2012

Cover of the 2012 Cataogo

the page on the sculptor Giorgio Bortoli

the page on the sculptor Giorgio Bortoli

The Maestro Giorgio Bortoli, is inserted between the pages
of the prestigious Art Catalog

"ARTE collezionismo 2012"

Painters and Sculptors of the 900 - Gallery Edition
Volume XI - Yearbook of Modern and Contemporary Art - Quotes, biographies, galleries, auction houses, antiques

Powered by EFFECI art editions of Francis Chetta publisher

2012

The sculpture created by master Bortoli given as a gift to Francesco Moser

The teacher Bortoli right along with F. Moser left

IL GAZZETTINO of Venice

Francesco Moser A gift of a sculpture "Venetian"

A bronze sculpture mounted on an old brick tower of San Marco, the sculptor Venetian George Bortoli,

was delivered to the cycling champion Franceco Moser during a ceremony held at the "Pink Pearl" Mira. The award represents Moser cycling, is a recognition of his great career.

2011

 

Il GAZZETTINO
Tuesday, August 2, 2011 - ART & AROUND

Work of Bortoli in the ONU collection

VENICE - Still a work of art by Giorgio Bortoli, performance is not new to the genre. It is this time, a large bronze and steel, created by the Venetian in his studio and entitled "Compassion".
The work was unveiled at the Palais des Nations in Geneva and is now officially included in the UN's international collection.

Bortoli has been able to describe I'immagine (photo) with a particularity that expresses cmtinuità and fusion of the arms is as a person who, bowing, takes care of another, on the ground, sick and in obvious difficulty. For this work, Bortoli has received expressions of satisfaction, combined with ringraziarnenti by the Director General of the UN Office in Geneva, Kassym Jomart Tokayev and Chairman of the Committee for the cultural activities of the UN in Geneva, David A . Chikvatdze.
T.B.

2010



This page on the sculptor Giorgio Bortoli


Catalogue Cover 2010

The Master Giorgio Bortoli,
is inserted between the pages of the prestigious Art Catalog

"I Grandi Maestri "

(The Grand Masters)

Produced by the Centro Diffusione Arte (Arts Centre Spread)

Via L. Ariosto, 19
90144 PALERMO

THE GREAT MASTERS

Edition 2010

Giorgio Bortoli

Giorgio Bortoli is an assemblage sculptor who makes house. In the sense that using different materials, perceiving the vibrant essence, taking over their substance, coming into a formidable ensemble. Sincere and intricate web of sensitivity and sensibility, the texture of his sculptures beyond the boundaries of the physical dimensions that have to rise to potential metaphysical sich, almost informal. Although his is an art concept retains some ties with the representation given, respectively, the expressive value and taking care of the most important aspects with their expertise and talent of the great sculptural personality of the past. Dino Marasà

Domicile: B. Plumber, Venice Lido, 9 - 30126 Venice Studio: Via della Droma, 99-30126 Lido di Venezia (Venice) Tel / Fax 041 731389 - Cell 347 5950228
Website: www.bortoligiorgio.com
E-mail: bortoligiorgio@hotmail.com
References: collections, public and private national and foreign museums, squares, places of worship in New York, Geneva, Monaco di Baviera, Milan, Rome (see website).

Giorgio Bortoli was born in Venice, where he still lives and works. His artistic formation has its origin in the family, his paternal grandfather was in fact a painter and sculptor and a great connoisseur of music composed and played. Subsequently, following the valuable suggestions of Professor Borsato goes live artistic activity. In 1984 his work, Explosive Visus, has selected the 69th collective exhibition of the Fondazione Bevilacqua La Masa, the year following the work Maris Pisces, is selected to the 70 'edition of the exhibition. That same year, offers one of his creations, not entitled to the second crucifixion of Pope John II and is now located in the Vatican Museum in Rome. From these first steps in Venetian artistic path will be full of Giorgio Bortoli commissions and patronage that kept him busy in his hometown and abroad, particularly in Monaco of Bavaria, where for years it has consolidated its presence.

Among the critics:
G. Mazzariol, G. Perocco, M. Folin, ticks, F. Fuchs, O. Rosada, M. Cacciari, G. Monti, O. Brusatin.

