Contemporary Art Institute ART ACT is a Greek art-related project and social media presence (primarily on Facebook) focused on visual arts documentation, artist profiles, and archival content.
Key DetailsAssociated with: Christos Theofilis (Greek visual artist, born 1956), who works in computer/digital/new media art and has a background in journalism. It appears tied to his initiatives, including earlier "art-act" activities.
Focus: Archiving and sharing works by visual artists and art critics ("ΑΡΧΕΙΟ ΕΡΓΟΥ ΕΙΚΑΣΤΙΚΩΝ & ΚΡΙΤΙΚΩΝ ΤΕΧΝΗΣ"). The "2000-2010" period is frequently referenced, suggesting a documentation effort from that era (possibly linked to Documenta-related activities or exhibitions).
Content style: Pages under this name regularly post about historical and modern artists (e.g., Rembrandt, David Hockney, Antoni Tàpies, Fernando Botero, Alberto Giacometti) with birth/death years, images of their works, and brief info. It also covers Greek artists and contemporary/digital art.
It functions more as an online archival/educational project or personal institute page rather than a major physical museum or gallery. Multiple related Facebook pages exist (e.g., under variations like ArtActDocumenta), often with thousands of likes, posting in Greek and English.
Christos Theofilis (Greek: Χρήστος Θεοφίλης) is a Greek visual artist born in 1956 in Piraeus, Greece. He lives and works in Athens.
Early Life and EducationTheofilis failed the entrance exams for the Athens School of Fine Arts in 1973 (the only time he attempted them). He then studied at the Onassis School as a Merchant Navy engineer and worked at sea until 1979, continuing to paint throughout this period.
He discovered he has a form of colorblindness that affects his perception of low semi-tones. This challenge intensified his drive to master color and develop a distinctive visual language focused on inner truth rather than conventional techniques.
Artistic CareerIn the 1980s, Theofilis became one of Greece’s most sought-after artists. He was selected among ten artists awarded by the European Economic Community at an exhibition in Athens in 1982.
He co-ran an art space in Athens (1978–1985), which served as a key meeting point for prominent artists and was visited by notable professors such as Dimitreas, Kessanlis, Kokkinidis, and Mavroidis.
He famously declined an invitation from the influential gallerist Alexander Iolas to move to New York in 1984, prioritizing his independence and "rebellious quality."
Exhibition Highlights:Over 160 solo exhibitions.
Notable solos: Epithanatios Synthesi (Composition after Death) at Ora Cultural Center, Athens (1981); The Moon at To Trito Mati Gallery (1989); The Portrait of Dorian Gray at Ekfrasi – Yianna Grammatopoulou (2007).
Participation in over 800 group exhibitions, including at Nees Morfes Gallery, Vorres Museum, and others across Europe.
After a major exhibition in 1989, he largely withdrew from the commercial art scene for about two decades to protect his artistic integrity, returning more actively around the mid-2000s.
Later Work and InitiativesIn 2003 (or around 2000), he founded the alternative cultural organization Art Act (Contemporary Art Institute ART ACT), which became a hub for artists, curators, and productive exchanges, focusing on documentation, archiving, and contemporary practices including computer, digital, and new media art.
He has curated and supervised numerous limited-edition albums, often related to literature (e.g., Oscar Wilde, Yannis Ritsos), shadow theater, and Greek cultural themes.
His practice spans traditional painting to digital/new media art, always emphasizing personal conviction over market trends.Style and PhilosophyTheofilis is known for a strong ideological commitment to drawing artistic energy exclusively from inner truth. He avoids the "violence of commerce" while maintaining appeal to collectors. Critics, such as Costas Stavropoulos, have praised him as an "alchemist of pictures" and a snatcher of the visual gaze.
His works have appeared in auctions (e.g., Bonhams) and are held in various collections.
For the most up-to-date activities, check the active Contemporary Art Institute ART ACT pages on Facebook and related platforms, where he shares his own work and extensive archival content on visual arts.
Christos Theofilis has an exceptionally prolific exhibition record, with claims of over 160 solo exhibitions and participation in more than 800 group shows, primarily concentrated in the 1980s before a long withdrawal from the commercial scene.
Notable Solo ExhibitionsThese are among the most frequently cited major or milestone solo shows:Epithanatios Synthesi (Composition after Death) — Ora Cultural Center, Athens (1981). An early significant exhibition.
The Moon — To Trito Mati Gallery, Athens (1989). A key show after which he largely stepped back from the commercial art world for about two decades.
The Portrait of Dorian Gray — Ekfrasi – Yianna Grammatopoulou Gallery, Athens (2007). Often described as a retrospective or major return exhibition, accompanied by a limited-edition album on Oscar Wilde.
