Volanakis, Adonis (rp18697)
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Volanakis, Adonis
Βολανάκης, Αντώνης
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Results 21-33 of 33 (Search time: 0.001 seconds).
| Title | Brief description | Academic year |
|---|---|---|
| Adonis Volanakis: Performance | Participatory installation, videos, photos), Exhibition space Nikos Kessanlis, Athens School of Fine Arts, Athens, Greece. | 2019-2020 |
| Εμφυλο-ποιείν / to construct the gender | Mixed media, curated by George Kalivis, Antonopoulou Gallery, Athens, Greece. | 2019-2020 |
| Woven Matters | Hellenic Literature and History Archive (ELIA), (textile artwork), curated by Dionysis Kapsalis, Cultural Center of MIET (Cultural Foundation of Greek National Bank), Athens, Greece. | 2018-2019 |
| WHO AM I? Outis | Installation with collages, curated by Maria Kenanidou, Municipal School of Vizitsa, Pelio, Greece. | 2018-2019 |
| Volax Blind Date | Photos, community-based project, performances, curated by C.Artemis, Kinono Tinos Art Gathering, Volax Folklore Museum, Tinos, Greece. | 2018-2019 |
| ActαρικART | Textile artwork, curated by Stella Koukoulaki, Vikelea Library, Heraklion, Greece. | 2018-2019 |
| Transplants | Textile artwork, video, curated by Thalia Vrachopoulos, The Anya and Andrew Shiva Gallery, New York, USA. | 2018-2019 |
| Ten Chapters | Sculpture, video performance, curated by Maria Marangou, Permanent Collection of the Museum of Contemporary Art in Crete, Rethymno, Greece. | 2017-2018 |
| Monitor Fest/ Contemporary Art Festival | Video performance, curated by Irene Linardaki, Former Traffic Police Hall, Heraklion, Greece. | 2017-2018 |
| A Certain Blue of the Sea | Textile artwork, curated by Sozita Goudouna, Ionian Parliament, Corfu, Greece. | 2017-2018 |
| +9 | The site-specific installation Viomen (2019) (a made-up acronym deriving from the words violence and women) by Adonis Volanakis, receives its inspiration from the myth of Zeus whose birth implicated the escape from his father Titan Cronus' practice to consume all his new-born children. Cronus fed on a rock wrapped in swaddling clothes that Rhea offered to him instead of her baby Zeus, giving him the chance to grow up secretly and eventually fight to become the king of the gods. Volanakis juxtaposes the robustness of the physical material as narrated in the ancient myth against the fragility of a congregation of ceramic vessels. For him, these ceramics are representations of female identity and their number is associated with the number of Zeus' consorts and lovers, which remains a titillating debate amongst scholars to this date. Greek mythology portrays the multitudinous ways that Zeus used to invent in order to capture his female prey and involve them in sexual activities mostly without their consent. Suspending his ceramics around the dark space of the venue, the artist creates a domain of uncertainty, isolation and despondency reflecting on the feelings of those women experiencing distress and desolation due to domestic and family violence. Employing the luminous cobalt blue to embellish the surface of his works, Volanakis' otherworldly choreography mediates a prayer for the troubled souls and turns his installation into a sea of oneiric landscapes voiding all sadness, infusing them with hope and dreams. With mythology as the conduit of veiled meanings around patriarchy and male dominated societies, Viomen (2019) is a hymn to all mothers and all lovers who have played such an important role since the beginning of time, deserving a better place in every society and culture. | 2018-2019 |
| Adonis Volanakis, The performance | Exhibition at Athens School of Fine Arts | 2018-2019 |
| Blind Date with Antigone in Bohemia_CLONE | Community engaged project, performance, exhibition, public intervention), curated by Lydia Matthews and Barbara Benish/ Art Mill, KINO Horazdovice, West Bohemia, Czech Republic. | 2019-2020 |