Photo: Actress Valeria Golino with a sculpture of master Bortoli

Photo: Cardinal Ersilio Tonini with Christ off the sculptor Giorgio Bortoli, bronze and wood burned by the fire of the Teatro La Fenice di Venezia

2010

La Nuova
Monday, May 24, 2010
Letters to the New Venice and Mestre

The Knight of George Bortoli

It 'was awarded by the Mayor in Trento Alessandro Andreatta with a silver plate the Venetian sculptor Giorgio Bortoli Favaro for making the first monument dedicated to Knight. Bortoli will soon realize that one is exhibited in one of the squares of Trento, taken from one of the wooden horses of the stables of the Villa Pisani at Stra.

2010

IL GAZZETTINO
Saturday, May 8, 2010

A monument dedicated to George Bortoli Knight of Italy

A monument dedicated to the "Knights of Italy" will be made at Trent by the Venetian sculptor Giorgio Bortoli, who received the Mayor Trento Alessandro Andreatta a silver plate.
The ceremony, sponsored dall'Unci, was also attended by National President, Ennio Roots and the Provincial Roberto Scarpa.

2010

 

LA NUOVA di Venezia e Mestre
Wednesday, February 3, 2010
Day and Night ON SHOW / 2
The "Phoenix" of Bortoli

An Arab Phoenix steel two-meter wingspan, stands a few days in space in front of the wharf on Calle Vallaresso under the legendary Harry's Bar And 'the last work of the Venetian sculptor Giorgio Bortoli, installed under the patronage of Captaincy Port of Venice in the person of Admiral Stephen Vigiani.
In the same location had Bortoli stated above is a sculpture of a chimera lion and before that the lightness of a dancer, always with the characteristic cut shapes, which is a little figure of the sculptor who used stainless steel milled and cut with oxyacetylene flame for its Phoenix.

Photo: a phoenix sculpture of George Bortoli

2009


Area Servizi Giornali Online – Radio – SMS - TV


And' publishes on the monthly on line "Global Veneto" of May 2009 to the address: http://www.regione.veneto.it/VenetoGlobale/

The following article regarding the Teacher Giorgio Bortoli:

Meetings

George Bortoli, Venetian sculptor

L' artist Giorgio Bortoli is Venetian and everything now alive and she works in the lagoon city. Its artistic formation has origin in family: the fatherly grandfather was, in fact, painter and sculptor as well as a great expert of the music that composed and you played; man of extraordinary talent, founded together with his brothers the great firm of fittingses voters, and it invented, over half century ago, her "afloat" from the fantastic illuminations for the famous night of the Savior.
Its personality owes without doubt to have influenced the young Bortoli that had also had already way of knowing the teacher Murer during its stays in mountain. Subsequently, following the precious suggestions of professor Borsato, he enters the alive one some artistic activity.

In 1984 his work, Explosive Visus, the 69 is selected to Collective of the Foundation Bevilacqua You Masa, while the following year the work Maris pisces, the 70 is selected to' edition of the collective show.
In the same year he offers one creation of his, entitled No to the second crocefissione, to Pope Giovanni Paul II; the work has now put in the Museums Vaticani in Rome.
The following year, the work entitled Wave finds temporary position in the magic scenery of the Canal Grande in Venice, in front of the hotel Europe and Regina, rare and happy example of sculptural insertion in the delicate Venetian urban fabric.

From these first footsteps moved in the Venetian environment the artistic run of George Bortoli he will be studded of errands and patronages that you will see him/it busy in his city and to the foreign countries, particularly to Monk of Baviera where from some years he has consolidated his/her presence.

In 1988 for the International association Save Venice realizes the work Venice Immaginaria, currently exposed in New York with the patronage of the Assessorato to the Culture in Venice.

In 1989 a bronze Paganini from the stylized figure, of intonation giacomettiana, the Theater is suited to it Climbs her of Milan from the teacher Tangucci, ex artistic manager of the theater You Phoenix of Venice.
In collaboration with the furnace Seguso, realizes a series of Phoenixes in bronze and glass for the Theater you Phoenix which you/they follow a series of works for the celebrations of the year they march, of which some you devote Mark Cè to the Cardinal Patriarch.

In 1995, on the occasion of the International Show of the Cinema in Venice, it organizes musical and artistic evenings of inspiration freudiana and it creates the work New Leo in Venice to reward the Manager Gillo Pontecorvo in the circle of the traditional prize offered by the AVAL.