Other mentioned solos (from various sources) include exhibitions at:Nees Morfes Gallery (1980s)
Gallery F / Gallery "7"
Exostis Art Gallery, Thessaloniki
La Sponda, Rome (1988)
Antenor Gallery (multiple, e.g., 1988, 1996)
More recent activity includes digital/new media works and shows tied to Art Act initiatives.
Selected Group Exhibitions150 New Painters of the European Community — Art Gallery of the Chamber of Fine Arts of Greece, Athens (1982). He was among ten artists awarded by the European Economic Community.
Nees Morfes Gallery, Athens (1982)
Gallery F, Athens (1984)
Parallax — Exostis Art Gallery, Thessaloniki (1985)
A Selection — Vorres Museum, Peania (1985)
Visual Arts — Art Gallery of Freedom Park, Athens (1989)
Obedient to the Inner Word — House of Cyprus (1990), curated by Costas Stavropoulos (a notable exception during his withdrawal period).
Later ActivitySince founding the Contemporary Art Institute ART ACT around 2003, Theofilis has focused on curation, archiving, digital/new media/computer art, and collaborative or institutional projects rather than purely commercial gallery solos. He continues to exhibit, including in digital art contexts and international fairs (e.g., references to Art Athina, Art Thessaloniki, and others).
His approach emphasizes artistic integrity over market demands, which influenced the pattern of his exhibitions — intense activity in the early career, a long pause, and a return centered on personal and institutional initiatives.For the most current or complete list, the Art Act Facebook pages and his artist profiles are the best sources, as they regularly document recent activities. Let me know if you'd like details on specific periods, digital works, or curation projects!
Christos Theofilis was exceptionally active in the 1980s, a period when he became one of Greece’s most sought-after artists. He is often credited with over 160 solo exhibitions overall (many in this decade, primarily in Greece), alongside hundreds of group shows.
Detailed comprehensive lists of all shows are not readily available in public English sources (many records appear on Greek Facebook pages or personal archives), but here are the most frequently documented and notable 1980s exhibitions:Key Solo Exhibitions (1980s)Epithanatios Synthesi (Composition after Death) — Ora Cultural Center, Athens (1981). An early major statement.
Nees Morphes (New Forms) Gallery, Athens (1983).
Gallery "7", Athens (1984).
Exostis Art Gallery, Thessaloniki (1985).
La Sponda, Rome (1988). International exposure.
Antinor Gallery (or Antenor), multiple shows including 1988.
The Moon — To Trito Mati Gallery, Athens (1989). A pivotal exhibition after which he largely withdrew from the commercial scene for about two decades.
Libro Galleria Al Ferro di Cavallo, Rome (1989).
Notable Group Exhibitions (1980s)Nees Morfes Gallery, Athens (1982).
150 New Painters of the European Community — Art Gallery of the Chamber of Fine Arts of Greece, Athens (1982). Selected among ten artists awarded by the European Economic Community.
Gallery F, Athens (1984).
Parallax — Exostis Art Gallery, Thessaloniki (1985).
A Selection — Vorres Museum, Peania (1985).
Visual Arts — Art Gallery of Freedom Park, Athens (1989).
During this time (1978–1985), Theofilis also co-ran an influential artist-run art space in Athens which hosted many events and became a hub for artists.
His 1980s output was intense and prolific, often featuring expressive, symbolic, and large-scale works before the post-1989 withdrawal. For exhaustive lists, the most complete records are on Art Act-related Facebook pages (e.g., the "Christos Theofilis Biography 1980-2021" page or similar archival posts). Let me know if you want focus on a specific year, medium, or international shows!
Christos Theofilis' withdrawal from the commercial art scene after 1989 was a deliberate, long-term pause lasting roughly two decades (approximately 1989–2007/2009), driven by his commitment to artistic integrity over market pressures.
Context and TriggerThe withdrawal followed his solo exhibition "The Moon" at To Trito Mati Gallery in Athens in 1989. This show is often described as a pivotal or culminating moment in his intense 1980s activity.
By the late 1980s, Theofilis was one of Greece’s most sought-after artists, with prolific exhibitions (part of his claimed total of over 160 solos and 800+ group shows). He had already co-run an influential artist space (1978–1985) and received European recognition in 1982.
Reasons for WithdrawalAccording to biographical sources (notably the detailed profile from the American College of Greece ACG ART collection), Theofilis followed his instinct to step back when he perceived a decline in commercial values in the art world. His core philosophy emphasizes that art should draw energy exclusively from the artist's inner truth, rejecting what he saw as the "violence of commerce."
