Giorgio Bortoli was born in Venice, Italy, the city in which he currently lives and works. His artistic tendencies originate from the family, his paternal grandfather was a painter and a sculptor and was also a great connoisseur in music, which he played and composed. An extremely talented man who set up a very important firm of lighting system with his brothers.
He actually invented, more than fifty hears ago, the float that generates fantastic illumi-nation on the famous night of the Redentore. This personality, has without doubt, influenced the yoùng Bortoli together with master Murer to whom he became acquainted during his holidays in the mountains. Subsequently, following professor Borsato's precious advice, he enters into the heart of artistic activi-ties.
In 1984 his work o Explosivo visus" is selected in the sixty-nineth group exhibition held by Fondazione Bevilacqua La Masa. The following year, his work entitled, omaris pisceso is selected in the seventieth edition of the graup Exhibition.
During the same year, he offers Pope Giovanni the li, one of his créations called "no alla seconda crocefissione", "no to the second cruci-fixion", which is now in the Vatican Museums in Rome;
The year after, his work entitled Onda "Waveo finds temporary placing in the magica] scenery of the Canal Grande in Venice, just opposite the hotel Europa e Regina.This is a rare and happy example of sculptural introduction in the delicateVenetian urban web.
From this first introduction to the venetian environment, Mr. Bortoli's artistic career beco-mes studded with orders and patronage which has kept him busy in his own city and abroad, in particular in Munich where ha has made a name for himself.
In 1988 with the patronage of the locai Culture Council in Venice, he, created the work entitled Venezia Immaginaria, "Imaginary Veniceo, for the Save Venice International Association, presently exhibited in NewYork.
In 1989 Mr. Bortoli completed a stylized bron-ze sculpture with giacomettian undertones which was placed in the La Scala Theatre in Milan, by the ex artistic director of La Fenice Theatre, master Tangucci. With the cooperation of the Seguso Fornace, he sculpted a series of "Phoenixes" in bronze and glass for la Fenice Theatre. In addition, he finished a series of works commemorating St. Mark's year in Venice, some of which were dedicated to the Cardinal Patriarch Marco Cè.
(n 1995 the artist organized musical and artistic performances for the Venice International Film Festival, drawn upon freudian philosophy.

He creates "New Lion of Veniceo (Nuovo leone di Venezia) for the President of the Film Festival Gillo Pontecorvo, in occasion of the traditional prize offered by AVAL.In 1996 the Venice International Film Festival Committee, requested Mr. Bortoli, to organize a series of events for that occasion: The same year he created the International Prize "a Life for Music" (una vita per la musica) for the Arthur Rubinstein Foundation, awar-ded to the american violinist Isaac Stern.
For the Veneto Region, he completed the "going Lions" (leoni andanti) in oxidised green bronze which are a second version, in modern style, of the venetian lion. Orders from the industrial world are also numerous, the works are specifically devised to represent the professional history of some important companies, which choose to bind their name to an exclusive work. There has been Libco In Milan, secondly San Benedetto minerai water offered a trophy for sportive and cultural initiatives and finally a series of bronzes for Nuova Pansae Spa. Recently, the artist and his brother are involved in an ambitious and impressive project ori macrodimension, in collaboration with Fincantieri in Marghera and sponsored by Illnor Spa.

His desire to acquire experience, other than that of working ori inside environments, leads the scupltor to widen his prospects.The result is comparable to architecture, due to the remarkable size and the constructing materials such as steel. Furthermore, he has an aesthetic eye and pays attention to elegant coverings made in Murano glass that emphasize the preciausness of the work. This macrosculpture (12 metres) which Mr. Bortoli is stili working on, was born with the idea to theoretically connect two cities surroun-ded by water in one unique sculpture. Venice, with its Beli Tower and NewYork with its Metropolitan Life Tower.
The main structure is in steel (supplied by the Hydroamachines in Marghera) and the external covering is THE MATERIALS constituted by extremely particular tiles, each one different, made of reeycled glass.The entire work will be decorated with an angel (one metre high) in gold dust made by master Giorgio Giuman and by four clocks which will teli the time in Venice and in New York. The work that is goirrg to be exhibited in the United States has been eneouraged by Massimo Cacciari, the Mayor of Venice, who has underlined the elective affinity between the two cities rarely taken into consideration.


