{"id":49136,"date":"2024-03-11T14:55:16","date_gmt":"2024-03-11T12:55:16","guid":{"rendered":"https:\/\/cycladic.gr\/ektheseis\/giannis-kounellis-2\/"},"modified":"2024-04-04T15:57:26","modified_gmt":"2024-04-04T13:57:26","slug":"giannis-kounellis","status":"publish","type":"exhibition","link":"https:\/\/cycladic.gr\/en\/ektheseis\/giannis-kounellis\/","title":{"rendered":"Jannis Kounellis"},"content":{"rendered":"
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Jannis Kounellis<\/h1>

CONTEMPORARY ART <\/p>

APRIL 5 UNTIL SEPTEMBER 30, 2012<\/p><\/header>

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THE EXHIBITION<\/h2> <\/header>\n\n \n
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\n Jannis Kounellis (1936-2017) exhibited in 2012 new and site-specific works at the Museum of Cycladic Art, in his first solo exhibition in Greece after many years, housed at the Stathatos Mansion, the Museum\u2019s neoclassical wing.\n <\/div>\n \n \n<\/div>\n\n <\/div>\n
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Jannis Kounellis, whose contribution to the international art movement of Arte Povera has been defining, left Greece very young to leave behind the trauma of the civil war. In 2012 he creates a work amidst the economic and social crisis that Greece was going through at the time. Kounellis’s installation could only be a response to this turmoil, as he put it, “at this particular moment it would be impossible to have just an exhibition of art in Greece”.<\/p>\n

For the exhibition at the Museum of Cycladic Art, Kounellis created new works specifically for the Stathatos Mansion, “this bourgeois house” as he used to refer to it. He used materials found in the local Athenian markets and junkyards, objects which carry the history of the place, of a city that has been through endless changes of populations, ideologies, and levels of prosperity and \u2013especially in the last years\u2013 some very extreme changes.<\/p>\n

The same objects carry personal memories and they can be symbols of desires and hope but also of failed dreams and aspirations. In Kounellis\u2019s work the personal history and the history of the place, the city, are equally important. The black overcoats that appear repeatedly in his work, can represent the artist, the viewer, but also the “little guy”, Chaplin\u2019s tramp of our times, who gets trampled over while societies change. The works might reflect current problems but as always in Kounellis\u2019s works, even though the objects have their own history, they are incorporated in his installations in such a way that in the end they become universal, ancient and modern.<\/p>\n\n \n <\/div>\n\n <\/div>\n <\/div>\n<\/section>\n\n

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INSTALLATION<\/h2> <\/header>\n\n
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01<\/div>
Installation view of the exhibition\r\n<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021\r\n<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\n
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01<\/div>
Installation view of the exhibition\r\n<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021\r\n<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Installation view of the exhibition<\/div>
Photo \u00a9 Manolis Baboussis \/ ADAGP, Paris, \u039fSDEETE 2021<\/div><\/div>\n\n <\/div>\n\n <\/div>\n
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