In 1996 it is entrusted at the organizers of the International Show of the Cinema of the realization of a cycle of demonstrations that parallelly develop him to the projections of the films. In the same year, the Foundation Arthur Rubinstein commissions him the realization of the international prize "A life for the music", that rewards the American violinist Isaac Stern.
For the Region Veneto creates the ordinary Leos, in oxidized green bronze, a rivisitazione in modern key of the Venetian lion. Numerous they are then the errands from the world of the industry, with works specifically conceived for representing the professional history of some important firms that you/they have wanted to tie his own name to an exclusive work: the Libco in Milan, for instance, or the trophy for cultural and sporting initiatives offered by the water mineral St. Benedict and a bronzes series for the New Pansac Spa.

More recent it is the artistic collaboration with the Fincantieri of Marghera and the sponsorship of the Illnor Spa for an ambitious and imposing project that he/she sees hocked the artist, together with his/her/their brother Peter, with the macrodimensione.
II desire to compare him with an ampler dimension of that of the inside environments, induces the sculptor to think "in great", with results comparable to those of the architecture, for the conspicuous dimensions and for the employment of materials from construction as the steel to which an aesthetical search places side by side him that detains him on the elegance of the coverings in glass of they Wall up that they exalt the preciousness of the work.

The macroscultura (it has a height of 2 meters) which Bortoli is still working, it is born from the idea to ideally unite in an only sculpture two cities of water, on one side Venice with his/her bell tower, from the other New York with the Metropolitan Life Tower.
The carrying structure is in steel (furnished by the Idromacchine of Marghera) and the external coverings are constituted by particular tiles of recycled glass, each different from the other. II all equipped by a tall angel a meter, in gold dust, that will be realized by the teacher Giorgio Giuman, and from four clocks that will mark the time in Venice and New York. The work, destined to be exposed in the United States, you/he/she has also had words of encouragement from the Mayor of Venice, Massimo Cacciari that you/he/she has underlined as among the two cities an elective affinity exists not very often considered.


Can you tell us something of his past? As the choice he has happened to become sculptor?

You could be said that the choice has not been a choice, but that one is born with a great passion. I am child of art because my fatherly grandfather, but also maternal as I have discovered, it carved, it painted and it already composed music to the beginning of the Nine hundred. The members of our family are born as typographers, still before the Armenian ones. From a search that I have done, I have discovered that the stamperia Bortoli was sold to the Armenian ones and, following the advent of the electric energy, our family became an electrician. My father told me that in the heart in Venice, in the new road of there were now the first generators that went to naphtha, and diesel and they produced energy. To Venice there is still the enterprise Bortoli and we cable a good part of the città.Mio instead grandfather it studied to the academy, it went to the Conservatory of Music, it painted, it did studies of anatomy and me I think about having taken something from him. My father didn't practice in how much he kept on following the enterprise of family, however he knew how to paint and to draw very well. Me instead, for a generational jump, already to six, seven years I started to make my first small sculptures, starting with the wood, going to mountain in the woods between Alleghe and Falcade, where my first meeting happened with the teacher Murer, that I didn't know and that it gave me some suggestion for the carving. Then I began the studies: I studied electronics and I wanted to do engineering, but soon I understood that it was not my road. This way I put me to the search of the correct academy and I chose Brera. Nevertheless I didn't continue the studies and I began a formative run of apprenticeship instead in the shops, as he did once, learning whether to work the marble from the marmistis, the iron from the carpenters and from the blacksmiths, the glass to they Wall up, in the foundries, for over thirty years; I gave me to autonomously do and I received technical suggestions from the other artists.

Has heknown people that have allowed his/her artistic growth and to improve?

Yes, someone yes. Borsato, for instance, to the Bevilacqua You Masa when I made the first exposures, him painter and not sculptor or Guido Perocco, already manager of the Civic Museums that came every now and then to find me in study and other anchor thin to reach today's day, with the friend Bruno Rosada that you/he/she has always sustained me. Other important knowledges I owe around her to meetings and frequentazioni for Italy, because from five or six years I belong to the Office of the Cultural Good and to Rome I have the possibility to compare me to national level. Even before the skeleton done in Germany to Monk of Baviera, the comparison has been important by now with my brother in England from fifteen years. Also he deals him with art with installations in other Countries; in Italy we are still castled on the classical sculpture and so our territory. The comparison with my brother Peter I don't say both daily but weekly. You works and it moves us in continuation, the time is never enough, then me from Venetian of an island ex of gold, the Beach, is a po I trouble and I have to move me in motion.

What does he mean to make sculpture?

And' my world, but I don't know him if it is the purpose of my life. It is a great sacrifice, it is to ideally believe in inside what one feels, a great energy that one tries to transform. They say that we am as of the trasduttoris that you take this energy, that he is not known from where comes, without exaggerating, and they mechanically transform her.

