The Deep Blue in Anastasios Nyfadopoulos’ Sculpture


The Deep Blue in Anastasios Nyfadopoulos’ Sculpture

As one of the most recognized visual artists of abstract art, Wassily Wassilyevich Kandinsky (1866-1944) has written, the color of blue, the typical blue color of the sky, when submerged in black, suggests the non-sadness, and this fact constitutes an immense deepening in serious situations, where obviously, the end doesn’t and cannot exist.

It seems that the self-taught young sculptor Anastasios Nyfadopoulos (1992) embraces the thoughts of this great Russian creator. He is known to the public for the creation of “Crisis,” an installation of monumental dimensions placed in 2015 at 602 Vouliagmenis Avenue, Athens. As “Crisis” is the first public monument addressing the painful socio-economic conditions that our country is still facing, it is natural that subsequently the awareness of the young sculptor was expanded to a cosmic dimension. So, in his recent works, where he uses materials from modern industrial technology (carbon fibers, fiberglass, resins), he traces, through the blue color, the connection in the relation of humankind and the universe.

Adding gold in his creations gives a more dignified, almost metaphysical touch – let’s remember at this point the combination of the two colors, blue and gold, in icons at the Monastery of Sinai, in the second half of the sixth century, as well as in mosaics at the Monastery of Dafniou in the end of the eleventh century. The artist uses the gold to show that an artist can and should submit his own testimony; he should become a witness (the word with two meanings, the legal as well as the religious). A characteristic element of his work is the fact that the materials of carbon fiber and fiberglass, when used, cover the eyes of his figures, implying the relative limitation with which we feel and view the world, while the covered eyes of the figures indicate that we should see beyond any social filters imposed on us, that we should see with our soul – “always open, always awake the eyes of my soul” as our national poet Dionysios Solomos declared in his poem Free Besieged. Another meaning of the carbon fiber in some of his works is to depict the tremendous pressure on the soul of a man flooded by negative feelings and deadlocks that do not allow him to connect to his primary nature.

The historian Michel Pastoureau (1947) in his fundamental study regarding the color of blue concludes that from the end of the fifteenth century, the green color gradually gives its place in the precursor color of blue for depicting the element of water, turning the cold blue into the beloved color of modern west society.

The artworks of Anastasios Nyfadopoulos in this exhibition affect the viewers in a rather homeopathic way: the cold blue color of our today’s society can be confronted only through its difficult, sometimes dramatic, transcendence and with the addition of the halo, of the gold.

Dimitris Pavlopoulos
Professor of History of Art
Faculty of History and Archaeology
National and Kapodistrian University of Athens

This post is a translation of the original text written in Greek.

5 Years of Bailouts: The Grim Legacy of Greece’s Crisis


5 Years of Bailouts

5 Years of Bailouts: The Grim Legacy of Greece’s Crisis

In this photo made on late Wednesday. May 4, 2015, a sculpture stands at the southern Athens municipality of Elliniko-Argyroupolis. The resin-and-fiberglass sculpture by 22-year-old Tasos Nyfadopoulos is named Crisis _ the first public monument to tackle GreeceÌs stumbling peregrination from one near-bankruptcy to another, suffering economic depression, plummeting living standards and record unemployment on the way. (AP Photo/Petros Giannakouris)


A Global Award for Fellow Feral Artist: Tasos Nyfadopoulos


Tasos Nyfadopoulos at Art Athina with gallery Artzone 42

A Global Award for Fellow Feral Artist: Tasos Nyfadopoulos

By Lise Arlot, Medium, Feral Horses, Blog Jun 28, 2018

Feral Horses entered a new chapter in 2021 as it became part of artsquare.io, a platform dedicated to the tokenization of fine art and collectibles. This marked a significant milestone, representing the first merger and acquisition operation in the field of Art Tokenization Platforms.

Tasos, one of our dear feral artists, has been awarded the annual global arts Award from Red Line Art Works, a global arts project based in the UK.

Tasos Nyfadopoulos, Greek sculptor

At age 22 and residing in Athens, Tasos Nyfadopoulos is a member of the “lost generation” in Greece, devastated by a plague of long-term unemployment, currently standing at 21%. The self-taught sculptor delivered a personal response to the pressing issue in the form of an impressive 7-meter long, 4-meter high sculpture: “Crisis.” The sculpture depicts a colossal stock exchange index that rattles the ground, causing a man, situated on the top, to frantically fall as the index debacles.