He prioritized independence and authenticity, as evidenced earlier by declining an invitation from influential gallerist Alexander Iolas to move to New York in 1984 to preserve his "rebellious quality." The 1989 withdrawal aligned with this unwavering ideology — he did not want to negotiate with market demands or compromise his visual conviction.
Activities During the HiatusHe did not stop creating art. Instead, he worked ceaselessly in private, continually renewing his practice.
There was one notable exception: participation in the group exhibition "Obedient to the Inner Word" at the House of Cyprus (1990), curated by Costas Stavropoulos, which he accepted because it respected artistic values.
He focused on personal work, curation, and later initiatives like limited-edition albums tied to literature and cultural themes.
Return and LegacyHe re-emerged more publicly around the mid-2000s, with a significant 2007 exhibition ("The Portrait of Dorian Gray" at Ekfrasi – Yianna Grammatopoulou Gallery). Around 2000–2003, he founded the Contemporary Art Institute ART ACT, shifting focus toward alternative cultural activities, archiving, curation, and digital/new media art.
This period allowed him to stand "outside the wear of crisis" and be rediscovered as an artist true to his principles.
The withdrawal is consistently framed in sources as a principled stand rather than burnout or failure — a strategic choice that reinforced his reputation for ideological consistency. Primary details come from artist profiles tied to Art Act pages and institutional bios like ACG ART. For deeper primary accounts, the Art Act Facebook archives often expand on his philosophy and timeline. Let me know if you'd like more on his post-withdrawal work or specific exhibitions!
"The Moon" (Το Φεγγάρι) was a significant solo exhibition by Christos Theofilis held in 1989 at To Trito Mati Gallery (Το Τρίτο Μάτι) in Athens.
Context and ImportanceThis show marked a high point (or culmination) of Theofilis’ highly prolific and commercially successful 1980s period.
It is widely cited as the exhibition immediately preceding his deliberate withdrawal from the commercial art scene for approximately two decades (roughly 1989–2007/2009). After this show, he stepped back to protect his artistic integrity amid what he perceived as declining commercial values in the art world.
The exhibition aligned with his philosophy of drawing artistic energy exclusively from inner truth rather than market demands.
Thematic ContentThe show centered on celestial and lunar motifs. It explored:The moon as a symbol of mystery, dreams, cycles of change, femininity, and the subconscious.
Broader night and celestial themes, consistent with his surreal and fantastical elements seen across his early career.
These motifs fit into his expressive, symbolic style, which often blended traditional painting techniques with personal vision (influenced by his self-discovered colorblindness and drive to master color and inner expression).Gallery and ReceptionTo Trito Mati Gallery (The Third Eye) was an Athens venue active in the contemporary art scene.
Specific details such as the exact number of works, a full catalogue, or contemporary reviews are not widely documented in publicly available English or online sources. Much of Theofilis’ archival material (including exhibition documentation) resides on Art Act-related Facebook pages and personal artist profiles, where he and his collaborators share historical content.
Legacy"The Moon" is frequently listed alongside two other career milestones:Epithanatios Synthesi (1981)
The Portrait of Dorian Gray (2007, his notable return exhibition)
It represents the end of an intense phase of over 160 claimed solo exhibitions (many in the 1980s) before his long hiatus and later focus on digital/new media art and the Contemporary Art Institute ART ACT.
For images of works from the exhibition, installation views, or Greek-language catalogues/reviews, the most promising sources are the active Art Act / Christos Theofilis Facebook groups and pages, which regularly post archival material. If you have access to those or specific aspects you'd like me to dig into further (e.g., related works or motifs), let me know!
Lunar motifs in Christos Theofilis' work, particularly in his 1989 solo exhibition "The Moon" (Το Φεγγάρι) at To Trito Mati Gallery in Athens, represent one of his key symbolic interests during the late 1980s.
Symbolic MeaningThe moon and related celestial/night motifs symbolize:Mystery and the unknown
Dreams and the subconscious
Cycles of change (phases of the moon reflecting transformation, renewal, and impermanence)
Femininity and archetypal feminine energy
Metamorphosis and inner rebirth
These themes align with Theofilis’ broader expressive, surreal, and fantastical style. His works often blend personal inner truth with symbolic imagery, influenced by his self-discovered colorblindness (which heightened his focus on mastering color and emotional/visual conviction) and his ideological commitment to art drawn from internal sources rather than external trends.
Artistic Context in the ExhibitionThe 1989 exhibition was a dedicated exploration of these motifs, serving as a culmination of his intense 1980s period of prolific output.