What does he think of the sculpture classical Greek fret and Roman?

A great point of reference remains, we always think about the Canova, for instance. Nevertheless the architecture is also it with great teachers as Palladium or Charles Scarpa, the architect without a degree; with my sculptures of great dimensions he has often spoken of construction.

Are there projects for the future?

Now I am taking back in hand the twinship with the new continent, America. After the sculpture of the airport, he is always doing the twin one to Marghera, however' with the insertion of the Palladium. Another important project is a horse for a new plaza to Mestre, that I make to revive and I interpret from Brustolon, the “Michelangelo of the wood.” The horse I have found him to Villa Pisani, I am bringing him/it in life and developing in a contemporary material. Luckily the job doesn't miss.

Does you also deal with the formation of other artists?

I have some collaborator and some boys of the academy, and I try to follow them, particularly those that show more talent. I try to transmit them my passion and as it regards my ability I think about having a po of experience. I would like to have more time to teach and to instruct a po of boys, to make to grow them, considering that the space there is. My dream they are the American factories to the Andy Warhol, rather than those German in Germany. Spaces whether to have so many artists to work in team, not to close alone selfishly him; once the groups of artists were together, they went against the institutions and they succeeded in creating new tides as the futurism. For example one as Pasolini it also stirred against the Biennal exhibition. To work, to work so much, to believe and to sacrifice himself/herself/themselves because the punishment is worth it indeed. Sooner or later, if one believes it and him ago with passion, the results arrive.

 

2009

the page related to the Sculptor Giorgio Bortoli

The Teacher Giorgio Bortoli,

you is inserted among the pages of the prestigious Catalog of art

"AVANGUARDIE ARTISTICHE" (artistic avant-garde)

Realized from the Center Diffusione Art - Editions and Artistic Promotions

Via L. Ariosto, 19
90144 Palermo

Cover of the Catalog 2009

2009



Aloft it damages the article published on The Gazzettino in Venice; In low to the left the work realized by the Teacher Bortoli and raffigurante the church of the Savior; above, George Bortoli, with the Patriarch A. Scola to the center and the admiral S. Vignani to the right.

Il GAZZETTINO di Venezia
March 7 th 2009
LETTERS & OPINIONS

Venice - A model in sculpture of the church the Savior palladiana, with the profile svettante of the bell tower of St. Mark. you has been offered in gift to the Patriarch Card. Angel Drains from the artist lidense, George Bortoli, that conseganto has him to the Presule, present also the admiral Stefano Vignani - in the photo - author of the historical and architectural search on the famous basilica to the Giudecca.
The sculpture is set on a panel in steel inox and worked to helical cutter to mostly make jump the brightness of it: you has been studied and composed upward with the choice of an ideal push, almost to want to take off, as he explains the author in the firmament of a total divine sublimation. The Patriarch of Venice has warmly thanked the guests also underlining the meaning of this gesture, that goes to place within the celebrations for the five hundred years of the birth of andrea Palladium.

2009
CN cronaca numismatica of January 2009 - you publish the medals realized by George Bortoli
on the occasion of the centennial of the hotel Excelsior Palace to the Lido di Venezia (Beach in Venice)

2009

IL GAZZETTINO di Venezia
Thursday January 8 th 2009
ART & OUTSKIRTSES

In the sculpture the arcane symbols in Venice

VENICE. George Bortoli disembarks, with great success, to Asolo. He has not attended academies, but only studies of painters and good artisans as the artists of once. And' been born so the artistic fable of the Venetian sculptor, that alive and he/she works to the Beach his island. Also his last shows to Asolo and to Villa Pisani has been successful. The experience in Germany with the architects planners of the Olimpiaspark of Monk he has brought himas he has also sustained Sea Folin to the "overcoming of the divisions among the arts", in this case the sculpture and the architecture, that are intersected among them. This way the archiscultura has been conceived in steel and glass of 12 meters that it is found to the airport "Mark Polo." The most greater part of his sculptures they are realized in bronze, brass and steel inox. He has also realized works with other materials what glass of they Wall up, aluminum, plastic subjects and wood. Among his creations more appreciated they are also there the coined medals, in last July, for the centennial of the hotel Excelsior to the Beach.

The used Materials represent the modernity with the steel and the history, I'arte and the search with the glass. The colorations and the specchiatures of the steel give a heat and a vivacity to this material non known, that am the fruit of the various experimentations effected in the creative run of the artist.

