Athens 2004: Olympic Closing Ceremony (Games of the XXVIII Olympiad)

Lena Platonos, a major figure in the Greek music scene who has proven to be ahead of her time in terms of her groundbreaking work in electronica, is now receiving a surge of international attention, thanks to album re-issues and remixes. Both established and up-and-coming artist cite her as a key influence for her experimentations in sound, her eerie lyrics and her unique, uncompromising approach to creating music and art. With the help of collaborators, friends and international musicians of the electronic music scene such as Alexis Taylor of Hot Chip and the Red Axes, the film goes back to the time her revolutionary records were made.

With the Olympics returning to Greece, the opening ceremony of Athens 2004 sought to show the entire development of the Olympics over the centuries, until arriving at the modern Olympics.

Dimitris Papaioannou's new piece is a "dissection of the male psyche," and seems to draw upon a range of influences including the work of Jean Genet, Rene Magritte and Robert Wilson. Inspiration for the show also came partly from Papaioannou's own experiences as a gay man in Greece.

After her fighter pilot boyfriend commits suicide by crashing his jet into the ocean, a Greek fashion model reflects on their relationship and how it started, developed, then deteriorated. After a long bout of depression over his death, she learns that he may not be dead after all. Why would he have kept himself hidden from her, and will she ever be able to find him again?

A piece that tries to keep the imagination in the highest possible state of alert using a minimum of materials, all found to hand inside the creator's workshop space. An adventure of the body and mind in more raw and stripped-back form.

Panayotis gambles his way out of his village near Sparta. Anthony escapes his English stately home. They meet in nighttime London, during a bloody fight. Together, they discover a new way of life.

INSIDE took place in a room set inside a theatre in the centre of the city. A simple series of movements showing our daily return home was uniformly repeated by 30 performers in countless combinations and superimpositions. Six hours on stage with no beginning, middle or end. The theatre doors opened every day at 17.30 and closed at 23.30. The stage action began before visitors came in, and continued after they left. Visitors could watch as much as they liked, sit wherever they liked, exit and re-enter as many times as they liked. INSIDE treated the theatre as an exhibition space and the work as an exhibit, and invited audiences to act as visitors, watching the action as if gazing at a landscape.