“Crisis” by Tasos Nyfadopoulos

“Crisis” by Tasos Nyfadopoulos

The annual global arts Award from Red Line Art Works

Recently, Tasos has been awarded the annual global arts Award from Red Line Art Works, a global arts project based in the UK. Red Line Art Works embraces art that expresses the fundamental challenges humanity faces today such as climate change, inequality, war, poverty etc… They assess hundreds of artwork produced by artists spread across more than thirty different countries, including Australia, China, Mexico, South Korea, Russia and the USA. Their goal is to influence the masses, inducing people to reflect on the lack of global justice through their emotive artwork: “art with a conscience.”

Tasos’ “Crisis” exerts a powerful impact on its viewers, resonating with Greek citizens who have suffered during the financial turmoil, and the rest of the world who pities them. Giannis Konstantatos, Mayor of Argyroupoli-Elliniko stated: “in almost every home there is an unemployed person.” Tasos explains that his gripping sculpture has two interpretations. The first being a representation of the rising suicide rate (35% since the beginning of the crisis in 2010). The falling man can no longer bear his financial burdens and family apprehensions. The second is more hopeful, where the man on the index is undergoing a ‘catharsis;’ despite the adversity and obstacles, he becomes a new, wiser man.

Tasos emphasises that amidst the chaos, what’s important is how each individual “will manage to inspire something different and a change of course.” He is doing just that, through his artistic talents.

We congratulate and are proud to represent Tasos, a truly passionate, skillful sculptor. Currently, he is creating a series of exciting carbon fiber sculptures with smart hidden lighting incorporated within. He comments the use of contemporary material such as carbon fiber and kevlar is important, as it “gives life to (his) sculptures since carbon is one of the basic elements of all known life.”

We eagerly await Tasos’ new innovative, groundbreaking creations as his artworks’ influence quickly spread around the world.

Tasos Nyfadopoulos on Feral Horses – ArtSquare.io

Last year, Tasos sold two sculptures from his “Blue” series via our platform.

Parrallel Expressions by Tasos Nyfadopoulos on ArtSquare.io

The black colour of the carbon fibre reminds us the unknown, what we can’t control. But when we look beyond the black territory, a calming blue colour invites us. The gold light shimmers and we proceed closer. We distinguish three human heads with the same facial expression that look at three different directions, what it was, what it is and what it will be.

As in all the sculptures of the “Blue” series, in “Parallel expressions” we see that the blue colour is dominant. This gives the sense that the human figures presented by the sculptures are eternal and symbols of the human soul.

Global Award for Artist Anastasios Nyfadopoulos

“Crisis” sculpture. Photograph by Anastasios Nyfadopoulos.


Global Award for Artist Anastasios Nyfadopoulos

Anastasios Nyfadopoulos: “….Love drives me to create the new, right now”


Anastasios Nyfadopoulos: “….Love drives me to create the new, right now”

The First Contemporary Sculpture Exhibition Space Opens in Maroussi

Friday, September 10, 2021, 09:02

Today, Friday, September 10th, the first exhibition space dedicated to contemporary sculpture in Maroussi will open its doors to the public from 7:00 pm to 11:30 pm at 9 Kerkyras Street. Sculptor Anastasios Nyfadopoulos, in collaboration with the Hellenic Red Cross, will donate 50% of the exhibition’s proceeds to those affected by this year’s fires. The exhibition will also be open to the public during the weekend.

“In my sculpture, thousands of fibers intertwine, forming an optimized unified body. While a single fiber cannot withstand great pressure, thousands can due to the synergy they create. This new body possesses qualities superior to the sum of its parts. This is analogous to us humans; the realization of this by a critical mass will fundamentally change humanity. With steady steps, we progress upwards; love helps us overcome every challenge. Love drives me to create the new, right now,” the artist shared with “N.”

Being in love with art from a young age, Anastasios Nyfadopoulos opened his studio in Maroussi in 2013, at the age of 21, near Doukas school. There, he created “Crisis,” the world’s first public space sculpture addressing the impact of the socio-economic crisis on humanity.

Three years later, he became the first Greek to receive the 2018 Global Arts Award from the British organization Red Line Artworks, which saw participation from artists across 28 countries.

Nyfadopoulos’ art centers on humanity – its formation, potential for change, and evolution. He incorporates the principles of interconnectedness and perpetual change in both the themes and materials of his art, as well as in its construction and appearance.

