Big Blue Dot is a non-profit company based in Greece. Contemporary ceramics is a form of art constantly developing and evolving, presenting an upward trend worldwide and in Greece. In addition, Greece is increasingly recognised as a cultural hub in South-Eastern Europe due to its geographical location, the significant number of visitors, and the strong ‘brand’ of its cultural heritage.The organization of the first Biennale of Contemporary Keramics in Greece reflects the need to support Greek ceramics, create occasions for new aesthetic trends, promote research, and strengthen communication between creators and the public.

Big Blue Dot’s wanderings in Greece aim to provide educational opportunities to the local communities and new experiences, contribute to cultural tourism development, and strengthen the local economy and art. Every two years, the event will have a fresh, renewed face highlighting a different part of Greece and history.

Who we are

The Biennale of Contemporary Keramics, organized by the civil non profit company Big Blue Dot, stands out for its decentralized and nomadic character. Like a wandering blue dot, it avoids being anchored in the Athenian metropolis. Instead, it takes place each time on a different island, drawing inspiration from the unique qualities of each location, including its archaeological past, myths, and history. The event features the main exhibition and a diverse parallel program of performances, projects, and workshops, fostering engagement among artists and the local community.

Who we are

The Biennale of Contemporary Keramics, organized by the civil non profit company Big Blue Dot, stands out for its decentralized and nomadic character. Like a wandering blue dot, it avoids being anchored in the Athenian metropolis. Instead, it takes place each time on a different island, drawing inspiration from the unique qualities of each location, including its archaeological past, myths, and history. The event features the main exhibition and a diverse parallel program of performances, projects, and workshops, fostering engagement among artists and the local community.

What we do

BCK’s journey across Greece not only brings valuable educational opportunities to local communities, offering new knowledge, experiences, and inspiration but also contributes significantly to the development of cultural tourism. These wanderings play a vital role in strengthening the local economy and the art scene. The Organizational Committee, in collaboration with artistic agencies and groups, institutions, museums, and educational organizations, actively researches and plans innovative ways to showcase Greece’s cultural heritage through Contemporary Ceramic Art. The event takes on a fresh and renewed identity every two years, highlighting and culturally empowering a different part of Greece and history.

What we do

BCK’s journey across Greece not only brings valuable educational opportunities to local communities, offering new knowledge, experiences, and inspiration but also contributes significantly to the development of cultural tourism. These wanderings play a vital role in strengthening the local economy and the art scene. The Organizational Committee, in collaboration with artistic agencies and groups, institutions, museums, and educational organizations, actively researches and plans innovative ways to showcase Greece’s cultural heritage through Contemporary Ceramic Art. The event takes on a fresh and renewed identity every two years, highlighting and culturally empowering a different part of Greece and history.

Our vision

Mainly driven by the need to promote and highlight Contemporary Greek Ceramic Art and ceramists at a global level, BCK aspires to be a great cultural event that will be held biannually in Greece. An initiative where artists can meet and enrich their knowledge whilst present a new way of reading the cultural heritage of Greece through Contemporary Art.

Our mission

BCK’s mission is to fill the gap that existed until now in Contemporary Ceramic Art in our country and to be an equally important Biennale with those abroad. BCK is a catalyst for Greek culture and for the Greek and foreign ceramists promotion – established and young, connecting domestic artistic production with the international scene of Contemporary Ceramic Art and vice versa.

BCK Team

Loukia Thomopoulou

Founder & Creative Director - BCK 2026 Curator

Loukia Thomopoulou

Founder & Creative Director - BCK 2026 Curator

Stamatia Dimitrakopoulos

BCK 2026 Curator

Stamatia Dimitrakopoulos

BCK 2026 Curator

Anissa Touati

BCK 2026 Curator

Anissa Touati

BCK 2026 Curator

Eleni Lozou

Artists Liaison

Eleni Lozou

Artists Liaison

Iakovos Sachinis

Project Coordination

Iakovos Sachinis

Project Coordination

Aristeidis (Aris) Petrou

Exhibition Design

Aristeidis (Aris) Petrou

Exhibition Design

Dimitris Papazoglou

Branding & Signage Design

Dimitris Papazoglou

Branding & Signage Design

Lambros Papanikolatos

Strategic Advisor

Lambros Papanikolatos

Strategic Advisor

Evie Dikaiou

Synergies Strategy

Evie Dikaiou

Synergies Strategy

Lia Dikaiou

Synergies Strategy

Lia Dikaiou

Synergies Strategy

Giorgos Tzigkounakis

Web Development

Giorgos Tzigkounakis

Web Development

Elli Mouchtari

Social Media

Elli Mouchtari

Social Media

Marilina Giannatou

Administrative Support

Marilina Giannatou

Administrative Support

#craftingcyprus – A series of short films written and directed by Filep Motwary

The Deputy Ministry of Culture and the Press and Information Office present the series of short films entitled #craftingcyprus, written and directed by Filep Motwary.

