Until November 2024, the National Museum of Contemporary Art (EMΣT) presents a cycle of exhibitions, in four parts, exclusively dedicated to the work of women artists or artists who identify as female, under the broader umbrella title, What if Women Ruled the World?
On 8 March 2024, International Women’s Day, Part II of the exhibition cycle opened with six new projects by five international artists:
Yael Bartana
Claudia Comte
Hadassah Emmerich
Lola Flash
Malvina Panagiotidi
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Hadassah Emmerich | Epicurean Eden
WHAT IF WOMEN RULED THE WORLD? Part ||
The mural will debut as part of the ‘What If Women Ruled the World’ Part II exhibition cycle, but will remain on display at the museum for a couple of years. Furthermore, the project is slated for completion in June, ideally aligning with the inauguration of ‘What If Women Ruled the World’ Part IV. Notably, the installation will include then specially crafted art rugs developed in collaboration with Art Rug Projects Athens.
Hadassah Emmerich has become known for her exuberant paintings, collages and murals that intricately weave stylised representations of exotic fruit, body parts and vegetal elements into bold eroticised ornaments. Her work reflects an immersive and visceral exploration of the body and identity, navigating the realms of the sensory and the sensual while delving into the commodification of desire, the erotic and the exotic.
The sensuality of her painting resides not only on the surface of the image, but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. Referring to the visual language of advertising and Pop art, she creates images that examine the aestheticisation of the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique.
For the first presentation of her work in Greece, Emmerich has created a new large-scale, site-specific expansive wall painting which covers part of the museum’s ground floor foyer and mezzanine, taking over its entire education space. Consisting of several murals, a large frieze on the balcony of the mezzanine that connects to the ground floor and mezzanine, and several murals on the latter, including two monumental columns and sitting areas, the result is an immersive and colourful Gesamtkunstwerk.
About Hadassah Emmerich
*Heerlen (NL), 1974
Lives and works in Brussels
Hadassah Emmerich studied at the Academy of Fine Arts in Maastricht, HISK Flanders and Goldsmiths College, London. Recent exhibitions include: Skin of the Shapeshifter, SUPRAINFINIT, Bucharest (2023); Botanical Body Bliss, Galerie Ron Mandos Amsterdam (2023); False Flat, Bonnefanten Museum, Maastricht (2022); Abrasive Paradise, Kunsthal KAdE, Amersfoort, NL (2022); Trailblazers, 150 years Royal Award for Painting, Royal Palace, Amsterdam (2021); BXL Universel II: multipli.city, CENTRALE for Contemporary Art, Brussels (2021), BuahTangan, ISA Art Gallery, Jakarta (2020); The Great Ephemeral Skin, De Garage, Mechelen (2019). Her work is held in numerous public collections including the Rijksmuseum, Amsterdam, the Bonnefanten Museum, Maastricht, MuZee, Oostende, The Flemish Parliament and the Federal Government Collections, Brussels, Gemeentemuseum and the Ministry of Foreign Affairs, The Hague and the Museum for Modern Art, Arnhem, NL.
Hadassah Emmerich’s art is a multifaceted exploration that transcends conventional boundaries, inviting viewers into a world where sensuality, feminism, and identity intersect. With a commitment to pushing the limits of her creative process and addressing urgent themes with depth and self-awareness, Emmerich stands as a visionary artist shaping the contemporary art landscape. 
Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Hadassah Emmerich’s work. The sensuality of her painting resides not only on the surface of the (erotic) image but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. Referring to the visual language of advertising and Pop art, she creates images that both aestheticise and problematize the female body. She depicts the paradox of simultaneous attraction and repulsion, intimacy and cool detachment, seduction and critique. In this way, Emmerich succeeds in making the act of looking truly provocative. 
- Nina Folkersma
About EMΣT | The National Museum of Contemporary Art Athens
EMΣT | The National Museum of Contemporary Art Athens is the leading national institution for contemporary art and visual culture in Greece, and one of the flagship institutions in Southern Europe and the Eastern Mediterranean. It began its operation in 2000. In the first years of its existence, it was a nomadic institution, hosted by institutions such as the Athens Concert Hall and the Athens Conservatoire, as its new home – the former Athenian landmark, the industrial modernist FIX brewery – was being retrofitted as a state-of-the art contemporary art museum. In 2015 it moved into its new premises while in 2020, a part of its collection was installed and EMΣT finally opened to the public.
SUPPORTED BY
The exhibition Hadassah Emmerich forms part of the Residency Program of the Project SUB 6.4, “Actions to promote Greek cultural exports and strengthen the Greek cultural name by the National Museum of Contemporary Art Athens”, which is implemented within the framework of the National Recovery and Resilience Plan “Greece 2.0”, funded by the European Union – NextGenerationEU.
Hadassah Emmerich’s project is supported by the Mondriaan Fund.

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The Acropolis of Athens is located on a limestone hill 150 meters above sea level in the southwest of Athens. It was built in the 5th century BC and is a holy place to commemorate the victory of the Greco-Persian War and to worship Athena, the patron saint of Athens. The main building, the Parthenon, is backed by the maze-like residential buildings of Plaka, Athens, and the cliff facing the sea stands steeply, towering in the blue sea and blue sky. In addition to the Parthenon, the Acropolis of Athens also has the Propylaea, the Temple of Athena Victory, the Erechtheion, the Odeon of Herodes Atticus and other buildings. The chief architect was Phidias, who was famous at the time. Six hundred years later, the ancient Roman historian Plutarch once commented on the Acropolis: &quot;The building stands tall, magnificent and outstanding, with beautiful outlines, unparalleled.&quot; The 19th-century French writer Flaubert called the Acropolis &quot;the most brilliant source of history and art.&quot;

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The Greek word for the Acropolis means &quot;the city of the mountains&quot;. There are many acropolis in Greece, but the Acropolis has been the pride of the Greeks ever since it was built two or six hundred years ago. The Acropolis is located on a limestone hill 150 meters southwest of Athens, built in the 5th century BC, and is a holy site to commemorate the victory of the Hippo War and sacrifice to Athena, the patron saint of Athens. The main building, the Parthenon, is backed by the Athenian Prakka maze of houses, and stands steeply on one side of the sea, towering in the blue sea and blue sky. In addition to the Parthenon, the Acropolis has a mountain gate, the Temple of Victory, the Temple of Irektion, and the Adikus Concert Hall. The chief architect was the famous Fidias. Six hundred years later, the Roman historian Prutuck said of the Acropolis: &quot;The tower is towering, magnificent, beautiful, unparalleled&quot;, and the 19th-century French writer Flaubert called the Acropolis &quot;the most beautiful source of history and art.&quot; The acropolis in the sun is a monarch dressed in a layer of gold, on the cliff, overlooking the state, majestic, and behind it a large area of houses scattered, twists and turns, wine restaurants and restaurants are in stark contrast. But the beauty of the Acropolis is not only the beauty of the sun.

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Like most Greek temples, this temple was also used as a treasury.
1. It was built in 447 BC to replace the old Parthenon (destroyed by the Persians in 480 BC).
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