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A Box of Bones

A Box of Bones

At Bayeux, Harold swears to William with his hand on a reliquary. The camera takes it in three shots: William on the throne with one finger out, touching nothing; Harold’s hand going out to the box; his face while he does it. Then he sails home, reports to Edward, and Edward dies. The last thing in the film is a hand coming down out of nothing to touch the roof of the new abbey. The cloth does not explain that hand.
Worth waiting for: Edward under his canopy. In the first film he raised a hand to send Harold out. That hand is in his lap now.

Duration : 4m
Maturity Level : all

The Ships That Were Never Coloured In

The Ships That Were Never Coloured In

Edward is buried, Harold is crowned, and a star comes over. Five men stand pointing at it. Then the camera goes down into the lower border directly beneath the new king and finds ships drawn in outline with nothing inside them. Every other figure in sixty-eight metres was worked twice, once to draw the shape and once to fill it with colour. These are outline only, and they sit at the exact point where the story has to say what happens next.
Worth waiting for: Ships drawn and never coloured in, directly beneath the new king.

Duration : 4m
Maturity Level : all

The Boatyard

The Boatyard

William gives one order, and the next four minutes are the consequence. Men go into a wood with axes, a blade runs down a plank, two of them bend into a half built hull and bore a hole in it. Then the fleet is hauled to the water, loaded with mail shirts slung on poles and a cart of wine and spears, and it crosses. In film one, men carried animals into the sea by hand. Here the horses come out as cargo.
Worth waiting for: Two men to carry one mail shirt, slung on a pole between them. You can see the weight in how they walk.

Duration : 4m
Maturity Level : all

Cooking, Digging, Burning a House

Cooking, Digging, Burning a House

The horses come ashore and the first thing the army does is eat. Meat on spits, a bishop blessing the bowls, men digging a castle with spades and two of them already fighting each other. A woman and a child leave a burning house hand in hand, the only civilians in sixty-eight metres. Then the charge and the shield wall. The passage where Harold dies is held briefly on purpose: it is largely nineteenth century restoration, and the arrow is not in the earliest drawings of the cloth.
Worth waiting for: Bishop Odo in the middle of the fighting, named on the cloth, swinging a club rather than a sword.

Duration : 7m
Maturity Level : all

The Last Animal

The Last Animal

This film covers the same twenty metres as the battle, but it stays in the lower border and looks up only four times. For seven films that band held griffins, lions and dogs, each one in its own panel between bars. Here the animals run out. The bars run out with them. The band becomes one continuous field with bodies laid end to end where the creatures used to be, then archers standing in it as if it were ground, then men stripping mail off the dead.
Worth waiting for: The first body. A man face down in mail, lying exactly where a griffin would have been.

Duration : 6m
Maturity Level : all

Three Women, One Name

Three Women, One Name

Three stretches of cloth thirty metres apart, two cuts, one question: who gets a name. A cleric reaches into an arch and touches a woman’s face, and the camera goes up into the stitching, to her name, Ælfgyva, in a Latin sentence that stops before its verb. King Edward is named on his deathbed. The veiled woman at its foot is not. Three men at a meal have their names stitched over their heads. A house burns, a woman and a child stand under it, and nobody in the frame is named.
Worth waiting for: A woman under a burning roof, one hand holding a child’s, the other palm open toward the man with the torch. The caption over him says only that a house is burned.

Duration : 4m
Maturity Level : all

As Above So Below

As Above So Below

At the Archaeological Site of Delphi, one of the most significant sacred sites of Ancient Greece, choreographer Apostolia Papadamaki creates The Oracles of Water, a site-specific, participatory ANAMNESIS performance exploring humanity’s relationship with water. Drawing upon the sacred legacy of Apollo and the Delphic Oracle, the performance brings Ancient Greek mythology into dialogue with the contemporary global water crisis and climate change. Through choreography, voice, music, ritual and audience participation, The Oracles of Water asks whether the ancient idea of the oracle can be reimagined for our own time: not as a prediction of the future, but as an invitation to listen more deeply to nature, memory and our collective responsibility toward water. Archaeological Site of Delphi, Greece | 2023. Artistic Direction & Choreography: Apostolia Papadamaki. Original Music: Tryfon Koutsourelis

Duration : 7m
Maturity Level : all

Delos

Delos

On the sacred island of Delos, one of the most important archaeological sites of Ancient Greece and a UNESCO World Heritage Site, choreographer Apostolia Papadamaki creates an ANAMNESIS performance in dialogue with the island’s extraordinary mythology, landscape and memory. Sacred in antiquity as the mythical birthplace of Apollo and Artemis, Delos becomes the setting for an embodied journey through movement, music, voice and ritual. Rather than treating the archaeological site as a backdrop, ANAMNESIS allows the landscape itself to become part of the choreography, inviting audiences to encounter Delos as a living field of memory connecting ancient and contemporary experience. Archaeological Site of Delos, Greece | 2019. Artistic Direction & Choreography: Apostolia Papadamaki