Commissioned by the Cyprus Handicraft Service and the Press and Information Office, under the auspices of the Deputy Ministry of Culture, Motwary’s films capture— in a moving and visually compelling way — the richness of Cypriot craftsmanship. They highlight embroidery and ceramics, weaving and silversmithing, furniture making and woodcarving, basketry, the art of stone, as well as the essence of dress and adornment.

Through these thematic explorations, the crafts that constitute Cyprus’s Intangible Cultural Heritage are brought to light, seen through the director’s unmistakably romantic and deeply visual artistic lens.

Across the eight episodes, 80 figures from the world of craftsmanship take part — master artisans, artists, visual practitioners and historians. Among them are Michael Anastassiades, Hussein Chalayan, Anna Marangou, Zenon Sierepeklis, Joanna Louca, Elysia Athanatos, Theodoulos, Kristina P., Elina Ioannou, Dr Iosif Hadjikyriakos, Euphrosyne Rizopoulou-Egoumenidou and Myrna Pattichis […], each approaching, in their own unique way, the concept of “Cypriotness” through the act of creation. Μusic by Eleni Era

@filepmotwary
@cyprus_handicraft_service_
@piocy
@depminculturecy
@aubergedefrancerhodes

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Open post by bckeramics with ID 18231092356333131
#craftingcyprus – A series of short films written and directed by Filep Motwary The Deputy Ministry of Culture and the Press and Information Office present the series of short films entitled #craftingcyprus, written and directed by Filep Motwary. Commissioned by the Cyprus Handicraft Service and the Press and Information Office, under the auspices of the Deputy Ministry of Culture, Motwary’s films capture— in a moving and visually compelling way — the richness of Cypriot craftsmanship. They highlight embroidery and ceramics, weaving and silversmithing, furniture making and woodcarving, basketry, the art of stone, as well as the essence of dress and adornment. Through these thematic explorations, the crafts that constitute Cyprus’s Intangible Cultural Heritage are brought to light, seen through the director’s unmistakably romantic and deeply visual artistic lens. Across the eight episodes, 80 figures from the world of craftsmanship take part — master artisans, artists, visual practitioners and historians. Among them are Michael Anastassiades, Hussein Chalayan, Anna Marangou, Zenon Sierepeklis, Joanna Louca, Elysia Athanatos, Theodoulos, Kristina P., Elina Ioannou, Dr Iosif Hadjikyriakos, Euphrosyne Rizopoulou-Egoumenidou and Myrna Pattichis […], each approaching, in their own unique way, the concept of “Cypriotness” through the act of creation. Μusic by Eleni Era @filepmotwary @cyprus_handicraft_service_ @piocy @depminculturecy @aubergedefrancerhodes

Loop Earthquake (1481–1985)

Loop Earthquake (1481–1985) consists of a series of acoustic ceramic pieces that, using sound and performance, comment on the seismic conditions of the area where the island of Rhodes is geographically located. This project seeks to connect such a catastrophic event to the great earthquake that struck Rhodes in 1481.

The design of the pieces is inspired by ancient Greek funerary urns, made of fired clay and available in museums across the country. Looking at them and considering their unique forms, it is impossible not to think about their acoustic potential. In Loop Earthquake (1481–1985) the glazed ceramic acoustic pieces are also reminiscent of the sun. When dragged, these solar allegories generate a sound similar to that of an earthquake or landslide. The performance and sound actions to be carried out are based on the most significant tectonic movements produced between plates: push, extension, and sliding. All these movements have been happening at different periods of time and in distant geographical locations but always under the same sun.

Jorge Cabieses-Valdes (@cabiesesvaldes), Loop Earthquake (1481–1985), 2026, glazed ceramics and HD video (loop), 58 x 58 x 58 cm each.

