Morphoplastics

“Morphoplasticity is the embodied process of taking on new forms.”

—Kyriakos Apostolidis

Biography

Born in Drama, Greece, Kyriakos Apostolidis is a movement artist and researcher, founder of Morphoplastics. Morphoplastics is an investigation into the performer’s body and the limits of materiality. Conducting a performative method of inquiry, this interdisciplinary project centers on a body-based practice, the kinesthetic psychophysical awareness (KPA) of the performer, and being much like knowing as a process of becoming.

Apostolidis holds a MFA in Performance from the School of the Art Institute of Chicago, and an Integrated Master in Painting & Drawing from the School of Visual & Applied Arts at the Aristotle University of Thessaloniki. He also studied at the Universidad de Granada. His studies have been supported by the National Bank of Greece Cultural Foundation through the “Alexis Minotis In Memory of Katina Paxinou” endowment, the J. F. Costopoulos Foundation, and the Erasmus+ Studies program.

His work has been presented in the Black Mountain College international conference (Asheville, 2025), Luminaria Contemporary Art Festival (San Antonio, 2025), {Re}HAPPENING (Black Mountain, 2025), ION Gallery (Kansas City, 2024), Torsos in Rain (NYC, 2024), An Emptying’ 24h Performance Program (New Paltz, 2024), Impact Performance Festival (Chicago, 2024), Festival Arte/Acción (Mexico City, 2023). He has also participated in the 2nd Biennale Larnaca (Larnaca, 2021), 7th Thessaloniki Biennale of Contemporary Art (Thessaloniki, 2019), Inspire Project 2018 / Christopher Makos: Face the strange (Thessaloniki, 2018), and 6th Thessaloniki Biennale of Contemporary Art (Thessaloniki, 2017).

Performances

Performative Research

“A kind of research exists in the realm of the relational and entangled nature of reality that creates the enabling conditions for inquiry to converge and coalesce into new, ever-advancing forms of coherence.”

—Kyriakos Apostolidis

“Exercise_Finger Index” is an exercise based on the act of stepping and of drawing a processual connection between two indexes of attention—internal and external, split on two sides, right and left. Kinesthetic awareness heightens, and by tracing the edges of their perception, the performer taps into a transitional space of movement articulation and affective capacities. The postural configurations reveal curving and twisting shapes, also known as figura serpentinata.

References