The First Lady highlights the unique identity of the Presidential Palace
It was not long ago, that Cyprus' First Lady and diplomat, Philippa Karsera Christodoulides, began to approach the Presidential Palace with a different perspective. Not only as a centre of political decision-making, but as a building rich in symbolism and shaped by a deep historical journey – offering far more than its institutional role: the very essence of Cyprus itself. A point of reference for the wider world, it is a place that, through its architecture, its natural surroundings, the influences formed over the centuries, and the traces it carries, can speak of the past, explain the present, and convey a clear sense of confidence for the future.
It is through this lens that Cyprus: The World, the Place, the Word, the Matter was conceived – a comprehensive exhibition that redefines the way the Presidential Palace is now experienced, as a fully realised cultural environment. Within it unfolds a unified narrative, where different historical periods and forms of creation are interconnected, forming a journey that progresses seamlessly from one room to the next. One hundred works of art by 57 significant Cypriot painters, spanning from the early 20th century to the present day, trace the evolution of Cypriot visual art, bringing into dialogue artists of different generations. Works by emblematic figures such as George Pol. Georgiou, Adamantios Diamantis, Telemachos Kanthos, and Michael Kashalos coexist alongside creations by younger artists. At the same time, antiquities dating from the 4th millennium BCE to the 1st century CE are organically integrated into the overall narrative, adding depth and highlighting the continuity of culture on the island. This is not a simple presentation of exhibits, but a deliberate coexistence that allows the visitor to perceive Cyprus' journey through time and to connect different expressions of the same identity.
Particular importance is also given to objects that have been repatriated in recent years, following long and complex processes. Among them are two antiquities that were illegally exported by a Turkish antiquities trafficker after 1974 and were returned in 2024. Their presence brings to the fore one of the most traumatic aspects of recent history — the looting of cultural heritage — when hundreds of Cypriot artefacts were stolen and sold unlawfully abroad.
The fact that they are displayed in a space that receives foreign leaders and officials reinforces their symbolism, framing the issue not only as a matter of historical memory, but as an ongoing claim. In light of Cyprus' Presidency of the Council of the European Union, their presence takes on even greater significance, highlighting internationally an issue that remains unresolved.
At the same time, particular emphasis is placed on the way history is presented and perceived. The experience is not limited to observation, but is designed to be immediate and accessible. Within this context, the time machine is introduced, developed by the Cyprus Institute — an interactive screen that draws on rich archival material, from rich archival material, digitised documents, and photographs, allowing visitors to travel through the history of the Presidential Palace. Through this process, different phases of its evolution are revealed, from the construction of the original Government House and its later role as the Governor’s residence, to the October Revolt of 1931 and the coup of 1974. The result resembles a genuine journey through time and place, guided by rare documents that bring memory to life.
Through this comprehensive approach, the Presidential Palace acquires a new role, complementing its institutional function. It ceases to be a closed administrative centre and becomes a place that narrates, educates, and connects. A living cultural landmark that highlights Cyprus’ heritage while keeping it accessible to the present day. Because, ultimately, history does not belong to an institution. It belongs to everyone.