With the support of Facultad de Artes- Universidad de Chile (@artesuchile) and Sealed Earth. (@sealedearth.art)

The artwork is currently on view at the Archaeological Museum of Rhodes.

Curated by:
Stamatia Dimitrakopoulos @kopse_ligo
Loukia Thomopoulou @loukiat
Anissa Touati @anissatowati

©️George Pappas
©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese)

#BCKeramics #BCK2026 #Rhodes

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Open post by bckeramics with ID 18132858787784982
Loop Earthquake (1481–1985) Loop Earthquake (1481–1985) consists of a series of acoustic ceramic pieces that, using sound and performance, comment on the seismic conditions of the area where the island of Rhodes is geographically located. This project seeks to connect such a catastrophic event to the great earthquake that struck Rhodes in 1481. The design of the pieces is inspired by ancient Greek funerary urns, made of fired clay and available in museums across the country. Looking at them and considering their unique forms, it is impossible not to think about their acoustic potential. In Loop Earthquake (1481–1985) the glazed ceramic acoustic pieces are also reminiscent of the sun. When dragged, these solar allegories generate a sound similar to that of an earthquake or landslide. The performance and sound actions to be carried out are based on the most significant tectonic movements produced between plates: push, extension, and sliding. All these movements have been happening at different periods of time and in distant geographical locations but always under the same sun. Jorge Cabieses-Valdes (@cabiesesvaldes), Loop Earthquake (1481–1985), 2026, glazed ceramics and HD video (loop), 58 x 58 x 58 cm each. With the support of Facultad de Artes- Universidad de Chile (@artesuchile) and Sealed Earth. (@sealedearth.art) The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes

A House Awaits

Installed in the square of the Palace of the Grand Master of the Knights of Rhodes, this work gathers one hundred glazed construction blocks into a fragile, luminous field. The block is an ordinary, inexpensive element, ubiquitous across the Mediterranean and the Global South, used to raise walls quickly, to mark a boundary, to make a room. Here, that modest unit is transformed through glaze. Its porous body is sealed, its surface rendered reflective, almost precious. Utility becomes memory.

Within this layered historical context, the installation reflects on construction as a continuous act of making and remaking. Arranged across the ground, the glazed blocks evoke both foundation and fragment. They suggest a structure that could rise, yet remain suspended between permanence and impermanence. In their repetition, they recall collective labor and propose building as both a material and ethical gesture.

Meriem Chabani(@newsouth___) x Gorbon Ceramics, A House Awaits, 2026, glazed brick, dimensions variable.

Courtesy of the artist and Gorbon Ceramics. Supported by Institut Français de Grèce (@institutfrancaisgrece) and AT Agency.

The artwork is currently on view at the Grand Master`s Palace grownds.

Curated by:
Stamatia Dimitrakopoulos @kopse_ligo
Loukia Thomopoulou @loukiat
Anissa Touati @anissatowati

©️George Pappas
©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese)

#BCKeramics #BCK2026 #Rhodes

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Open post by bckeramics with ID 18129971965880321
A House Awaits Installed in the square of the Palace of the Grand Master of the Knights of Rhodes, this work gathers one hundred glazed construction blocks into a fragile, luminous field. The block is an ordinary, inexpensive element, ubiquitous across the Mediterranean and the Global South, used to raise walls quickly, to mark a boundary, to make a room. Here, that modest unit is transformed through glaze. Its porous body is sealed, its surface rendered reflective, almost precious. Utility becomes memory. Within this layered historical context, the installation reflects on construction as a continuous act of making and remaking. Arranged across the ground, the glazed blocks evoke both foundation and fragment. They suggest a structure that could rise, yet remain suspended between permanence and impermanence. In their repetition, they recall collective labor and propose building as both a material and ethical gesture. Meriem Chabani(@newsouth___) x Gorbon Ceramics, A House Awaits, 2026, glazed brick, dimensions variable. Courtesy of the artist and Gorbon Ceramics. Supported by Institut Français de Grèce (@institutfrancaisgrece) and AT Agency. The artwork is currently on view at the Grand Master's Palace grownds. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes

Confabulation III (Amphora)

Confabulation III (Amphora) is an artwork that, though it begins as an amphora, moves away from that description. The initial recognisable shape is overtaken by an element foreign to it. The human-made lines disappear beneath an organic cloud that envelops the vessel, like a school of fish turning synchronously. Some familiar profiles remain, but the overall feeling is dislocated. What results is a hybrid, a kind of chimaera, an object of double origin caught between two directions.

