Plásmata 3: Τhe exhibition’s artworks
We live between reality and illusion. Plásmata 3, the grand exhibition by Onassis Stegi at Pedion tou Areos park, invites you into a world where the boundaries between reality and illusion dissolve and the everyday becomes magical.
For 20 days, Pedion tou Areos hosts 25 works by Greek and international artists, discreetly spread across the park like a dream. These works converse with our daily lives and give space to the analog, the physical, and the imaginary.
The surreal isn’t just present in the artworks—it’s embedded in the very fabric of the park. A place that seems natural yet is constructed; a landscape that reveals itself as a jungle and hides like a collective sanctuary of our dreams—a constantly shifting scene.
Plásmata 3: Flavors
Photo: Efi Gousi
Among the hybrid works—many of which are part of the Onassis Collection—are strange totems charged with hints of spiritualism, mythical creatures, ancient column-pillows you can lie on comfortably, monuments made from shattered Athenian pavement marble, bodies caught between falling and ascending a staircase to nowhere, glass flowers lit by the embrace of two people, Amazons on motorcycles, endlessly spinning seashells echoing dripping water, familiar yet uncanny beings emerging from flowerbeds. Plásmata 3 is an experience of fantasy and wandering.
Plásmata 3 doesn’t divide art into digital and analog. Instead, it emphasizes its natural evolution through time: from shadow puppetry to projection mapping, from painting to film, from video art to contemporary digital and post-digital expression.
Punkthenon (2022), a sculpture by The Callas/Lakis and Aris Ionas. Photo: Pinelopi Gerasimou
Photo: Pinelopi Gerasimou
Still from Ares Awakening (2025), a video installation by Aias Kokkalis (dttail)
Photo: Pinelopi Gerasimou
Here, technology is not the goal—it’s a tool. The artists don’t serve artificial intelligence—they use it, transform it, subvert it, surpass it. With imagination as their primary weapon, they create new narratives that do not submit to algorithms but question them, reinvent them, and drive them mad.
We’ve met before, haven’t we?
Plásmata 3 is an invitation to play—a proposal to see the world around us differently. Like in the cinema of David Lynch, the uncanny emerges from the familiar, and the dreamlike feels like memory. What is the Ministry of Anarchaeology? Is that owl next to the statue of Athena really moving? Why are there sheep from Lebanon in the park? Could the spirit of the park bring us together? Are golden Datsuns falling from the sky? Do the seashells sing? Would you like to become a bat?
Meditation on Time (2022), Gold Leaf on Classic Datsun Truck by DIONYSIOS. Photo: Pinelopi Gerasimou
Anatomy of Non-Fact. Chapter 1: AI Hyperrealism (2024), by Martyna Marciniak. Photo: Pinelopi Gerasimou
Tectonic Riders (2025), an art film by Efi Gousi. Photo: Pinelopi Gerasimou
Love me. Lick me. Forgive me. (2023), neon installation by Janis Rafa. Photo: Pinelopi Gerasimou
At Pedion tou Areos, you’ll encounter beings you’re not sure are real—or born from a fairytale, a Goya painting, or your childhood dreams.
This year’s Plásmata 3 are uncanny—but also lovable. Tender and familiar. They make you wonder: Do they exist? Did they exist? Will they? And maybe that doesn’t even matter. Come to Plásmata 3—let’s play without worrying about what’s normal and what’s not. You won’t need a ticket. Just your imagination.
Plásmata 3: We’ve met before, haven’t we?
May 27 – June 15, 2025 / Onassis, Athens, Greece
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