A vast collection of illegally acquired antiquities, spanning from the Geometric (1100–750 BC) to the Hellenistic period (up to 31 BC), and 3,247 coins has been uncovered in a basement in central Athens, the Culture Ministry announced.
According to ekathimerini.com, the artifacts were found in the Alexandros Soutsos Mansion at 33 Stadiou and 3 Pesmazoglou streets, a property owned by the National Gallery of Greece and recently leased as a shop. Hidden in a concealed underground space accessible only via a trapdoor, the objects were wrapped in newspapers from the 1940s, when the site operated as a jewelry and art store.
The discovery was made in February during the eviction of the former tenants.
“In addition to the repatriation of cultural goods illegally exported from our country, there are also cases of the illegal activity of acquiring goods in our country. One such case was identified in the heart of Athens,” said Culture Minister Lina Mendoni.
State archaeologists cataloged the find, which includes 102 ancient objects such as kylixes, canthari, basins, lekythoi, skyphoi, and figurines, 36 post-Byzantine religious items like icons and ecclesiastical silverwork, and coins, medals, seal stones, and weights from ancient to modern times.
The artifacts have been transferred to secure storage at the Athens ephorate of antiquities and the Numismatic Museum. After conservation, a scientific committee will assess their monetary value.
The announcement followed news of a white marble statue discovered elsewhere in Athens during gas pipeline works.
Greece’s economy continues to demonstrate strong growth, securing third place globally in the Economist’s annual ranking for 2024, tied with Denmark, protothema.gr has reported. This marks a slight shift from last year, when Greece was ranked first.
Spain leads the list this year, followed by Ireland in second place.
The Economist highlights the ongoing rise of Mediterranean economies for the third consecutive year. Notably, Greece and Italy—often associated with past Eurozone challenges—are showing robust recovery and sustained progress.
Ireland’s position reflects its success in attracting major tech companies, while Denmark benefits from the pharmaceutical giant Novo Nordisk, known for its Ozempic product.
In contrast, northern European nations, including Britain and Germany, report slower growth. At the bottom of the rankings are Latvia and Estonia, maintaining the last positions they held in 2022.
Israel also stands out as a strong performer, according to OECD data. Its notable growth follows a recovery from a sharp economic downturn in late 2023, triggered by its conflict with Hamas.
Greece’s placement underscores its resilience and highlights the broader economic recovery in the Mediterranean region.
A recent cleanup of Lake Pamvotida in Ioannina has brought to light an array of fascinating finds, including wartime relics such as bomb shells, an Ottoman grenade, and World War II German helmets.
Among the discoveries were also everyday items like motorbikes, batteries, mobile phones, bicycles, and even an old cash register. This marks the first-ever cleanup of the lakebed.
According to ekathimerini.com, the initiative, funded by the Natural Environment and Climate Change Agency, uncovered not only historical artifacts but also cultural and practical items, including a cauldron used for making tsipouro, a canoe, and several vases. The vases have been handed over to the local antiquities authority for further examination.
Recovered objects are currently displayed outdoors near the lake, giving residents a glimpse into the treasures unearthed during the project.
“Truth be told, the volume and great variety of finds from the underwater clean-up is beyond our expectations,” the head of Epirus Protected Areas Management Unit, Katerina Hiotelli, said.
Scheduled to run until December 20, the cleanup involves professional divers with expertise in high-altitude diving, as Lake Pamvotida is located about 470 meters above sea level.
On Thursday, a jeep—possibly of military origin—was found embedded in the lakebed and retrieved with the help of a crane.
Hiotelli also noted that claims of an Italian fighter plane resting at the bottom of the lake are currently under investigation.
With his short film Gorgo winning ‘Best Direction in a Student Film’ Award from the Australian Directors’ Guild (ADG) and vying for recognition at the AACTA Awards — Australia’s most prestigious film awards — Greek Australian director Veniamin Gialouris is proving himself to be a rising force in global cinema.