Mauro Fariñas, (@mauro.farinas) Confabulation III (Amphora), 2025, stoneware, glaze, ashes, 53 x 31 x 23 cm.

The artwork is currently on view at the Archaeological Museum of Rhodes.

Curated by:
Stamatia Dimitrakopoulos @kopse_ligo
Loukia Thomopoulou @loukiat
Anissa Touati @anissatowati

©️George Pappas
©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese)

#BCKeramics #BCK2026 #Rhodes

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Open post by bckeramics with ID 18071507483780472
Confabulation III (Amphora) Confabulation III (Amphora) is an artwork that, though it begins as an amphora, moves away from that description. The initial recognisable shape is overtaken by an element foreign to it. The human-made lines disappear beneath an organic cloud that envelops the vessel, like a school of fish turning synchronously. Some familiar profiles remain, but the overall feeling is dislocated. What results is a hybrid, a kind of chimaera, an object of double origin caught between two directions. Mauro Fariñas, (@mauro.farinas) Confabulation III (Amphora), 2025, stoneware, glaze, ashes, 53 x 31 x 23 cm. The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes

Essaïda Carthage 1.618

In Essaïda Carthage 1.618, Malek Gnaoui transforms ordinary construction materials, red brick and cement, into a column crowned with a Corinthian capital inspired by Roman architecture and the archaeological remains of the Baths of Antoninus in Carthage. By employing materials commonly found in unfinished housing across contemporary Tunisian neighbourhoods, he elevates the visual language of peripheral urban landscapes into a sculptural form associated with classical grandeur.

The exposed texture and modular stacking of bricks echo the architecture of expanding suburbs, where structures often remain suspended between completion and abandonment. Drawing conceptually on Al-Muqaddimah by Ibn Khaldun, Gnaoui approaches architecture as a marker of civilisation, an embodiment of social organisation and the cyclical transformation of societies, or “ʿumrān.”

Malek Gnaoui, (@malekgnaoui) Essaïda Carthage 1.618, 2026, red bricks and cement, dimensions variable.

Supported by la Boîte (@la_boite_art_contemporain) | Centre d`Art et d`Architecture and Le 32 Bis. (@le32bis)

The artwork is currently on view at the Archaeological Museum of Rhodes.

Curated by:
Stamatia Dimitrakopoulos @kopse_ligo
Loukia Thomopoulou @loukiat
Anissa Touati @anissatowati

©️George Pappas
©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese)

#BCKeramics #BCK2026 #Rhodes

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Open post by bckeramics with ID 18107990569958467
Essaïda Carthage 1.618 In Essaïda Carthage 1.618, Malek Gnaoui transforms ordinary construction materials, red brick and cement, into a column crowned with a Corinthian capital inspired by Roman architecture and the archaeological remains of the Baths of Antoninus in Carthage. By employing materials commonly found in unfinished housing across contemporary Tunisian neighbourhoods, he elevates the visual language of peripheral urban landscapes into a sculptural form associated with classical grandeur. The exposed texture and modular stacking of bricks echo the architecture of expanding suburbs, where structures often remain suspended between completion and abandonment. Drawing conceptually on Al-Muqaddimah by Ibn Khaldun, Gnaoui approaches architecture as a marker of civilisation, an embodiment of social organisation and the cyclical transformation of societies, or “ʿumrān.” Malek Gnaoui, (@malekgnaoui) Essaïda Carthage 1.618, 2026, red bricks and cement, dimensions variable. Supported by la Boîte (@la_boite_art_contemporain) | Centre d'Art et d'Architecture and Le 32 Bis. (@le32bis) The artwork is currently on view at the Archaeological Museum of Rhodes. Curated by: Stamatia Dimitrakopoulos @kopse_ligo Loukia Thomopoulou @loukiat Anissa Touati @anissatowati ©️George Pappas ©️Ministry of Culture (@minculturegr) / Ephorate of Antiquities of the Dodecanese (@efadodecanese) #BCKeramics #BCK2026 #Rhodes

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