Part of Anastasios’ creative process involves stretching and loosening thousands of carbon fibers by hand, creating a dynamic motif that appears static in some parts and transforms into parallel lines in others. This alters the artwork’s physical appearance, giving the impression of constant motion to the observer, and emphasizing the theme of perpetual change. Anastasios believes that by reflecting on perpetual change, people may realize that our attitudes can evolve even in seemingly permanent situations.

Both the carbon – a common element shared by all living organisms on Earth – and the way carbon fibers merge in his sculptures, symbolize interconnectedness. Through the embodiment of interconnectedness, he aspires to encourage collective thinking and the feeling of being part of a superorganism that evolves when we interact and collaborate.

Opening Hours: Friday 10/9 – Sunday 12/9: 7:00 pm – 11:30 pm

This article is a translation of the original text. You are invited to explore the original publication here.


Elsie Baconicola-Yiama on “Crisis” Sculpture

Detail view of sculpture "Crisis" by Anastasios Nyfadopoulos

Elsie Baconicola-Yiama on “Crisis” Sculpture

Throughout all ages, art has played its own role in portraying, denouncing, or highlighting events, situations, and people. From antiquity to the present day, political, religious, or national events triggered the inspiration for creating artistic works, which, although at that given time were linked to a specific event, they were able to gain throughout the years eternal acceptance and admiration, due to their high artistic value. For example, every time we hear the music of Mikis Theodorakis, we are deeply touched even though the Greek dictatorship took place a long time ago.

Artistic inspiration always derives from a fact related to either the external or internal life of the artist (historical events, frustration or excitement, etc.). Each artist has their own mode of expression, which can be subtly suggestive or, conversely, intensely denunciatory, like a cry of anguish or despair.

The work “Crisis” by artist Tasos Nyfadopoulos belongs to the second category. The sculpture – consisting of a huge black stock index and a desperate man who follows the downward trend of the index as a victim of socio-economic crisis – works like “a punch in the stomach,” in the sense that it awakens and alerts people. This piece of art does not produce calm aesthetic pleasure but instead stimulates the spirit and sentiment, implying that democratic and humanitarian values ​​have been terribly ignored, due to the implementation of inhuman political measures, which have caused catastrophic consequences to countries and people and have devastated human dignity.

The huge size and the dark color of the sculpture emphasize the unbearable consequences of a crisis affecting dramatically all people, due to irresponsible and criminal political measures, implemented without taking into account the human dimension of the problem but instead treating human beings like impersonal units, like numbers in financial applications.

The artist Tasos Nyfadopoulos is worthy of praise for his talent and charitable work, as well as his initiative to create this artwork and donate it to the municipality, so it can be placed in public view. The sculpture will stand imposingly denouncing the inhuman economic and social policy, which led to this unprecedented humanitarian crisis. I would like to express my admiration and congratulate all these young people who rallied enthusiastically to contribute towards the implementation of this project.

This artwork, at this crucial period that we are going through, can in no way be looked upon with indifference. This monument denounces and screams, and this screaming joins the screaming of all people.

Let us not forget the words of Seferis: “Nothing unites us better than a common artistic emotion.”

Elsie Baconicola-Yiama
Associate Professor of Philosophy
Department of Philosophy
National and Kapodistrian University of Athens

This article is a translation of the original text written in Greek.


Graduates 2022: Anastasios Nyfadopoulos: Fine Art MA


Graduates 2022: Anastasios Nyfadopoulos: Fine Art MA

Posted on 7 July 2022 by Kate Miller

Please tell us a bit about your work and your influences
It is about me, you and us.
About our relationships.
With each other. With our environments.
Banksy, Marina Abramovic, and Meredith Monk have been dear companions along the way.

How have you found your course and time at Brighton?
Multifaceted, focused and honest.
I have been a sculptor for all of my adult life.
My never-ending love.
I now perform as a living sculpture too.
My newly found lover.
We all share an open relationship. Performance flows into sculpture. Sculpture flows into performance.

How did you choose your course – why did you choose to study Fine Art?
To not be confined to the medium, I chose Fine Art over Sculpture.
Charlie Hooker inspired me to enrol in this course instead of the other five universities that offered me a place.

What are your plans after graduation?
Select the gallery that is attracted to my work, understands my value, and knows how to best represent me so that we both reach our ambitions, while offering me the flexibility to fulfil my artistic vision. What vision?
To continue finding value in each person, each line of a poem, each thing, even when I am not searching for something. And weaving the values that interconnect us in the body of my artworks.