II glass is inserted in more parts: in the bell tower of St. Mark with colored vanished tiles and with the angel in gold dust zecchino; in the Metropolitan on the angular pinnacles and on the stately decorated pyramidal steeple elegantly. II I play of lights inside the bell tower of St. Mark he has been studied for arousing feelings of movement as the buildings that him specchiano at night on the water of the channels in Venice.

The idea of departure of Bortoli is always that to engrave a wish to the most varied material of the art, probably undertaken by its distant origin in a family of typographers, in the city where the press and the sketch of the characters hehad become the form of the message of the written culture and glance. Close to this art, by now ancient, the fact that the family Bortoli has worked in the century of the electricity to create the light and the discreet shades in Venice, he has also put George Bortoli in the difficult art to connect and to also solicit past and present in the stones and in the waters in Venice. "His - he is read in the introductory notes of his last show held him to Asolo - it is a diffused art that deepens the technical fusories for the arcane symbols in Venice that become now and always contemporary.
The flying lions for instance swim in a liquid air, You phoenix takes back the bronzy form of an icon saved by the waters and by the fire or the other Phoenix that he revives from the liquidity of that fire that becomes glass or the swaying triplex irons of the Gondola and semilucidi in the glass acidaro." You increase information on the artist you can also be found in the site internet www.bortoligiorgio.com.

Lawrence Mayer

2008

LA NUOVA VENEZIA
Edited by her
A. Manzonl S.p.A.
CARNET VENETO
Friday December 5 th 2008

The art doesn't jam!

Photo aloft to the left: Claudio Barbiero of the Restaurant “Gran Avenue”, the actress Isabella Ragonesi and the sculptor G. Bortoli

Text to the center: Restaurant Gran Avenue
Claudio and Luciano wait you in their restaurant, local completely renewed. The kitchen of the Lidensis, of the Venetians and of the Artists. To the Beach in Venice in Gran Avenue

Photo aloft to the right: The prize crowns for the actress Isabella Ragonesi, realized by George Bortoli

65a International Show of the Cinema of the Beach in Venice

Photo in center to the left: January 4 th 2008 - Nando Gazzolo and Giancarlo Giannini with the prize “silver Letter”, realized by the sculptor Giorgio Bortoli to the center.

Photo in center to the right: 2007 - villa Emo of Fasolo (altorilievo in bronze on steel inox), work published on the cover of the entitled book:
GUARDIANSHIP IS MAINTENANCE OF THE CULTURAL PATRIMONY - THE TOOL OF THE TIE
Villas give Palladiane to the maintenance of the landscape: juridical regime and regime fiscal edited by William Monti and Caesar Crova publishing House: THE LAWN

Photo in low to the left: 2008 - phoenix in glass of they Wall up exposed to the show of Asolo

I believe that the sculpture of the Bortoli is goes seen, rather glance as a poetry: “for the sense of elevated spiritual tension”
Alexander Quasimodo
it was Savior

www.bortoligiorgio.com
The association Cultural Venice - Marghera - New York,
He invites you to consult the site internet of the artist

2008

LA NUOVA VENEZIA
Edited by her
A. Manzonl S.p.A.
CARNET VENETO
Friday December 5 th 2008

Thinking Venice and New York
The towers, the water and the sculpture: Palladio and the art of George Bortoli

Venice and the lagoon, New York and his bay. Two cities and their places, events that can have very in common, in spite of the appearances. Above all when the art tells it. Well the sculptor Giorgio Bortoli knows that he has given life to a sculpture that «sum» and he weaves an image in Venice and one of New York. After having stazionato to Marghera and possession crossed Venice, today we can admire the sculpture of Bortoli to the entry of the airport Mark Polo of Venice. An event that continues and he renews, thanks to the interest of the association Venice-Marghera-New York and the share of the authorities: Bortoli is working to a second sculpture, with the same dimensions, that it will bring with if also a clear rhyming to Palladio, a homage and a memory.You celebrates the Cinquecentenario of Palladio and George Bortoli he has planned an idea that weaves the modernity and the lesson of the great artist and architect: an idea that becomes sculpture, the tradition and the actuality living, according to an expensive concept to Bortoli. A principle that we find in the job to which Bortoli is working, as well as in the work already finished that today we admire to the airport Mark Polo and that he has crossed Marghera and Venice telling her together with New York. Here is her history. Venice, the bridges, asked her the buildings, the bell tower that him specchiano and they identify its millennial history of city marinara. And then New York, the skyscrapers, the towers, the lights that him specchiano and they identify the modern city. Two different, but similar cities in the natural element that unites her: the water, the sea. Venice and the bell tower of St. Mark; New York and the Metropolitan Life Tower: two symbols that structurally they characterize the difference, but that, in the architectural linearity, they are almost similar proportionally to identify him with the element that, licking up her two cities, it unites her.

