Three-day programme of events:
Thursday, December 9, 2021, 19:30—21:00: live rendition of the album by Panagiotis Mina wearing “Fireball” embroidery by Christos Kyriakides, and a screening of the video clip “Ceiling Inferno” by Marina Xenofontos.

Friday, December 10, 2021, 19:30—21:00: Reading by Christos Kyriakides.

Saturday, December 11, 2021, 19:30—21:00: Live by Maria Spivak.

All performances will begin at 20:00.
A closing party will be hosted at Hollywood Pub (Navarchou Nikodimou 8, Athens, 105 57) on Saturday starting at 22:00 with sets by Panagiotis Minas and Veronica Georgiou. *** Akwa Ibom is hosting the release of the album “Ceiling Inferno.”
Produced by Panagiotis Mina of Pyrgatory Studio, and based on the poetry collection “Marvelous Ceiling Inferno” by Christos Kyriakides, the album includes features by Maria Spivak, Veronika Georgiou, Tasos Lamnisos (x.ypno), and Anastasia Dolitsai (Uvglov).
For its cover art, it uses documentation of Marina Xenofontos’ painting “Ceiling Inferno.”
A film, also made by Xenofontos, doubles as the video-clip for the album's first track. Kyriakides’ collection of thirteen off-kilter poems recount his peace-making with death. The points of contact folded together in these poems are auditory, sensual, touch-felt, and intimate. Several of them trail an upbringing and coming of age set in the sidelines of sulen schools and strict parades. Transgressions abound in their verses, but are held tenderly enough to release them from their abjection. Placed on top of the collection, a silver figure of a mask sticks its tongue out: a three-way gesture of contempt, provocation, and conciliation; a calm anticipation of charon’s final obol. Each of the album's eight tracks takes its title directly from one of the book's thirteen poems. Five of the tracks' vocals reproduce the poem's verses whole either lyricising them or obscuring them with the use of language games, techniques taken from concrete poetry, and improvisation. For the production, Mina collaborated with Cypriot musicians of differing disciplines, bringing together various styles of beatmaking and composition while also embedding his own influences from drone and noise. The album both calls back to and disperses the original, putting down Mina’s and his collaborators’ interpretations of what they read as latent in the book. Xenofontos’ painting “Ceiling Inferno” has been hung and photographed. Its documentation is printed as the album's cover art. Its setting: a castle ablaze, hammer, nails, ladder, and pair of heels without owner, sketch out the tone of the release. The scene can be seen as long forlorn, but also traces a recent evacuation—the intentions of an arsonist. For her film, also titled “Ceiling Inferno”, this scene is restaged and animated; the intensity of the blaze redoubled. 50 limited edition vinyl lathe cuts of the album and 10 copies of the poetry collection will be available in Akwa Ibom’s office during all three days of the release. Text by Aris Mochloulis