Anastasios: An Exhibition of Interconnectedness and Solidarity


Anastasios: An Exhibition of Interconnectedness and Solidarity


100 days of solitude: Syriza struggles as Greeks once again stare into the abyss

Detail of sculpture "Crisis" by Anastasios Nyfadopoulos

100 days of solitude: Syriza struggles as Greeks once again stare into the abyss

By Helena Smith in Athens | Sun 3 May 2015 21.37 CEST

As Syriza nears its 100th day in office, Alexis Tsipras walks a fine line between eurozone compromise and being accused of submitting to Angela Merkel

In the countdown to Syriza marking 100 days in office, Greece got its first crisis monument. Arms outstretched, mouth wide open, his face locked in despair, the sculpture depicts a man dangling from a financial index in free fall. Below, his world of concrete and stone lies broken and smashed.
Officially known as the “crisis work”, the art piece has attracted a steady flow of spectators to the place where it has been erected, in the shadow of a bridge on the boulevard that connects Athens to the sea. Flowers lie next to it as if in mourning for all that has passed.
For Tasos Nyfadopoulos, the young sculptor behind the work, it is the first public tribute to the thousands of suicides the crisis has left in its wake. And an expression of everything Greeks have come to feel. “People want art to express them,” he said. “And with this work I tried to express my own feelings and let society at large speak.
On the rollercoaster ride that is the debt-stricken country’s epic battle to stay afloat, many had hoped that Syriza would also provide solace. But five years after Athens was forced to be bailed out by the European Union and International Monetary Fund (IMF) – accepting the biggest rescue package in global financial history – Greeks are not sure what to think. What they do know is that after five years of dancing to the tune of austerity – of making the sacrifices necessary to keep bankruptcy at bay – they are, like Nyfadopoulos’s dangling man, once again staring in to the abyss.

A woman walks past a slogan in central Athens in January. The great wave of hope that had brought Syriza to power has now crashed on the rocks of renewed uncertainty. Photograph: Louisa Gouliamaki/AFP/Getty Images

The great wave of hope that had brought the radical leftists to power – on a promise to cancel austerity – has crashed on the rocks of renewed uncertainty over whether the country can stay the course of eurozone membership at all. More than ever, Greece seems headed for the exit door.

It is very hard to give Syriza a good score in anything other than good intentions,” said Aliki Mouriki at the National Centre for Social Research. “Their interest may be to put people first, before the banks, but their handling of negotiations has been a mess and their tenure very disappointing.

Figures would appear to support that sentiment. Following three months of fruitless talks to reach a cash-for-reform deal with creditors, public finances have never been worse. In an atmosphere of fear, the real economy has come to a grinding halt. Disquiet over whether prime minister Alexis Tsipras’s leftist-led coalition can keep up with state expenditure and meet debt repayment obligations – it must pay nearly €1bn to the IMF by 12 May – has added to the mood of mounting angst.

With each make-or-break deadline comes a sliding scale of drama and intensity. Will the country defy the doomsayers and unlock the €7.2bn in held-up bailout funds it so desperately requires? Or will it slip inexorably into the unchartered waters of default and economic catastrophe? Last week, in a glimpse of what the future might bring, elderly Athenians stood for hours outside banks as the government struggled to pay pensions.

People receive olives and bread distributed for free by municipality of Athens in February. After three months of fruitless talks, Greek public finances have never been worse. Photograph: Yannis Kolesidis /EPA

We are not at the point of outright panic yet but people are clearly very worried,” said Mouriki, a sociologist. “Close to €30bn has been withdrawn by depositors and firms from bank accounts since December which is more that at the height of the crisis in mid 2012.

But shades of panic have arrived and, indelibly, have begun to reveal themselves in other ways: from the government sequestering the funds of public bodies to help pay bills; to Greek borrowing costs soaring on fears of insolvency; to savers stuffing their freezers with cash and ever more parents encouraging their children to move abroad. “I have come round to accepting that my daughter’s generation is a lost generation,” lamented Panaghiota Mourtidou, sitting in the food pantry she helps run in central Athens. “At 30 there is no chance that she will have any of the certainties that we enjoyed but maybe my grandchildren will. That, now, is my great hope.
It is testimony to the Greeks’ enduring faith in hope that Syriza is still leading in the polls even if support for its negotiating strategy has plummeted and diehards speak of crushing concessions being made.

