Theater Street | Michel Voiturier -  09/10/2019

To be double to find unity

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Two dissimilar partners, two types of choreography, two practicesdivergent to say the complementarity, the artistic fusion of two gestures that require an intense bodily commitment. [...] This show [brings] a special breath thanks to this thrilling performance of a humanity inhabited by strength as much as fragility.

Lëtzebuerger Land (Mo) | Godfrey Gordet - 03/13/2020

Julien Carlier and Mike Sprogis transport us, feet no longer touching the ground, mind in levitation, with their very successful GOLEM.

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GOLEM thus rejoices in a staging of the two performers, in a game of mirrors, where the creation of one is sufficient in itself, but finds a masterful artistic power combined with the other. In fact, the association of the two in a show, leads to a human encounter between two artists who have a lot to say to each other and an incredible artistic union that gives chills. In short: it is brilliant and overwhelmingly sincere.

Focus - The Live | Estelle Spoto - 08/06/2020

A duet between sculpture and dance strewn with metaphors on the human condition and creation.

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Two men that everything opposes a priori, not the same age, not the same
countries, not from the same discipline, but which this GOLEM manages to bring together, triggering a whole series of evocative images. [...]

A hyper concrete but downright metaphysical spectacle.

La Libre | Marie Baudet - 03/14/2022

The unexpected, strength and softness irrigate GOLEM with accuracy and sensitivity.

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Present, the sculptor is mounted on a chair. Soon action will follow words. The quintessential hip hop of the choreographer defying weightlessness. The gesture of the visual artist revealing the clay, kneading it, struggling with the mass and marrying it. [...] A time parallel, soon in spiral, their trajectories accelerate until meeting in a dialogue made of mutual attention, care, audacity.

The Future | Nathalie Boutiau - 04/25/2022

GOLEM, a danced sculpture.

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Visual poetry, grammar of gesture? GOLEM remains a danced proposal that tells two paths, their singularity, their specificities until finding there a meeting point, an interaction. One then becomes the mirror of the other, his puppet, his double. Dance becomes the receptacle of all possibilities. And there is time, a circular one that flies by. The melee becomes intense, the trust in the other, necessary not to fall, not to stop its race forward in this desire, legitimate, to continue to create.