Bettina
Werner
International Symposium
on Marble Sculpture
Thassos Island (Greece), 1993
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Permanent
installation, Thassos Island, Greece:
28 marble pieces, 30 x 30 cm.
(iron, marble powder, colour) |
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FROM
THE CATALOG
by Emmy Varouxaki |
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The
idea of a symposium of sculpture is not something new or unprecedented.
It is a well known institution, which allows every kind of art and substance
to come along with artistic creativity and mens' coexistence. The concept
of "symposium" derives from the Platonic tradition, expressed through
Diotima, and it means a communion, a contact between people exchanging
thoughts and experiences, toward the goal of a spiritual union, created
by distinguished individuals motivated by some common aspirations. The
symposium of Thasos represents an opportunity to organize an original
artistic happening, with the production of works of international monumentality,
destinated to remain in the place of their creation. The first Symposium
of Marble on this northern Greek island took place in Summer '92. The
relation of this island with Europe has its roots back in ancient Greek
Mythology: Thasos, the mythical hero who lent his name to the island,
son of Aginoras, looking for his sister Europe, who had been kidnapped
by Jupiter, has stayed on this island and established the first settlement.
Later, Thasos became a well known island to the ancient world, due to
its privileged geographic location, its climate, the rich vegetation,
the excellent wine, the devine honey, and, finally, its marble, the most
white marble of both the ancient and the modern world.
James
Lee Byars, an american artist, praises the whiteness of the marble of
Thasos, and comes here every summer for the last 6 years, to pick himself,
from the heart of the island, the pure material for his valuable sculptures.
The marble of Thasos is a coveted material for special constructions,
such as moslim monument of Mekka, which is exclusively constructed of
thasian marble. This legendary material, together with the attractive
idea of summer holidays on a Greek island, has made a large number of
international artist to accept our invitation two years ago, and come
to Thasos for the first Symposium of Marble Sculpture, bringing an infinity
of notions and propositions for in situ sculptural creation.
The
most of those artists, as well as many more, who could not come but expressed
their wish to participate in a future Symposium, are regularly visiting
similar international events, such as in San Domingo, Seoul, Japan, Andorra,
France (Oloron), Belgium (Avennes), Italy (Pietrasanta) and Yugoslavia.
The major reason for them to come to Thasos was the curiosity to try its
pure white marble, and the will to continue working with it after the
first experience they could have in the place of its production. This
situation created a considerable common interest among the artists, the
critics, and the marble producers, which provided a solid base for the
successful organization of the first Symposium on Marble Sculpture in
Thasos.
The
cooperation of the Union of Marble Enterprises of Macedonia and Thrace
and the willing support of the Greek state allowed the dream to come true.
Nineteen monumental sculpture works were created by as many artists from
several countries, works that could have not come to life without the
technical help offered by the Symposium. Cranes, loaders, every number
of specialized tools, and above all the on site presence of marble quarries
and skilled marble carvers, along with the generous offer of monolithic
marble stones, up to 25 tones, all these made possible for the artists
to consume over 100 tones of marble in five weeks, producing the 19 works,
which are today exposed in the Sculpture Park of Chrisi Amoudia, in Panagia,
Thasos, perhaps to be distributed some day to more appropriate sites of
the island, according to the uniqueness of each sculpture and the spirit
of individuality that rules the art.
The
choice of the nineteen artists for the first Symposium has been made with
a specific thought in mind. Neither all of them were professional sculptors
nor were they already familiar with marble. The presence of many art critics
allowed some impressions and opinions to be noted:
"The organizing plan has been born through a bet To make artists as different
as possible some of them could only very arbitrary be called sculptors-
to work on the purest material, on the very symbol of the art itself,
if you put it this way. In this way a new Mediterranean point of reference
could be created, an opening towards Europe, within the framework of international
research."
Giuliano
Serafini, "Terzo Occhio", Sept. 1992
"Eclecticism is a distinctive trait of the end of this century... The
choice of the Symposium's curator, Emmy Varouxaki, to invite both, artists
familiar with the material and others who show a rather chameleon attitude,
usually tending to constructions, can be considered as an encouragement
of the eclectic character of the symposium."
Ada
Lombardi, "Segno", Summer 1992
Classicist marble sculptors, such as Thodoros Papagiannis, professor at
the School of Fine Arts, Kostas Dikefalos, well known for his monumental
works, Thanassis Alexiadis, a local sculptor from northern Greece, Jorge
du Bon and Michael Warren, both well known in international Symposiums
and Museums, the famous Lee Byars, the Belgian academic Willequet, exceptionally
skilled with the extremely hard black stone of his land, Fabrice Pierot,
a very young and energetic lover of marble, Lambert Rocour, a master of
the chisel on monolithic stones, and Afroditi Liti, a multilateral artist
with long experience with marble, met and worked aside with artists who
had no or very little previous experience with the material, but otherwise
had a special relationship with the Greek natural and artistic landscape,
so they could participate in the "communion" bringing the dynamic of the
current trends between conceptual art and the imitation of nature. By
mixing all these people an explosive composition was achieved, which could
produce surprising results through the juxtaposition of subtle artistic
and human balances. It is correct, as some bewildered visitors noted,
that this was not only a Symposium of Sculpture; it could also be called
a symposium of marble, of Greek landscape, of Mediterranean communication,
of bacchic aspiration and European stain.
The
presence of Italian representatives of cold post-avantgardism, Marco Brandizzi,
Bettina Werner, and Giorgio Cattani, who made their first-time contact
with marble under the spirit of the place, of memory, and of the irony
of history, was coupled with the presence of Angelos Skourtis, Haris Kontosfiris
and Christophe Boutin. The elegiac raise of Varotsos's pyramid in front
of the mirror-mosaics of Ascanio Renda, proposed the insertion of other
material in the heart of marble, to coexist with the lights and waters
of the surrounding space. The Arithmology of Nikos Tziotis demanded the
taming of the hard undisciplined material in order to serve the <
>.
The same was true for the Stratification of Substance and History, of
Renzogallo,, who, despite his skills, could not discipline the blacksmiths
of the island to complete his magnificent work, falling victim to the
shortness of time and to the sheer distance of the island from the bigger
cities.
All
these works of art, while keeping the individuality of their respective
creators, represent an insight of the subject stated at the beginning
of the Symposium, which was: "Original forms Archetypes of Mediterranean
and Greek civilization." In this way, the historicity, the search for
the roots and for the cultural identity, the local stain, and the modern
creativity, have all found a common denominator, charged with an undisputed
poetry and philosophical reflection: the marble and the light of Thasos,
as they were born long centuries ago and as they continue to appear today. |
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