Mr. Bortoli's plastic creations have covered many aspects of seulptoral activity; he has in fact considered many kinds of materials in order to find the way of representing his aims. A variegated activity because of the materials and topics his uses, which range from works of intimist sentiment like the statue donated to the Pope. This represents Christ oUtstretched to the sky with a tiny crass made of cartridges from the World War, that the artist picked-up himself, on the pastures of Asiago to symbolize hope and peace in the world. The filiform metal "Madonna's", or again, "The face of Christ" assigned to San Rocco' church in Venice, up to the crea-tions that reveal a polemic object, a warning addressed to a society that is letting a fragile city like Venice, corrode. So, creations are born to "save Venice", concrete works that bring us back to an unbearable reality that comes from the artist's sensitiveness and reflects a contrasted tie with the city, always present in his works, an addressee of sorrowful worry and artistic inspiration. The work named Onda, "Wave" is an example; it is exposed in front of hotel Europa e Regina ori the Canal Grande and it proves application for its contents an its technique. It is a sculpture, to perpetually remind us of the flood in 1966 and wants to be an alarm to a foolish man-agement of the city and in particular against motion wave.
Guido Perocco describes the sea wave as a representation of danger that comes from sea, along with inspiration for an original creation:" It is opposite his workshop, out doors, out-stretched to the sky, sinuous and seduc-tive, more than three metres high, in zinc iron, with developing shapes casca-ding over, a harmonious rhythm that also has the overbearing strength and elegance of the sea tide".
A cali to observe nature is also present in his work Principio e declino "Beginning and decline", sponsorized by the local Culture Council that expresses the uncertain fate of Venice in balance bet-ween two contrasting destinies, one that could reveal a favourable means, the other on the contrary a slow decline due to continuous and ceaseless deterioration.
A sort of paysage moralisè, in contemporary style, that lets the spectator choose the way to go about it.
In 1995 one of Giorgio Bortoli's work was a protagonist of a cam-paign against drugs. The schools in Venice took great interest in it. The sculpture created by Mr. Bortoli was a skull in aluminium fusion with many syringes stuck in it. This image was also reproduced on postcards and posters that were distributed around the city. In spite of its strong image, it definitely went straight to the point and was in fact very successful.


An interesting aspect of Giorgio Bortoli's work is the choice of the materials, the usage of iron and bronze widely employed in tradi-tional craftsmanship, a category which is nowadays dying out but gives him the opportunity to get closer to his aim of moulding the material, to achieve shapes that are always different: sometimes representing a face (the proud and impenetrable one of Maria Callas), sometimes tracing the essential lines of the human figure that stretches towards the sky, like his works of giaco-mettian inspiration, one of which is the already mentioned Paganini. This antique technique is cleverly mastered by the sculptor in ali of its phases, from the pla-ster to the superficial patina. Thanks to its extreme plasticity it allows the figure to be exceedingly lengthened in an impulse which is pure tension. Bronze also been an excellent intermediary for his works of more religious inspiration, to present both mystery and faith. The Madonna's delicate features, remind us of the traditional and devo-tional moment through modern sensitiveness.

The stylised shape of the work entitled "Madonna in prayer" is par-ticular because it is made of welded bronze rods, previously shaped. The materials has also undergone an oxidisation process that gua-rantees a perfect preservation, even in unfavourable weather condi-tions typical of the lagoon area.

Mr. Bortoli has also introduced natural elements in his creations, a collection of raw materials: stones, wire, shells, pieces of wood sun-dryed that the artist picks up while he walks on the Lido beach, anything that strikes his fantasy and in which he can see a shape, a poetic understanding. The artist's creativity is furthermore expressed through assemblages, irons and surpluses from the last World War that give life to works "against wars" At the end of the 80's, his works show concrete signs of the past not only because of the materials he uses, like glass of the local workmanship but also by the introduction of "relics" belonging to venetian history, eloquent evidence of a renowned past that can't be forgotten. Mr. Bortoli has created a work entitled Campanile di San Marco, St. Mark's Beli Tower, the conventional image of the Beli Tower that fell down a hundred years ago. This aspect concern the series of Phoenixes made in Murano glass and first quality gold (at Seguso-Viro's furnace) and other in bronze which rest, but we could nearly say rise, on a base of wood found the day after the fire that ruined La Fenice Theatre.
The research of the raw material that is an inexhaustible source of inspiration, together with the study of its potentiality, are constant in the artist works of the venetian sculptor. It drives him to work in factories, modern forge, where industrial experimentation finds affinity of purpose with art. Steel, is the last logical development of his artistic course that starts from wood and lands on macrodimension with the aim of comparing itself with the external environment and the architecture.


