Prominent member of the Greek diaspora, Jannis Kounellis (Athens, 1936) is considered a painter before sculptor, he says that as a man in the post-war era there is "a reconstruction project” before him, “where he must reconstruct the language needed to speak". This mission statement serves, in turn, to question his historical attachment to Arte Povera, which originates in his participation of Arte Povera-Im spazio (1967), organised by Germano Celant and which is considered the founding exhibition to this trend which has Italian origins. If Kounellis uses objects (mattresses, gas cylinders and torches, tables, cabinets, coal, coffee, burlap bags), they end up forming an objectual language with which he shapes dramatic spaces and in which, through the partners of theatricality and materialism (of the objects) and structure and sensitivity, compositions which the objects are attracted to because of their qualities unfold. Thus in Kounellis, contrary for Povera artists, “the compositional condition takes precedence over objectual independence," notes exhibition curator Gloria Moure. In this way his work is used as an example of the triumph of presentation (the piece is understood as a location for the allegory) over representation.