Your life journey, its highlights and the key steps that brought you where you are today
My path was not linear. I studied Physics and Environmental Sciences, worked in a large chemical industry, and then moved into the valorization of research outcomes and international research policy. Curiosity and a desire to explore new territories led me to futures research and, ultimately, to MOMus. This journey equipped me with the ability to connect scientific rigor, creativity, and strategic thinking—skills I now apply both at the UNESCO Chair on Futures Research at FORTH and at MOMus. I feel genuinely fortunate for these two roles and for the work we are doing.
It’s true that we’ve seen MOMus transform since you took the helm. What changed for you, and what is the vision and narrative of the new creative trajectory that opened up?
Before MOMus, I worked as a strategy consultant for large organizations across the Americas, Asia, and Europe, helping them develop plans to meet future challenges. As an external advisor, however, my role was limited to proposing strategies and hoping they would be adopted. At MOMus, for the first time, I have executive responsibility and the real ability to implement what I believe is meaningful. Beyond strengthening internal organization and financial sustainability, our overarching vision is for MOMus to become an open institution with an international, compelling, and socially engaged exhibition program. We want our museums to be bright, welcoming spaces where audiences, artists, and institutions actively want to collaborate.
Tell us about the key moments that marked your time at MOMus and your most important achievements to date.
Over the past three and a half years, so much has happened that we barely have time to celebrate each milestone. If I had to single out a few, I would highlight the major presentations of the Kostakis Collection in Shanghai and Málaga; the international collaborations and the Picasso and Frida Kahlo exhibitions in Thessaloniki; the extensive renovations across all our museums and the reopening of the cafés; and of course our newest venue, MOMus Air at Thessaloniki’s Macedonia Airport. Special mention goes to the plan for the new museum at the FIX building, implemented by the Ministry of Culture, an initiative that opens a new chapter in the presentation and management of the Kostakis Collection.
What is MOMus Air, how did the initial idea come about, and how did it take shape in its realization?
Airports have been a constant in my life, I’ve traveled to 61 countries and through hundreds of airports, so the idea of a museum at Macedonia Airport immediately fascinated me. What began as a simple visibility partnership evolved, together with Fraport, into a fully-fledged museum exhibition space.
The technical challenges were numerous: from fire safety and microclimate requirements to aligning with the airport’s commercial logic. The contribution of everyone involved was crucial, we didn’t abandon the idea, and we managed to realize something truly unique. There are museums in very few airports worldwide, and none, to my knowledge, in such a central location, at the heart of a major international hub. We achieved something rare by persisting, and today MOMus Air is changing the way travelers encounter art.
In a field as creative as art, how important is it to have a dynamic team with ideas, vision, and appetite for new achievements?
A dynamic team is the heart of any bold initiative. It brings fresh ideas, resilience in the face of failure, and the ability to turn vision into action. Vision without a decisive team remains an idea; a team without vision becomes mere management. That’s why we empower our people across all MOMus departments, encourage them to propose new ideas and take risks, and strive to reward decisiveness, these are the qualities that generate real innovation.
How do you feel your aesthetic sensibility has evolved, and how has your engagement with art changed the way you see things?
My aesthetic sensibility is constantly evolving because art functions, at least for me, and I believe for everyone, as an ongoing laboratory of observation. I’ve learned to notice details and appreciate different narratives, and aesthetics have become a criterion in decision-making. Most importantly, the impact is often indirect: engagement with contemporary art catalyzes creative thinking and fosters a mindset of experimentation.
When operating creatively within the framework of a public institution, is there room for out-of-the-box thinking?
Yes there is, but it requires strategy. “Out of the box” becomes possible when innovation is tied to clear public benefit, measurable goals, and regulatory compliance. It also requires alliances both internal and external small pilot projects that demonstrate value, and patience in convincing institutional partners. With solid documentation and risk management, a public framework can become a catalyst for creativity rather than an obstacle.
Today, we also benefit from a strong track record of success, which means such “out-of-the-box” initiatives receive stronger support from the outset, both within and beyond the museum.
As citizens of Thessaloniki, we feel that MOMus has developed a strong outward-looking relationship with the city and has truly embraced its audience. How did you achieve this, and what more could happen in this direction?
When we took over, we realized that MOMus had distanced itself from a large part of society. In practice, it functioned as a public institution for a few something clearly reflected in its limited audience reach and modest sponsorship support. Without going into detail, we decided to radically change this model.
The core principle now guiding everything we do from our exhibition program and public activities to our communication is that MOMus must be accessible and relevant to society as a whole. We set clear programming goals, established transparent procedures, and actively invite collaborations. Anyone with an idea is welcome to bring it forward, without prejudice or bureaucratic barriers.
That said, we never compromise on quality in our exhibitions. As one of the country’s largest public institutions dedicated to contemporary culture, we have a responsibility to present major exhibitions. We must carefully decide what deserves to be shown alongside works by Popova, Malevich, or Takis, which are part of our permanent collections.
What’s next on your agenda for the coming year?
The year ahead is full of surprises and significant exhibitions across all our museums. Two major highlights stand out: our participation in the Venice Biennale where MOMus assumes the role of National Commissioner this year, supporting the remarkable artist Andreas Angelidakis and the 9th Thessaloniki Biennale of Contemporary Art, curated by the inspiring Nadia Argyropoulou.
These are ambitious projects that stretch our operational capacities, but they also reaffirm the mature, international outlook of MOMus. I’m eager to see the impact they will have on the city, our audiences, and our international profile.
What would be a dream project for MOMus?
My team knows that I always have several “dream projects” many of which remain on hold for the time being. However, the most important achievement would be the completion and opening of the new home of MOMus, the Museum of Modern Art in the FIX building.
We are working closely with the leadership of the Ministry of Culture, and particularly with Minister Lina Mendoni, who bears the primary responsibility for this project, and we support it wholeheartedly. I truly believe it will transform the city. The sooner institutions and the public understand its significance and support it, the faster and more effectively it will move forward.
Do you believe that art and creativity more broadly can help us become better human beings?
Yes, without hesitation. Art trains us in empathy, observation, and critical thinking. It teaches us to acknowledge multiple perspectives, to tolerate ambiguity, and to take responsibility for the meaning we create. On both a personal and collective level, this is one of the most powerful ways we can become better human beings.
Tell us a story or a moment you will never forget
My most cherished moments are not a single memory, but the time I spend with my children. As they both study and live their own lives, I deeply value the time they choose to share with me. I can never get enough of either my daughter or my son.
Three places you love to return to and why
I won’t simply name “favorite” places; I’ll mention three that always draw me back.
Thessaloniki: As a child and as a professional, I lived in many places, but Thessaloniki was always my harbor—my home, my family.
Kopanaki, Messinia: My village, where I find calm, simplicity, and a rare authenticity— a place for rest and the renewal of ideas.
Epanomi Beach: With a group of friends winter swimmers, we immerse ourselves in the cold sea and the immediacy of nature. It’s an experience that clears the mind completely.
Your personal definition of beauty
Beauty is whatever makes you pause, moves you, and makes you care—whether visually (a cyclamen, the Parthenon) or conceptually (an idea, an action). It can be universally recognized or deeply personal, but it is always the moment that draws you into attention and care.
What do you consider authentic today?
Authenticity is any human creation that carries a genuine identity. It’s not merely an aesthetic criterion; it’s a source of trust. What is authentic operates quietly, builds lasting bonds, and creates real impact. In a future shaped by ever-expanding technological capabilities and overwhelming volumes of information and imagery, authenticity will remain a fundamental value.