This care in the choice of the materials for the work, presumes a constant control by the artist of ali the working phases, starting from the planning up to the final realisation, this ali in a traditional artisan way that sees the artìst as inventor and "modeller" of the sculpture, thanks to a wise technical valuation. This is the reason why, the atelier is of fundamental importance, it is a refuge that permits withdrawal from the world, to refiect, to invest and finally create. Giorgio Bortoli's workshop is on the Lido of Venice, on that strip of land between lagoon and sea, so populated by holidaymakers in the summertime and so desert in the winter which makes it so picturesque.

Mr. Bortoli works undisturbed in a camouflaged spot in the vegetation, the waves and clouds as raw material and light effects, caused by the sun, in the daytime. It is without doubt an inspiring workshop, the planning phase takes piace inside an armoured military craft which has been adapted and entirely lined with wood.

The artist's idea, was to create a "sculpture in a sculpture" because he actually carries out here, the sketches of his works while the construction itself happens outside, just a few metres from the venetian lagoon.


Brief biography of the artist Giorgio Bortoli

The artistic activity

Giorgio Bortoli was born in Venice, where he lives and works. His artistic training has its origins in the family, his paternal grandfather was indeed a painter and sculptor.
From a young age, during a stay in the mountains, he met the artist Augusto Murer that inspired and then builds on the suggestions of Professor Renato Borsata that will help you get to the heart of artistic activity.
Start exposing the Fondazione Bevilacqua La Masa in Venice in 1985 and offers its creation entitled "No to the second crucifixion" to Pope John Paul II, located now in the Vatican Museums.
In those years, he began to create large sculptures that will be included in the delicate fabric of the city of Venice and from here the artistic path will be full of commissions and sponsorship that will see him engaged in his hometown and abroad, from "Paganini" in bronze for the Teatro alla Scala (1989), carrying out, in collaboration with the Glass Seguso, cli a series of "Phoenician" for the Teatro La Fenice (1995), the international prize "A life for music" commissioned by the Foundation Arthur Rubinstein (1996 ), the "Lions Andantes" created for the region Veneto, with structures designed to represent the professional history of some major private companies.
Then engages with projects macrodimensions with the use of construction materials such as steel, but with an aesthetic that focuses on elegance of Murano glass coatings. And 'this periorlo the macroscultura shaped bell tower "Venice - New York" (2000), steel, glass and fragments of the original steeple collapsed in 1902 inspired by the idea of ??combining in a single work the two cities 'water city united, according to the artist, a great affinity.
Since 2011 the artist is present with the work "Compassion" in the Permanent Collection of the Palais des Nations in Geneva.

The themes

The creations of plastic Bortoli have touched the various aspects of the sculpture, the artist was confronted with different materials in order to better represent their intent. There are several works of religious inspiration: the statuette for Pope John Paul II, the "Christ", the "Madonna" to '"Angel", to the creations made with the intent to "save Venice", of which the sculpture "Wave" and "Principle and decline" represents the highest example.

The materials

In search of raw materials as a source of inspiration and I study the potential of the material is a constant of the artistic work of the Venetian sculptor: his creativity is expressed through the use of more traditional iron, bronze and glass of local manufacture, but also through assemblages of natural elements such as rocks, wire, shells and wooden blocks.

The laboratory

The study of Bortoli is on the Venice Lido.


Clodovaldo Ruffato

Venice, July 23, 2012

I oil on cloth, cm 52 xes 37, end '800 beginning '900; Bortoli Luigi grandfather of George;

I oil on cloth,cm 28 x 22, end '800 beginning '900; Bortoli Luigi grandfather of George;

Giorgio in primary school



Giorgio con la sua "bici-scultura" all'età di dieci anni



"Onde" del 1985 - Iron zinc 200 cm x 70 cm



"Paganini" del 1986 - Bronze
60 cm x 20 cm



"Maria Callas" del 1997 - Bronze 30 cm x 12 cm



"L'Angelo" del 2000 - Bronze 130 cm x 25 cm



"Venice New York" del 2000 - Stainless steel and glass 12 mt x 1,50 mt

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