Duration : 2m
Maturity Level : all

Ancient Zone

Ancient Zone

At the ancient Thracian city of Mesimvria-Zone in Northern Greece, choreographer Apostolia Papadamaki creates an immersive ANAMNESIS performance connecting archaeological heritage, nature and the human body. The first part of Ancient Zone invites audiences to move through the archaeological landscape and discover the values, stories and memories embedded within the ancient city. As evening falls, the experience culminates with the Full Moon rising over the Thracian Sea, accompanied by movement, music and ancient texts. Landscape, celestial time and performance converge, transforming the archaeological site into a place of collective remembrance. Archaeological Site of Mesimvria-Zone, Greece | 2020 Artistic Direction & Choreography: Apostolia Papadamaki Original Music: Tryfon Koutsourelis

Duration : 5m
Maturity Level : all

Queen Thessaloniki

Queen Thessaloniki

Created for the Archaeological Museum of Thessaloniki, As a Shadow, As a Dream brings the historical and mythological figure of Queen Thessalonike of Macedonia into a contemporary performance landscape. Conceived and directed by choreographer Apostolia Papadamaki, the ANAMNESIS performance uses movement, voice, music and embodied storytelling to explore the traces left by a woman whose identity moves between history, legend and collective memory. Through Thessalonike, the work opens a wider reflection on women, power, violence, exclusion and resilience, creating a dialogue between the female experience of the ancient world and questions of gender, equality and justice that continue to resonate today. Archaeological Museum of Thessaloniki, Greece. Artistic Direction & Choreography: Apostolia Papadamaki. Original Music: Tryfon Koutsourelis

Duration : 4m
Maturity Level : all

Best of

Best of

Enter the world of ANAMNESIS, the site-specific and participatory performance series created by
Greek choreographer and interdisciplinary artist Apostolia Papadamaki. Featuring selected moments from ANAMNESIS performances created between 2018 and 2024,
alongside reflections from experts and collaborators, this film reveals a contemporary artistic

Duration : 1m
Maturity Level : all

All is One

All is One

At the Minoan Palace of Zakros in Crete, All Is One explores the profound relationship between human beings and the natural world through the lens of Minoan culture and spirituality. Created and directed by choreographer Apostolia Papadamaki as part of the ANAMNESIS series, the site-specific performance draws inspiration from Minoan reverence for nature and the rich symbolic world preserved in the archaeological landscape of Zakros. Movement, voice, music and collective ritual invite audiences to experience the perpetual motion of nature and the invisible connections between body, landscape and cosmos, a remembrance that beneath apparent separation, all is one.

Duration : 4m
Maturity Level : all

The Oracles of Water

The Oracles of Water

At the Archaeological Site of Delphi, one of the most significant sacred sites of Ancient Greece, choreographer Apostolia Papadamaki creates The Oracles of Water, a site-specific, participatory ANAMNESIS performance exploring humanity’s relationship with water. Drawing upon the sacred legacy of Apollo and the Delphic Oracle, the performance brings Ancient Greek mythology into dialogue with the contemporary global water crisis and climate change. Through choreography, voice, music, ritual and audience participation, The Oracles of Water asks whether the ancient idea of the oracle can be reimagined for our own time: not as a prediction of the future, but as an invitation to listen more deeply to nature, memory and our collective
responsibility toward water. Archaeological Site of Delphi, Greece | 2023. Artistic Direction & Choreography: Apostolia Papadamaki. Original Music: Tryfon Koutsourelis.

Duration : 4m
Maturity Level : all

Experience ANAMNESIS

Experience ANAMNESIS

Enjoy a glimpse into the magical world of [Anamnesis,https://ikonotv.art/Channels/213/anamnesis] where beautiful performances start at sunset in an archaeological site and end as the full moon rises. Pioneering choreographer Apostolia Papadamaki has made them across Greece and Italy, with local children and women performing alongside her company. Three to five hundred people stop watching and start taking part. Nobody can find the words in these living rituals.

Duration : 1m
Maturity Level : all

The Interrupted Chord

The Interrupted Chord

Titian returned to the same composition more than once, and this film sets two versions side by side. This slow art meditation holds both: Venus reclining on heavy drapery while an organist at the keyboard turns to look at her, and behind them a formal garden receding down a long avenue of trees. In one, a winged Cupid leans at her shoulder. In the other, a small dog. The difference is quiet, and worth the wait. These works can be seen at The Museo Nacional del Prado.

