Invited Artists Actions Program

GOLEM Actions

Took place starting June 5 19.30. Virtual exhibition continued 6 – 7 June

Akalyptos – Antonis Antoniou 

What is promised from a surface and how is it proclaimed? What is it that a surface and it’s projection on furniture, walls, the empty lot outside one’s window make us feel? Scars and markings  of a transient body are projected on a larger scale in and outside the room. What is very private enters the public space and becomes a spectacle. The action aims at making an improvised dance score, with a duration of two hours. He will be working on the notions of within and without, trying to create, through the projection of magnified details of his body, liaisons between the two. For the documentation of the body he will use a microscope, linked to a projector.


For the very 1st time – Yannis Adoniou & Andrius Mulokas | KUNST-STOFF productions

Transmission – space – body – time – daydreaming – free and abandon creation <tune in the moment> as of “for the very 1st time”  .Immersing oneself in the process of practice. Sky is the limit , but nevertheless is out of reach.

Join us in attempt.


Dissertazione – Lucia Bricco

Dissertazione (Dissertation) is a speech in which the words used between the interlocutors, and so their movements and their demonstrations, coincide with the argument of the discussion: the deformity of words.


DRAGONFLY – Nicola Fornoni

Dragonfly is an unpublished video talking about transformation in a gold and light being of freedom and eternal shine, like an ancient greek funeral mask, or an insect armor. The movement is marked in stop emotion and my research is focused on a large view of life through outside and inside.  A long discovery of oneself, a study of own movements and aesthetic images of own body that time could be changing so fast and so slowly.


Creating a floating island – Athina Kanellopoulou

The human entity constantly creates new objects and structures for use, dedicated to replacing the older things, set obsolete. Earth functions as a huge landfill, based on capitalism and modern consumerism. Could the already existing structures and objects be occupied through a function or series of poetic acts, aiming to reclaim a new aesthetic? In the project Creating a floating island, Kanellopoulou is performing a utopian intervention to a boat-wreck, left on the coast of Athenian Riviera; Βy importing soil and seeds to the deck and creating planting areas, Kanellopoulou creates a utopian coastal microclimate, seeking to reuse the floating wreck and relocate it from its primary and temporary situation; the artificial nature of such a boat is being changed and regenerated, turned into a vivid environmental floating structure, which will host entities of Plantae and Animalia. The new hosted species are going to be added over-water, in the body of the wreck, to its already existing ecosystem, that was created underwater during the period of its abandonment. Nature rules over the human creations, reclaiming an earthly reality for the specific space, after this poetic generative process.


Kangela’s quarantine – Kangela Tromokratisch

Kangela is a psychedelic housewife from Athens, the child of Angel Torticollis’ twisted mind.
Kangela is all alone in her living room playing with her dolls.


Non-human distance – Marta Lodola/ Valerio Ambiveri

The intermediate point between Berlin and Bergamo is Berching, the place set for the meeting between Marta Lodola and Valerio Ambiveri, on May 6, 2020, at 18.00. In addition to being the third city starting with the letter ‘B’, Berching is the birthplace of Christoph Willibald Gluck, a coincidence feeling like predestination: the meeting between the two artists took place in Gluck’s place and the setting to the music of the meeting between Orpheus and Eurydice of 1762. The 6th of May 2020 is the culmination of the ‘lockdown’ period imposed by the pandemic emergency of covid-19, in which social distancing begins to be perceived as a necessary inhumanity. “Non-human distance” is the performance of the non-human encounter between the two artists, broadcasted on the net right before the reopening of the borders, when the possibility of bridging the distance with new human encounters is re-established, to sanction that only bodies have this power.


Eastern Mediterranean Straw Bale – Andreas Papamichail

A video showing a straw bale in an agricultural field context in Cyprus. The action’s final shape of the artwork is materialized in a video playing in a loop, showing a straw bale already set on fire, at the stage of full flame -a stable flame state throughout the video. This action is examining two separate but connected issues. Firstly, the burning bale geologically and ecologically depicts the portrait of the human epoch. Geologists have called our era the Anthropocene, the time when human aggression on the planet has outranked geological forces. More developed civilizations appeared at this point, but Anthropocene’s point in the history timeline is seen here not as the beginning of our species but rather, with the advent of modern capitalism. Humans seem to have been obliterating our planet -a planet on fire- mistreating nature as a raw material.