His film, a gripping reimagining of the myth of Medusa, is set in the 1960s, where a Greek bride arrives in Australia for an arranged marriage, only to uncover a dark secret.
For Gialouris, Gorgo is not just a story about the pain and power of migration, but also a tribute to the sacrifices and traumas of previous generations. With meticulous production design, emotionally rich storytelling, and an authentic soundscape featuring ancient flutes, the director honours his Greek roots while exploring universal themes such as power, loss, and transformation.
In an exclusive interview with The Greek Herald, Gialouris discusses the importance of his cultural heritage, the challenge of storytelling across two worlds — Australia and Greece — and his ambitious plans for the future, including his dream of creating his first feature-length film.
First, of all, congratulations on winning the ADG award for Gorgo! What inspired you to adapt the Medusa myth into a story about a Greek bride in the 1960s traveling to Australia?
Thank you so much. Being recognised by your peers is really meaningful, especially when the work is as personal as Gorgo is. The genesis of the idea came from my writer, Danielle Stamoulos, who approached me during our first year at the Australian Film Television and Radio School (AFTRS). I was already conscious of the various Medusa myths—particularly Ovid’s—and we connected over our yiayiades’ stories, so collaborating on modernising the myth became a really exciting prospect.
The themes of migration, sisterhood, and secrecy resonate strongly in Gorgo. How do you feel these themes connect to the Greek Australian experience of that era?
Drawing a parallel between Ovid’s Medusa myth, and the stories of arranged brides coming to Australia, was sadly quite easy. I guess the myth has always been so relevant because those problems still exist and are so universal. With that said, I do think my generation is largely shielded from how difficult—and harrowing—the experience of migration to Australia was, involving immense loss, deep trauma, but also a profound sense of hope. My grandparents definitely could not have pursued the arts and I have them (and my parents) to thank for making the sacrifices that allowed me to follow my dream today.
The process of researching the film was deep; it involved a lot of personal research through my own family, and a lot of discussions with Greek community groups and academics. The Greek community of Sydney really responded to the project. We couldn’t have made it without the on-going consultation and support of the Hellenic Lyceum of Sydney—particularly Dimitra Micos and Liana Vertzayias. The number of people they brought onto the project to support and assist really illustrated the strength of sisterhood that still exists today amongst Greek Australian women of all generations.
The 1960s was a transformative decade for Greek migrants in Australia. How did you approach portraying the cultural and emotional complexities of that time in your film?
My team and I really had to create a world—not something particularly easy to do when you’re making a short film on a budget. I was really lucky to find an older Greek-Cypriot woman’s house; she’d just moved out and my understanding is that she hadn’t renovated the house since the fifties. So it had this beautiful wallpaper, incredible kitchen, and everything was accurate to her (and so the world of our film). We also raided my family’s personal archives; particularly for photographs—one of the key photos in the film is of my actual yiayia and her sisters.
Navigating the cultural complexities was definitely helped by our cultural consultants but also by my experiences, as well as those of the cast and crew. I’m really proud of the interpersonal dynamics we got going between the characters and how truthful they feel. When a primarily Greek Australian audience watches the film, I always know when they’re going to laugh or gasp compared to a more general audience and it’s because they get it on a deeper level.
Gorgo was shot in a relatively austere style; often scenes play out in single shots, with a lot left unsaid. Usually music can do a lot of the emotional heavy lifting, but I also wanted the film’s score to be in a single ancient instrument called the aulos. My composer tracked down one of the handful of aulos players in the world and collaborated with them to create the most beautiful and haunting music. As far as we know it’s the first time that instrument has specifically had a film score written for it.
Winning ‘Best Direction of a Student Film’ is a significant milestone. How has this recognition impacted your career and your future projects?
It’s actually only been a week since the win so I’m really not sure what impact it’s going to have. But it’s definitely very personally significant, especially with the AACTA nomination coming only a few days later. And the Director’s Guild Award is something that’s awarded to you by your peers; that is really meaningful and feels wonderful.
