Flickering lights and hushed anticipation fill the Embros. This isn’t just another theater. Embros stands as a symbol of artistic resilience and collective spirit. Let’s step back in time to understand its significance.
Originally, this building was a printing house. It served this purpose during the interwar period. In 1989, the building transitioned. It became the Empros Theater, hosting the fringe theater company Morphes. Tasos Bantis, Dimitris Katalifos, and Rania Ikonomidou founded Morphes. However, Empros Theater closed its doors in 2007.
Fast forward to 2011. The state proposed declassifying the building. There were plans to sell it to private investors. Artists and local residents intervened. They occupied the building. This action was both artistic and political. They chose the term “activation” over “occupation”. It signified more than just entering a space. It was about bringing it back to life.
The activation began with a twelve-day artistic event. The Mavili Initiative, a collective of theater artists, spearheaded this. The atmosphere in Athens at that time was crucial. The occupation of the National Opera building and other events united the artistic community. Many artists from the Opera occupation joined Embros.
Embros quickly became a cultural hub. The Mavili Initiative’s experimental approach fostered political-artistic expression. Art wasn’t just about discussing politics. It was about offering new forms of expression. This spirit continued even after the Mavili Initiative withdrew.
The space fostered collaboration and new art forms. Participants explored different ways of living. Embros hosted performances and poetry events. Syrian artists and activist groups were welcomed here. Experimental cultural-political festivals were also held. Workshops addressed issues concerning the center of Athens. Participants actively opposed crisis management plans.
During those uncertain times, Embros offered shelter. Vulnerable artists, undocumented immigrants, queer people, and vagabonds found refuge here. The years 2012 and 2013 were a period of creative juxtaposition. Embros became a haven for Athens’ nomads. A Christmas meal in 2013 exemplified this spirit. Many people gathered to form a potential community. Art met vulnerability at Embros.
The management of Embros reflected its artistic-political nature. The goal was to create a common space. An open assembly managed the theater. Discussions were open to everyone. Anyone could suggest an event without needing a CV. Embros didn’t engage in profit-making activities. A donation box covered maintenance costs.
The local community supported the activation of Embros. They saw it as opposition to gentrification. The area had been changing since 1998. Artisanal enterprises were replaced by nightclubs and cafes. Locals supported Embros by providing resources. They offered water, internet, and food. They also participated in events and signed petitions.
Embros differed from other squats in Athens. It was open to the public and accessible to diverse communities. The founders wanted to implement the idea of a common space. That’s why they named it Embros Free Occupied Self-Organized Theater.
However, maintaining this open condition wasn’t easy. An Antifascist festival in 2015 and 2016 marked a shift. There was a focus on preconceived performances. Some groups wanted a venue without involvement. This created a divide between audience and performers. High attendance became a priority. Embros started to resemble commercial venues.
Inclusivity has its limits. After four years, inhabitants gradually withdrew. The crisis deepened. Tourism increased, including “alternative” tourism to Embros. Despite the city’s diverse communities, there wasn’t enough public support for social transformation.
Embros, like any commons, had its limits. It interacted with everything happening in the city. The political climate also had an impact. Creating a new language of art and politics proved challenging. Discussions often reverted to old political debates.
The architecture of Embros played a role. The building was listed for conservation. Changes were temporary. The goal was to preserve the building’s features. The original architects had created a unique space. The new occupants tried to maintain its quality.
Each group could activate the space differently. They had to revert it to its initial form afterward. There were extensive discussions about the space’s aesthetics. A team of architects and non-architects oversaw spatial changes. The building was admired and respected.
Looking around, you can feel the echoes of past performances. Embros has served as a platform. It’s a reminder that art and community can thrive even in challenging times. Its story inspires us to think about how we create and share spaces. It encourages us to explore the boundaries between the personal and the collective.