The party, on the margins of politics barely three years ago, was shown in a poll released by polling agency Marc three days ago to be 14.8 points ahead of the conservative main opposition New Democracy. Backing for Yanis Varoufakis, the controversial finance minister most associated with the reckless brinkmanship that has alienated Athens from its euro-area partners, is also high. Reports of his being rounded on by eurozone counterparts decrying his “amateurish” ways at a summit meeting on 24 April, appear only to have rallied support. The flamboyant politician – since relocated to the less visible post of supervising political negotiations – was mobbed by sympathisers at a May Day march with many cheering his vocal anti-austerity views.

Greek finance minister Yanis Varoufakis talks with a protester in a demonstration during a May Day rally. He continues to enjoy widespread support, despite a lack of progress from Syriza. Photograph: Alexandros Vlachos /EPA

“His style may be a little odd but he is a good economist. That they had him in a room and insulted him for three hours is absolutely unacceptable,” said Stamatis Vassilaros, a doctor echoing a common refrain. “What has become clear is that under no circumstances do they [Europe’s rightwing governments] want Syriza to succeed. Success would mean the beginning of the end of these gentlemen who have forgotten what democracy means and the principles upon which a united Europe was founded.”

But while defiance is in the air, so is anger over the hardship that austerity has also wrought. Far from bridging the gap between Greece and its partners, the medicine meted out by international creditors has exacerbated the country’s decline. Unemployment was meant to have peaked at 15% in 2012; it now stands at nearly double that with more than 50% of young Greeks out of work.

The charismatic Tsipras may have confronted growing impatience abroad but at home he is able to draw on the discontent unleashed by policies that have failed to deliver the promised results. And with each passing day the situation only gets worse with growing reports of privation outside Athens.

On Aegina, the island that served as the nation’s first capital shortly after its war of independence from Ottoman rule, poverty has increased noticeably in the past six months. “We’ve had to start saying no,” sighed Athina Pirounakis, whose charity, Aegina Volunteers, distributes food and clothes to the needy. “We began with 80 families and now have 170, and every day there are requests from more,” she said. “We are talking about people who, literally, cannot afford to put food on the table.”

Scuffles broke out between police and protestors during May Day demonstrations in Athens. Syriza remains ahead of New Democracy in opinion polls, but discontent is growing among Greeks who voted them to power. Photograph: Nikolas Georgiou/Zuma Press/Corbis

In the neo-classical town hall on the isle’s picturesque seafront, Dimitris Mourtzis, the local mayor, reckons that living standards have dropped by 35% since the crisis erupted. “Everything is in ruins,” he says shaking his head ruefully. “Greeks aren’t to blame. Across the board our politicians’ behaviour was despicable. We had countless EU-funded development programmes to prepare us for our entry to Europe and where did the money go? Not into development, that’s for sure. It went into buying politicians’ votes.”

Aegina, which lies 16 miles southwest of Athens and is where Nikos Kazantzakis wrote Zorba the Greek, ironically is also where leading government members, including Varoufakis, have second homes. As in other islands, tourism will be a life saver in the coming months. “But,” says the mayor, “there are so many problems. And the big question is not what they have done but what they will do after the first 100 days.

For Tsipras, the youngest leader to hold high office in modern times, what lies ahead is a litany of choices with potentially explosive effect. To date the politician – one of Greece’s canniest operators – has managed to maintain approval ratings of close to 70% despite rolling back on almost every promise he has made. Angela Merkel, the German chancellor and architect of the austerity he has vowed to defeat, has become a regular interlocutor.

Now, as the day of reckoning approaches, he will have to decide whether to placate foreign lenders by agreeing to the terms of another rescue programme – conditions that though painful will keep Greece in the single currency – or jettison the hardliners in his own party. Militants led by energy minister Panagiotis Lafazanis say any rupture with Europe would be better than signing up to an accord that crossed Syriza’s myriad red lines. Ominously, Golden Dawn, the neo-Nazi party and the country’s third biggest political force, have accused Tsipras of submitting to Merkel.

Golden Dawn supporters hold the party flag and Greek national flags during a rally in Athens last year. The neo-Nazi party is Greece’s third biggest political force, and has accused Tsipras of submitting to Merkel. Photograph: Losmi Chobi /Sipa/Rex

“This is an historic moment,” says Anna Asimakopoulou, a shadow finance minister for New Democracy. “If the wrong choice is made it will change the course of history for Greece and for several generations the Greeks might be living in a different reality to the one they know.”