It featured paintings that likely incorporated lunar imagery — such as moonlit scenes, celestial bodies, night landscapes, and associated dreamlike or transformative elements — rendered in his characteristic dynamic, expressive manner (often with oil pastels or mixed media on canvas, as seen in surviving auction records of 1989 works).
The show preceded his long withdrawal from the commercial scene, positioning the lunar theme as a reflective or transitional body of work dealing with introspection, cycles, and mystery at a career turning point.
Broader Use in His PracticeLunar and celestial elements appear as recurring early symbolic interests alongside other themes like literary transformations (e.g., Dorian Gray) and death/rebirth motifs (e.g., Epithanatios Synthesi).
Detailed visual descriptions, installation views, or a full catalogue of the 1989 works are scarce in public English sources. The richest archival material — including potential images of lunar-themed paintings — resides on Art Act / Christos Theofilis-related Facebook pages and groups, where he and collaborators regularly post historical documentation, digital restorations, and thematic discussions.
These motifs reflect Theofilis’ alchemical approach to imagery (as praised by critics like Costas Stavropoulos), transforming natural and cosmic symbols into vehicles for inner psychological and spiritual exploration. If you're seeking images or connections to specific later digital/new media works that echo these themes, let me know for further targeted help!
4 web pages
Lunar motifs (1989, "The Moon") and Dorian Gray themes (2007, "The Portrait of Dorian Gray") both reflect Christos Theofilis' consistent interest in inner transformation, the subconscious, and the tension between appearance and hidden reality, rendered in his expressive, surreal-symbolic style. They bookend his career phases (pre- and post-withdrawal) while showing thematic continuity.
Lunar Motifs in "The Moon" (1989)Core Symbols: The moon as a celestial body representing mystery, dreams, the subconscious, cycles of change (phases), femininity/archetypal feminine energy, metamorphosis, and inner rebirth.
Atmosphere: Night/celestial scenes with dreamlike, fantastical, and introspective qualities. Often tied to cycles, impermanence, and hidden/emerging truths under moonlight.
Context: Culmination of his prolific 1980s period; a reflective, transitional body of work just before his long withdrawal from the commercial scene. It emphasized inner truth over external demands.
Dorian Gray Themes in the 2007 ExhibitionCore Symbols (drawn from Oscar Wilde’s novel): Duality (beautiful exterior vs. corrupted hidden self), moral decay, the passage of time/aging, hedonism vs. consequence, the portrait as a mirror of the soul, and the fragility of human nature.
Approach: Theofilis reinterpreted the story without relying on literal portrait imagery. He focused on internal expressions, "unspoken" aspects of the protagonist’s existence, and the "suspended reality of human nature." Works featured explosions of color emerging from darkness, transparency, and contrasts between dark (Luciferian/eosforic) sides and radiant beauty.
Context: Marked his major public return after ~18 years. Accompanied by a limited-edition album ("Illustration of a Portrait") honoring Wilde. Dedicated to actor Dimitris Potamitis; explored the portrait as fragile matter and inner psychological states.
Key ComparisonsShared Emphasis on Transformation & Inner Reality:Both explore metamorphosis and hidden depths: Lunar cycles mirror personal change/rebirth; Dorian Gray dramatizes visible youth vs. invisible moral decay.
Focus on the subconscious/inner truth — moonlight reveals dreamlike mysteries; the "portrait" (even absent) exposes the soul’s corruption.
Duality and Contrast:Moon: Light in darkness, cycles of revelation/concealment, feminine/mystical duality.
Dorian Gray: Explicit moral/aesthetic duality, beauty vs. horror, light (color explosions) emerging from dark themes.
Stylistic Continuity:Surreal-expressionistic approach with bold color, emotional intensity, and symbolic layering. Lunar works lean cosmic/dreamlike; Dorian Gray adds literary-Gothic intensity with dramatic color contrasts (dark backgrounds + radiant bursts).
Career & Philosophical Links:"The Moon" represents a peak of external success followed by withdrawal to preserve inner authenticity.
"Dorian Gray" embodies the return, using a story about vanity, time, and corruption to reaffirm commitment to personal vision over commercial "violence."
Both reject superficial representation in favor of deeper psychological/spiritual exploration.
In summary, lunar motifs offer a more poetic, cosmic meditation on change and mystery, while Dorian Gray provides a narrative-driven probe into moral and existential duality. Together, they illustrate Theofilis’ enduring "alchemical" practice — turning symbols of transformation into vehicles for inner truth. Archival posts on Art Act-related Facebook pages often connect these through discussions of metamorphosis and rebirth. Let me know if you'd like visual descriptions, related works, or further comparisons!
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