Degenerate Nocturne – Yiannis Pappas

Ernst Hugo Eduard Lorenz-Murowana (born October 27, 1872 in Murowana-Goslin, † April 22, 1954 in Berlin-Neukölln) lived and worked in Berlin as a freelance painter and also as a restorer. After completing his studies, he became a certified Aryan member of the Reich Association of Fine Artists in Germany and later in the Reich Chamber of Fine Arts in Berlin. His atmospheric depictions of the interplay between light, air and water were remarkable. The work “Fishing Boats in Southern Sun” (around 1945) was found in a Berlin’s rubbish pile by the artist and art-conservator Yiannis Pappas in 2020. Instead of the conservation of the artwork and take advantage of it, Yiannis decided to act in an anti-ideological and destructive manner, against his studies and capital’s art stocks. The performance “Degenerate Nocturne” catastrophically blackens and rejects an artwork and a story of an artist seen by dilettantes’ Nazi admirers and the way in which art is beautifully depicted. Leaving a strip of the original painting and its frame, as well as the artist’s signature as a “witness” to a constant degenerate search for ‘high Culture’ and ideal of classicism. Concept-Performance: Yiannis Pappas Music by: Dimitrios Dafnas (DE), Konstantinos Georgiou (GR), George Chondrompilas (NL)


Metaphora – PASHIAS

Centre of Contemporary Art Diatopos Nicosia – Cyprus 2019

The artist believes that this video is responsive to the following notions: mythological elements of the creation of human, time, the body, antibodies and meeting. According to his plan of action, the human figure is presented in an effort of an artificial support of a common roof, in correlation to a larger group of people. In “Metaphora” the artist’s body is placed on a pedestal while his head touches the ceiling, referring thus to the Caryatids. In a concurrent comprehension of the work, the body is inventing an alternative manner to safehold his private space, taking a distance from the “allien”, the “other” that invades this space, when the required distance cannot be maintained on the parallel plane.  On the other hand, the body as scaffolding, holds the responsibility to make the space open and safe for the visitors to move.


Territorial Poetics (III: Vanity) – Bill Psarras

Site-specific intervention, performance for camera & drone, stones, gold paint.

Territorial Poetics (III: Vanity) is part of the Territorial Poetics series of works. Vanity (~οίηση) is a site-specific performance/action for camera, where the artist pushes and piles pebbles and stones while he gradually paints them gold. Psarras carries out a durational action under the rubric ‘all our weaknesses turned into arrogant poetries’; he performs a futile action in front of the sea vastness by turning stones into gold; a silent question between poetic and political; between sincerity and arrogance; between eternal and transient. The video performance initiates from vanitas themes on the transience of earthly things focusing on a reconsideration of Sic Transit Gloria Mundi (Thus passes worldly glory).

Concept – Performance – Creation: Bill Psarras

Credits: Action camera / Drone Camera: Christos Spanos. Documentation Photography: Nansy Charitonidou Website:


Marcel Sparmann – Moon-Structures

We’ve been eating for days, every day and every day it gets more. I assume we are also feeding the table and the chairs, the floor, the walls. They all take part and swell. The chair and the table are words that grow with us. They can be easily removed from the shelf and inserted for anything. If necessary also in the crook of the arm, under the bulges and mountains, under the valleys of the stomach, tendons and muscles. They form a landscape. Our kitchen has become a landscape, depopulated like the moon.


Self-Care Transhumanism – Angeliki Chaido Tsoli

I am in my private space performing some rituals of self-care beauty routines, in front of the camera, alongside a doll and a toy robot. Virtual bodies in virtual rooms, real reality as realistic as virtual reality. The text heard throughout the duration of the performance is read by a robot with a female voice. It is the Cyborg Manifesto by Donna Haraway. Towards the end, combining the self-care routine and Donna Haraway’s words, I apply a silver face mask in steps of envisioning a cyborg future.


hotνcold -19 – Filippos Vasileiou

The artist’s activity in martial and fine arts, has led him to explore concepts like that of War. He believes that War is an unavoidable element of our existence, of nature and of our everyday lives. It is the circle of life, the flow, the connection between battle and wellbeing. For example, consider the war against the mainstream, the ordinary, the relationships between dominator and subsidiaries, victim and offender. There is a saying: “War is the father of everyone”- the Allfather. There is a constant battle between opposites. The struggle to express one’self through art is also a sort of war. The artist accepts the existence of war and how it affects him directly, as well as his surroundings. Thus, he explores the limits of contact battle and what it signifies accordingly to the intentions, the quality, the space and time during which it takes place. What is the meaning of a street fight, a “fight” on the bed, or on the tatami floor?

In the action he is presenting two male bodies struggling for domination, on a defined space of four square metres. The score is that for one hour one can pursue the opponent without a tap-out (without the choice of surrendering). After that one hour thay can continue their fight until the tap-out, for as long as it takes.