An artist, a sculptor that picking up the complementarietà, it brings the bell tower of St. Mark and the Metropolitan Life Tower in an only body, almost to snatch and to reproduce in his/her simbologia the element that unites Venice and New York: I'acqua.
The work The archiscultura tall 12 meters it assembles in an only body the bell tower of St. Mark and the skyscraper of the Metropolitan Life Tower in New York. Four great clocks him in general affaccianosui of the tower of the Metropolitan to mark the time in Venice and New York and on its summit will be put an illuminated lantern. II hung general ended delI'opera is esteemed in around 1800 kilos. This way the researcher Bruno Rosada tells her. «And' remained three or four months in the Market Plaza of Marghera, arousing the admiration of the people. It now floats on the waters of the lagoon. And also this has symbolic value. And' an agile archiscultura, that is an installation type particular, mixed of architecture and sculpture, tall 12 meters, the sculptor's work Venetian George Bortoli. Wanted by the Municipality of Marghera (Common of Venice) and produced by the association Marghera-Venice-NewYork, 'it represents the bell tower of St. Mark contained inside the Metropolitan Life Tower of NewYork', as he is read on the situated plate to the feet of the structure. The Metropolitan hife Tower, built in 1909, that he has been up to 1913 the tallest building of the world, he was planned by the arch.
The Bruns on image of the bell tower of St. Mark almost to transplant in the American territory a breath of old Europe and for thishe has been select from George Bortoli as 'container' of the bell tower of St. Mark that seems to find shelter to her inside, with the evident intent to manifest a demand and a desire, that the modernity in all of its forms doesn't defeat the past but you protects him and draws the proper ammaestramentis of it». Who George Bortoli is. A Venetian; he writes Rosada. «In the first Nine hundred, when he anchors the people he didn't almost know what pits the electricity, her grandfather Luigi with her brothers Ettore and Giacomo he has founded for years an enterprise of fittingses and electric installations. In short the sense of the enterprise, the taste of the innovation, the awareness of the progress they are given presents in her Dna. Him ago the sculptor, but it strongly has some sculpture an innovative conception».

2006

IL GAZZETTINO - Mestre
Saturday August 12 th 2006


(gi.gim.) A sculpture for Chains. The proposal comes from the artist Venetian George Bortoli that, in the last months, you/he/she has exposed the prototype of the composition in bronze in the feasts, you organize to Marghera, but also in the nautical saloon in Venice and, to Rome, near the library na-zionale "Angelic", during the week of the culture patronized by the office of the Good Cul-turali.
II monument, in the intentions of the artist, it would be able to be situated in the future plaza of Chains. The proposal has found a supporter in Roberto Turetta, ex president of the Provide-cipalità of Marghera, and now president of the sixth errand town Culture, tourism and tradition that it solicits a debate on her for-spettiva to characterize the plaza with a monument, and it recognizes at the same time in the for-throw of Bortoli the ability to unite her/it "historical simbologia to the dynamism of the community of Chains."


The monument, in fact, represents the ploughshare of a plow from which him dipartono of the chains and, almost, spontaneously the framework of a keel of a boat is born.
Criticism has recognized more times to Bortoli the ability to introduce the subject as we imagine her/it. The used materials, that are woods, metals or plasticses, are recognizable and excited in their nature. At the same time, however, they live in the message that I/you/they are suited to spread. And the artist's relationship with Marghera is also consolidated: you are enough to think that you/he/she was born in the city garden - with the definitive assemblage in Town hall plaza, in a show-yard - the steel archiscultura and glass of they Wall up, tall twelve meters, with which, some years ago, Bortoli has ideally united in an only sculpture two cities of water, you represent, the one, Venice, from the bell tower of S. Marco and the other, New York, from the Metropolitan Life Tower. And now, the new challenge, to propose a symbol for Chains...

2006

I plan Chains

Sculpture of George Bortoli to be put to the entry of Chains - Marghera

And' been born the project Chains, a composition in bronze where the historical simbologia unites him to the dynamics of the Community.
From a ploughshare of the plow it is born "spontaneously" a keel of a boat. This keel is so much indefinità in the appearance - practically the chains irtes constitute uan of it simple framework - how much recognizable nellessenza that it is to the base of it.