Duration : 3m
Maturity Level : all

After the Stone

After the Stone

Caravaggio’s David Victorious over Goliath refuses the triumph the title promises. This slow art experience stays close as a boy bends over the body of the giant, working a cord through his hair, his own back and shoulder caught in a single raking light. Everything else is darkness. There is no crowd, no gesture toward glory, only the physical work of what has happened. The stillness is the subject. This work can be seen at The Museo Nacional del Prado.

Duration : 2m
Maturity Level : all

The Man in White

The Man in White

Francisco de Goya’s Execution of the Defenders of Madrid, 3rd May 1808 holds the instant before the shot. In this slow art meditation, a single lantern on the ground throws its light on a man in a white shirt, arms flung wide, kneeling before a line of soldiers whose faces are turned away. The dead lie in front of him. Those still waiting cover their eyes. Goya gives the victims every feature and the firing squad none. This work can be seen at The Museo Nacional del Prado.

Duration : 2m
Maturity Level : all

The Hour Before Eating

The Hour Before Eating

Clara Peeters was one of the very few women painting still life in her time, and Table shows why she is worth the attention. This slow art meditation moves across a white cloth laid with a gilt cup, a salt cellar, an earthenware jug, a pie, and a porcelain dish of olives beside roast fowl. Light picks out every surface differently: metal, glaze, crust, brine. Nothing here is arranged casually. This work can be seen at The Museo Nacional del Prado.

Duration : 3m
Maturity Level : all

Kings at the Threshold

Kings at the Threshold

In The Adoration of the Magi, Hieronymus Bosch places a moment of reverence inside a world that keeps crowding in. This slow art encounter settles on the Virgin seated in blue with the Child, the three kings offering their gifts, and the ruined shed behind them where strangers press at the doorway to watch. Beyond, the land opens toward a distant city. The longer the eye stays, the stranger the edges become. This work can be seen at The Museo Nacional del Prado.

Duration : 5m
Maturity Level : all

A Painting of Paintings

A Painting of Paintings

David Teniers the Younger painted a room full of paintings, and then painted the man who owned them standing in it. This slow art encounter moves along walls hung frame to frame, floor to ceiling, with canvases stacked against the base where there was no space left. The Archduke stands among them in black, unhurried. It is a picture about looking at pictures, which makes it an odd and fitting thing to look at slowly. This work can be seen at The Museo Nacional del Prado.

Duration : 4m
Maturity Level : all

A Kindness in Sunlight

A Kindness in Sunlight

Francisco de Goya’s The Parasol belongs to his early years designing tapestry cartoons, and the mood is light. This slow art experience rests on a young woman seated on the ground with a small dog in her lap and a closed fan in her hand, looking out at us. Behind her a young man holds a green parasol, and its shade turns her face a cool, luminous green. Blue sky, a low wall, an easy afternoon. This work can be seen at The Museo Nacional del Prado.

Duration : 4m
Maturity Level : all

Gloves and Mountains

Gloves and Mountains

Albrecht Dürer painted himself at twenty-six as a gentleman, not a craftsman. This slow art journey takes in the striped cap, the gold-edged shirt, the slashed black and white doublet, the fine grey gloves resting on the sill, and the long curled hair he clearly took trouble over. To the right, a window opens onto mountains and a lake. He looks straight out, entirely composed, aware of exactly how he wants to be seen. This work can be seen at The Museo Nacional del Prado.

Duration : 3m
Maturity Level : all

Demons at the Door

Demons at the Door

Hieronymus Bosch’s The Temptation of St. Anthony sets one still figure against a world that will not stay still. This slow art meditation lingers on a wide landscape where hybrid creatures, part animal, part plant, part household object, go about their strange errands. At the centre the hermit stays absorbed, untouched by the swarm around him. Bosch’s invention rewards patience, and every corner of the panel holds something a quick glance would miss. This work can be seen at The Museo Nacional del Prado.

Duration : 11m
Maturity Level : all

Silk, Then Skin

Silk, Then Skin

Francisco de Goya painted the same woman twice, in the same pose, on the same divan. This slow art encounter shows both: the Maja Vestida in her white dress, pink sash and short jacket, and the Maja Desnuda with nothing but the cushions behind her. In each, the arms fold behind the head and the gaze meets the viewer directly, without apology. Seen one after the other, the difference is smaller than expected, and stranger. These works can be seen at The Museo Nacional del Prado.

Duration : 4m
Maturity Level : all