In recent weeks the rhetoric has reached boiling point in parliament. “It’s at gutter level,” said the straight-talking MP, a Greek American raised in New York. “Tsipras is going to have to take a good look in the mirror and decide who he is. Either he leaves behind his entire left, pro-drachma people or we leave the euro.”

Analysts are in no doubt that the choice will be as definitive for the self-styled leader of Europe’s anti-austerity movement, as the destiny of Greece itself. And perhaps because of this he has raised the spectre of putting any deal that might be reached before the Greek people for approval. The prospect – one that would bring the crisis full circle three years after George Papandreou also proposed holding a referendum – has been quick to send tremors through Europe. Sensing further instability, the vast majority of Greeks – led by the business sector – have urged the government to compromise, according to polls.
“Tsipras got into power on the votes of the old centre left and that is where he has to move,” says Christos Memis, a veteran political commentator now in charge of the respected news portal Protagon.gr. “If he doesn’t want to lose his allure and go down as the man who oversaw euro exit, it is his only option.”
The battle lines are being drawn – in and outside Greece. And while time is of the essence, there are no guarantees.

Young Greek Creates Sculpture to Reflect Debt Crisis

The sculpture “Crisis” and the artist, Tasos Nyfadopoulos. The sculpture, a financial index that crushes taking a man down with it, was inspired by the economic crises in Greece which has led to a rise in suicides and at the same time implies an “escape” from this devastating situation. (photograph by Athanasia Batziou)

Young Greek Creates Sculpture to Reflect Debt Crisis

Athanasia Batziou | Sunday, May 31, 2015

ATHENS, Greece (Xinhua) – While negotiations between Greece and its creditors are at a critical point, with the country warning it is running out of cash by the end of the month, a new public sculpture in Athens highlights the devastating effect of the crisis on the Greek society and the people.

Situated next to Vouliagmenis Avenue, a few kilometers from the center of Athens, the impressive sculpture titled ‘Crisis‘ — about seven meters long and four meters high — is a giant stock exchange index that crushes on the ground, broken into pieces. On the top of it, a man is about to fall as the index collapses.

“This work started as a result of the economic and social conditions that we are experiencing in Greece, but also abroad, and my attempt was to give the opportunity for social expression through art,” Tasos Nyfadopoulos, the 22-year-old self-taught artist, told Xinhua.

He explained that the sculpture can be interpreted in two main ways – negative and positive. “The first interpretation is related to suicides. It constitutes a tribute to the people who committed suicide because of the crisis, and to their families who carried this burden,” Nyfadopoulos explained. Suicides in Greece rose 35 per cent since the beginning of the crisis in 2010, a joint Greek-British study published in the British Medical Journal revealed. This is a staggering increase, considering that before the crisis Greece was one of the countries with the lowest suicide rates in Europe.

“The second interpretation of the sculpture is that the man who is on the index can, amidst all the difficulties that surround and affect him, come out as a new man, and can be led to a ‘catharsis‘,” Nyfadopoulos added.

Detail view of “Crisis” sculpture. Photograph by Anastasios Nyfadopoulos.

The sculpture has attracted interest and positive reactions from many people, Nyfadopoulos said. “It is very important that society itself understands that narrating a negative experience can lead to healing,” he added.

The sculpture is made of modern materials such as carbon fiber, diolen, kevlar, and steel, the cost of which was covered by various sponsors that Nyfadopoulos and his friends sought. After working for 18 months on the sculpture, he donated the finished piece to the Municipality of Argyroupoli-Elliniko, a southern suburb of Athens, which agreed to host it.

“In almost every home there is an unemployed person,” Giannis Konstantatos, mayor of Argyroupoli-Elliniko, told Xinhua, adding that the local administration has taken measures to relieve those affected the most by the crisis. “For the last three years we have the Community Store of the municipality which delivers food to 300 families, the community medical care unit that provides medicines to the poor and those without social security who, I think, are about 7,000 every month, and many other welfare actions that the municipality offers, like the food bank which offers food to 500 families,” Konstantatos said.

At 22, Nyfadopoulos belongs to what is referred to as the “lost generation” in Greece, where unemployment runs as high as 49 per cent, according to Eurostat, the statistical office of the European Union. “Indeed, it looks like a generation without hope is created, but the issue is how each one of us in his/her field will manage to inspire something different, and a change of course,” Nyfadopoulos observed.