And' as if in this work earth finds again him turned into the context of the water. As Chains, rural and rural suburb, is originally found again today to be, with all the contradictions that achieve part of that only and complex city that is Venice of it.

Roberto Turetta

President You Committee Consiglio Common of VeneziCultura - Tourism - Tradition

2006

La Nuova - Giorno e Notte
Wednesday January 4 th 2006

Restored "Tsunami", sculpture of George Bortoli realized in the twenty-year one of the 1966 flood

Restored the sculpture in steel of the Venetian George Bortoli, that represents a wave on ranging rods, realized in 1986 and that today, to one year from the seaquake in India and to 20 from the realization of the sculpture, it is of dramatic actuality. The work, writes the superintendent to the architectural Good, William Monti, "it was a warning, meaningfully statement on an afloat wharf in Canal Grande, to remember the flood of the '66 and to warn from the ill-omened consequences that can derive from the wavy motion.

The sculptor, that has been collaborating with the Superintendence that I direct for two years", it adds the architect you Climb on, "you/he/she has been able to restore this way his/her delicate creature, ruined by the oxide of the sea water but brought to the primitive shine with the most up-to-date techniques."

The work of Bortoli has been exposed to the last Saloon of the cultural good, "important occasion to remember the immense responsibility to the Venetians and the whole world towards a patrimony incomparabilòe but unfortunately very fragile."

2005

IL GAZZETTINO
Tuesday October 25 th 2005

BELL TOWER OF ST. MARK

The sculptor Bortoli intervenes on the recent recoveries "archaeological"
"That bricks have been there always"
"From 15 years use for some of my works the rubbles of the famous collapse"

Discovery: "Action, effect of the to discover what first was ignored from all." This way the Zingarelli: it is therefore it is difficult to define so a circulated news this summer related to the bricks of the bell tower of St. Mark, collapsed in 1902, of which the place of dump would have been located, in open sea, in front of St. Nicolò of Beach. "Where the bricks were - he/she explains in fact the sculptor Giorgio Bortoli, was known for a long time it: to the respect chronicles and documented wise man and me they exist same I have recovered bricks to hundreds, that in fact from at least 15 years I use for my sculptures."
Bortoli tells that his/her works, you realize with the bricks of the bell tower, they are exposed under the eyes of all in as institutional places as the Board Regionale or the airport,

what others (has also happened last Sunday) you are been given as I reward to the winners of the Venice Marathon, that even Woody Allen in his/her house has a bell tower of St. Mark in glass filled with bricks of that "true."
An identical sculpture to that of which we publish the photo, taken back to the Coffee Florian. To the feet of the bell tower there is a lion they march, also it supported to a brick of the first paròn of house.

Already in 1992, on the occasion of the 80 years of the new bell tower of St. Mark, the Gazzettino titolava "The Adriatic returns the old bricks" telling to signature of August Pulliero that the rubbles had been thrown in solos sea 200 meters from the dike of St. Nicolò, just before the lighthouse (where in fact Bortoli has found them), and that to every storm in the beach they found to iosa. Some bricks, told still the Gazzettino, I/you/they have been unloaded far even more, to 14 meters deep and to almost 3 miles from the coast: probably they are those discovered this summer. On the matter there is even a special number of the Gazzettino in 2002 (centenary of the collapse), not to say of the wise man and of the articles of Leopoldo Pietragnoli and Bruno Rosada.

2005

IL GAZZETTINO
Wednesday June 15 th 2005

Art - You "Lightness" of George Bortoli to St. Mark
Venice

In a moment in which the match between deprived enterprises and art is difficult, to the point that also the Biennal exhibition work to find partner for the foundation, a firm and an artist you/they have found the way
to work together for producing and to exhibit a work that from some days it is in show among the wharf Actv of calla lily Vallaresso and the shore, illuminated to lower dela night.
"Lightness" (in the photo) it is the title of artist Giorgio Bortoli's sculpture, realized in collaboration with the enterprise of constructions Gregolin.Si it treats of a work in steel calandrato, settled and painted, of 4 meters high. "The idea and the title - he/she explains Bartoli - they were born talking some years ago to the architect Renzo Piano, during a ceremony of delivery of one bronzetto of mine to Carla Fracci.