I’ve read that you split your time between Sydney and Athens. How do these two cultural environments influence your storytelling and your perspective as a filmmaker?
I’d already made Gorgo before I moved to Athens for part of 2023. It really got under my skin. I intended on being there again this year but I ended up shooting a couple of projects and I couldn’t get back, but I’ve already booked my tickets to go back in early 2025. I think I had more creative output in Athens than I’ve ever had before or since.
It goes without saying that Australia and Greece are so different. I love Australia and Australian cinema, but there is something about being in Europe—it’s so easy to travel, and there is so much cultural exchange. Greeks are so generous, but also really brave and are unafraid to let you know exactly what they think. And as I started to become more familiar with modern Greek artists and creatives (like Cavafy and Fassianos), I can feel them starting to seep into my work and the way I see things, too. I feel very lucky to be able to dip my feet in both worlds.
Your Greek Australian heritage must hold a unique place in your identity. How has growing up with this dual cultural background shaped your perspective as a storyteller?
My Greek Australian heritage is such an intrinsic part of me that it’s hard to separate it from my perspective as a storyteller. Growing up, it felt completely normal to have this dual identity, but as I got older, I realised how much it shaped my view of the world. Being part of two cultures allows you to see things from multiple perspectives—you’re constantly balancing different traditions, values, and histories, which creates a natural curiosity about identity and belonging. As a storyteller, this duality often leads me to explore themes of in-betweenness: migration, isolation, and displacement, whether in a physical space or within a character.
Do you find that your Greek heritage influences the types of stories you are drawn to, or how you choose to portray characters and themes in your films?
Absolutely. I’ve always been really interested in history and myth—I would’ve been eight or so the first time that I read an illustrated version of the Iliad. And I tried to write my first screenplay at 11, and it was about the Gates of Thermopylae. So it’s just an intrinsic thing and it’s hard to really grasp where it starts. But I was always writing and trying to tell stories, and I was obviously really inspired by what I was reading.
Greek myths, in particular, are such a great framework for exploring universal themes like power, loss, and transformation. But I also want to push beyond the mythic and delve into the deeply personal and human side of these stories. My aim is to show characters who feel real, who carry the weight of their history but also live in the moment—laughing, struggling, and finding connection in unexpected ways. It’s important to me that I honour both the beauty and the flaws in these stories because that’s where the truth lies.
Can you tell us a bit about your personal journey? Where were you born and raised, and how has your upbringing influenced who you are today? Do you speak Greek, and how has your connection to the Greek language and culture played a role in your life?
I was born and raised in Sydney, Australia. Unfortunately, I didn’t grow up speaking Greek and that is absolutely my fault—my parents tried and I refused. So I’m now slogging away as an adult trying to get better at Greek (but I’m still awful at it, also not my teacher’s fault, they try too).
That said, my heritage plays a huge role in my identity. I have a big extended family, and food and culture and growing up Orthodox is all profoundly affecting. Even having the name Veniamin, everyone knows you’re from somewhere and you can’t escape it—not that you’d want to. I’m really proud of it.
I think the most confronting thing was spending an extended period of time in Athens and becoming hyper aware that you’re not just Australian and you’re not really Greek, but a kind of third thing. And I like being whatever that is, and I think it gives me an interesting perspective of both Australianess and Greekness.
Lastly, what’s next for you? Can you share any details about upcoming projects or the journey you see yourself taking in the film industry?
Well, I’ve wrapped production on two short-form projects this year; one is about to be finished and the other we’ve just started editing. But after those, I’d love to make a feature. Getting a film financed is a really hard and arduous process but I’m hoping with the recognition from the Director’s Guild Awards and other accolades, it might just happen. Either way, I’m excited to keep making work that I care about.
You can vote for Veniamin in the AACTA Awards here.
