perhaps due to the off-season, there was no queue for tickets; they cost 30 euros per person. The mountain isn&#39;t high, but the wind is strong and the sun is shining brightly, so be sure to protect yourself from the sun and wind; wearing sneakers is a must. Guides need to be booked in advance; there aren&#39;t many people before 10 am, so you can read the written description carefully.

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Ideally, you should climb the Acropolis in the morning and visit the Acropolis Museum in the afternoon. The museum is located a few hundred meters below the Acropolis and houses most of the Acropolis&#39;s artifacts. Viewing these artifacts will help you understand ancient Greek civilization. It&#39;s best to do some research beforehand and have some knowledge of ancient Greek history, especially the major wars and key gods.

The first floor houses artifacts excavated from numerous temples on the Acropolis hillside and from residential areas at the foot of the hill.

The second floor is the &quot;Archaic Period Art Exhibition Area,&quot; exhibiting items including the square ceiling of the Acropolis&#39;s promontory, sculptures from the Temple of Athena Nike, and caryatids from the Erechtheion.

The third floor closed early that day for some reason, so I didn&#39;t see it.

During the visit, look out the windows and at the ground. The transparent glass walls offer a 360-degree view of the Parthenon and the entire city of Athens; the ground level is the archaeological site, suspended in mid-air by more than 100 concrete pillars. I recommend heading to the restaurant on the 3rd floor around sunset for a drink or a bite to eat (I recommend the spinch pie, but avoid the pre-made penach spritzer), and waiting for the Acropolis to light up. It&#39;s a truly invigorating experience.

The museum doesn&#39;t have guided tours, but the language-based guides are excellent. The free Wi-Fi provided with the guides is much better than my roaming data plan. If you have enough time, I suggest taking the 2-hour guided tour to fully appreciate the museum.

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A must-see when traveling to Greece! The museum has a rich collection of treasures from the fourth century, including stone carvings, pottery, bronze, gold, etc. It&#39;s worth a visit!

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Theater of Herodes Atticus and Caryatids and Parthenon
However, the Caryatids in the Acropolis are not authentic. The authentic ones are in the nearby Acropolis Museum and... the British Museum

Like most Greek temples, this temple was also used as a treasury.
1. It was built in 447 BC to replace the old Parthenon (destroyed by the Persians in 480 BC).
2. For a while, it was the treasury of the Delian League (which later evolved into the Athenian Empire).
3. In the 6th century AD, the Parthenon was converted into a church dedicated to the Virgin Mary (the original Athena was also a virgin).
4. In the early 1460s, after being conquered by the Ottoman Turks, it was used as a mosque.
5. It was used as a gunpowder magazine by the Turkish army in 1687 and was unfortunately severely damaged in an explosion.
6. By 1800, only half of the Parthenon statues survived. After obtaining approval from the Ottoman government, British Ambassador Sir Elgin began to transport half of the surviving statues back to Britain at his own expense starting in 1801, and they began to be exhibited in the British Museum in 1817.

Temple of Olympian Zeus

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Although it is a site under restoration, you can still feel the weight of history. The ticket inspector did not immediately recognize the admission voucher. He looked at it for a long time and asked why there was no price displayed. We explained and finally got in.

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Time:	2024年3月8日–2026年12月31日 (UTC+2)
Location:	Kallirrois Avenue

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