Nick Kyrgios has revealed his mixed emotions about returning to the intense world of professional tennis as he prepares for his comeback at the Brisbane International this December, ending an 18-month hiatus.
According to The Advertiser, during his break, Kyrgios found solace off the court, spending time with family and reflecting on the sacrifices required as an Australian tennis player, often missing significant family moments.
“Being injured… I’ve almost caught up on those moments that I was missing. I just don’t take anything for granted these days,” he shared.
Costeen Hatzi and Nick Kyrgios. Photo: instagram
With long-term partner Costeen Hatzi and family by his side, Kyrgios also expressed his desire for a large family of his own.
Still, he feels compelled to return to tennis, saying, “I think there’s a lot left that I have to give to the sport, to my fans… they want to just see it one more time.”
Brisbane tournament director Cam Pearson highlighted a stellar line-up featuring Alexei Popyrin, Jordan Thompson, and Ajla Tomljanovic. Officials anticipate the event will attract 50,000 visitors, generating $6 million for the local economy.
The Greek-Australian Society (GAS) officially welcomed Member number 500 as part of End of Year celebrations at the latest sold-out networking event at the Balmain Hotel in Sydney on Friday, December 6.
GAS Members, friends and supporters from across the country and overseas gathered to connect in person for the final time in 2024, a year in which GAS has expanded its Mentoring Program to the biggest yet, formed the Pharos Alliance in NSW and elected its first President based in Queensland.
GAS Board, John Georgaklis, George Mpliokas, Eleni Tatsis, Constance Piperides (L-R)
GAS co-Founder and Secretary, George Mpliokas addressed attendees and thanked everyone for their wonderful endorsement to a new community of Greek Australians, with young people, fresh ideas and a commitment to inclusion key to the GAS ethos.
Consul-General of Greece in Sydney, Yannis Mallikourtis spoke about the need for young Greek Australians to embrace their culture and congratulated GAS on moving from strength to strength, setting a new paradigm for Greek Australians to connect with their identity and with each other.
Consul-General of Greece in Sydney, Yannis Mallikourtis.
Prior to concluding the night’s formalities, the GAS team also welcomed and congratulated Johanna Volos as Member 500, marking an historic milestone in Greek Australian community participation and signifying the deep resonance of GAS’ initiatives and ideals across the country.
This event marked the final chapter in the 2024 calendar year, with GAS’ Annual General Meeting scheduled to be held in January.
Greece has been chosen to establish one of the EU’s first AI factories, a milestone announced by Prime Minister Kyriakos Mitsotakis.
Part of an initiative by the European High-Performance Computing Joint Undertaking, Greece is among seven countries selected to set up these AI factories.
According to tovima.com, the goal is to lay the groundwork for an ecosystem that trains advanced AI models and develops AI-driven solutions.
“Our goal is for the Greek AI factory to become a hub of research and knowledge for the wider geographical region, positioning Greece as a technological center,” Mitsotakis said.
Named “Pharos,” the Greek AI factory will integrate with the Daedalus supercomputer, currently being deployed in Greece. Pharos will focus on applying AI technologies in health, environmental sustainability, culture, and language.
Mitsotakis hailed this development as “a significant national achievement” that places Greece at the forefront of European technological innovation, opening new opportunities for researchers, businesses, and the public sector.
The EU and national funds will contribute €1.5 billion toward the first AI factories, which will double EuroHPC’s computing capacity by 2025-2026. Alongside Greece, AI factories will be established in Barcelona, Bologna, Kajaani, Bissen, Linköping, and Stuttgart.
Earlier this week, Greece also introduced the AI4edu program to integrate AI into schools, co-funded by the EU. Other EU countries can submit proposals to join the AI factory initiative by February 1, 2025.
A white marble statue of a nude male figure was uncovered during preparatory work for laying natural gas pipes, according to the Culture Ministry.
Ekathimerini.com, has reported that the statue, designed in the Hermes Ludovisi style, was found in a trench approximately one meter wide near the south side of the Odeon of Herodes Atticus, at the intersection of Erechthiou and Kalliperi streets.
The artifact dates back to the Roman Imperial period (1st–5th century AD), when the area was home to urban villas.
The headless statue was discovered within a structure made of rectangular bricks.
After thoroughly documenting the find, the Athens ephorate of antiquities transported the statue to its conservation workshop for further analysis and preservation.
Greek cuisine has claimed the top spot in the 2024 Taste Atlas “100 Best Cuisines in the World” Awards, surpassing culinary giants like Italy and Spain. Scoring an impressive 4.6 out of 5, Greece edged out Italy (4.59/5), Mexico (4.52/5), and Spain (4.5/5). This recognition marks a major milestone for Greece, which ranked third in last year’s awards.
Taste Atlas, an online platform dedicated to traditional dishes and local ingredients, evaluates cuisines based on expert reviews, authentic recipes, and nearly half a million user ratings. This year’s rankings incorporated 477,287 valid reviews across 15,478 dishes.
The global admiration for Greek flavors is evident, with the cuisine rated highest in countries like the Netherlands (4.7/5), Germany (4.5/5), and the United States (4.4/5).
Among Greece’s culinary treasures, Aegina’s pistachios (Fystiki Aeginas) took the spotlight with a stellar 4.8/5 rating, celebrated as the world’s best pistachios. Also highly ranked were Finiki Lakonias olive oil (4.8/5), Kalamata olive oil (4.8/5), and Fava Santorinis (4.7/5), a signature dish from Santorini.
This honor elevates Greece’s global reputation as a gastronomic destination.
The Hellenic Australian Chamber of Commerce and Industry (HACCI) Victoria hosted its annual Christmas party at the stunning, island-inspired venue, Olympia, in Oakleigh. The event was a celebration of the organisation’s achievements and a testament to its commitment to empowering the Greek Australian community, particularly women.
Ms Kypraios described the past year as a period of “tectonic shifts” for HACCI Victoria. She highlighted the addition of new board members Helen Kapalos, “probably the most famous Greek woman in Australia,” and marketing expert Mia Fileman. She also acknowledged the departure of long-standing board members Alex Ninis, Alex Christou, and Arthur Baoustanis.
Monash Business School Professor Christou told The Greek Herald of the importance of diversity and inclusion in any healthy organisation. Apart from his work with HACCI, he has served on the American Chamber of Commerce in Australia’s Women Leadership Committee.
“HACCI Victoria has an equal number of men and women on the board, and we are incredibly proud of Fotini Kypraios,” he said.
The HACCI Victoria event was enjoyed by all.
Professor Christou is one of a growing number of Greek Australian men who are abandoning the macho migrant stereotype to take a stand against gender-based bias.
“If we want to reverse the trend of increasing gender-based violence, every member of society has a role to play,” he said, adding that there has been a shift with more senior leaders supporting the cause of gender-based violence prevention in recent years.
Entrepreneur Alexia Fragedakis and Martha Oplopiadis, a leader in engineering and advocacy for women in STEM, reflected on the roles their fathers played in their success.
“We’re just two girls from Coburg that did good,” Alexia said, reminiscing about growing up with Martha in the neighborhood.
“We came from a family of hard-working immigrants. More than that, our parents didn’t just say ‘you’re girls so just sit there, look pretty and you’ll be taken care of.'”
Martha nodded, acknowledging the huge influence her father had on her life choices.
Apart from giving women a space to thrive, HACCI is also helping youth. Ms Kypraios said the Young Professionals Network mentoring program is on track to reach 500 people. She added that lifelong relationships develop between mentors and mentees.
The HACCI Membership offerings were also launched this year.
“It’s the best way to open HACCI to every professional, to every entrepreneur, to every business in our community, and bring them in,” Kypraios said regarding the revised membership options.
Membership offerings may help, but what is already bringing them in is HACCI’s values and inclusive identity.