That bronzettos it represented a thread-like dancer of intonation giacomettiana. I remember that he discussed on the "to remove" rather than "to put", Plan in architecture me in sculpture, coming to speak on the invisible cities of Italo Calvino, perhaps today not really utopian. I try to remove, leaving the main point and even to make to see what is inside the sculpture, also decomposing and at the same time assemblendo, always however in the essential elements."
The sculpture, after the exposure in the period of the Biennal exhibition to St. Mark Vallaresso, it will return to Building Soranzo Cappello, center of the Superintendence to the Belle arts. Another work of Bortoli - the bell tower of St. Mark inserted in a skyscraper newyorkese - it is found Mark Polo to the entry of the new airport of it Enrolls.

Deputy head reporter: David Scalzotto

2005

Lightness

I particularly like the latest sculpture by the Venetian sculptor Giorgio Bortoli. At the moment, while the 51st Venice Biennial Exhibition of Visual Arts is on, it is being shown in St Mark's Square, on the bank of Fondaco della Farina beside Harry's Bar, from where it will return to the Soprintendenza dei Beni Architettonici in Palazzo Capello where it was being shown during the National Week of Culture. As a collector and dealer I have already bought about ten for my restaurants in Munich.
It is immersed in a light which makes it seem as though it were suspended about the water. Its fourteen metres of height make it an imposing piece which contrasts well with the ideas of 'removing' and 'missing material', one of the sculptor's distinctive traits. The idea for the piece, 'Lightness', came about two years ago for the award 'A Life in Music' and was made by Bortoli in bronze and titled 'The Dancer', made for the queen of dance, Carla Fracci and the architect Renzo Piano.

'Lightness' is made of 5 figures inspired by dancers. Thanks to the support of Gruppo Grigolin, the artist was able to make the sculpture which has been donated to the Ministry of Cultural Property. The plaque on the base is interesting. On it is written a phrase by Albert Einstein, "Art is an expression of the most profound thought in the most simple way". Grigolin SPA has found Bortoli to be a great admirer of the scientist. I admire this sculptor of the lagoon. Several years have passed since I heard him speaking on the radio with Bayerischer Rundfunk, the long discussions with the architects of Olimpiaspark. I like his enigmatic metaphysical side. Sometimes we need to look at things differently, concentrating calmly on their ancient history, often rooted in myth, which is why I would like to donate some of Bortoli's sculptures to the Neue Pinakothek der Moderne which is in one of Munich's finest areas.

Claudio Zanuttich - Der Katzlmacher - Munich 2005
Dr Pietro Roselli - Istituto Italiano della Cultura.

2005





MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI
SOPRINTENDENZA PER I BENI ARCHITETTONICI E
PER IL PAESAGGIO DEL VENETO ORIENTALELE
Palazzo capello - Santa Croce, 70 - 30125 VENEZIA

In 1986 a Bortoli's steel work represented a little Venice, symbolized by its main monuments, poised on a wave placed on some piles.
It was a warning placed on a pier in the Grand Canal to remind people the terrible 1966 flood and to warn people from the bad consequences swell can cause. The work sinked, probably for a removal attempt, but today it has been brought to light again.

The sculptor, who collaborates with the office I direct, restored his delicate creature (ruined by the marine water oxide) using the most up-to-date techniques.
The work presence at the Cultural Heritage Exhibitions 2005 "Restaurata" will be an important occasion to remind Venetians & everyone the immense responsibility we have upon an incomparable, but fragile, heritage.

Arch. Guglielmo Monti
CULTURAL HERITAGE MINISTRY
Venice, 25th october 2005


" T s u n a m i ? "

Ago an immense pleasure to find again among the stands of "it Restores" this work of George Bortoli, realized in 1986 in steel and bronze and representative a series of so that on ranging rods that overhang Venice, in precarious equilibrium here represented by some of its monuments and stylized symbols and, contemporarily, compressed and amalgamate.

A sculpture that at the same time in the eighties he wanted to be warning and report of the brittleness of this city and his/her impotence towards the wavy motion, a work that, meaningfully exposed on an afloat wharf on the Canal Grande, he had been sunk and that once recovered today by the backdrops of the Canal Grande, it returns to the light thanks to the most up-to-date techniques that have allowed the perfect recovery of the native materials of it removing from her the oxide produced by the water of the Lagoon.

But what is not able not to jump to the eyes of the public today is the integration of the work of a winged lion of St. Mark that mockingly it practises the surf on the crest of one of the three waves: a bitterness and sarcastic sbeffeggiamento and at the same time a dramatic surrender that the Venetian artist attributes to his city that to distance of so many years and with the start of the works of the Mose he stays inactive in front of his plays, incapable to defend and to protect his shines.

The uncertainty of that that preserves the future to the city, the brittleness of the system city of Venice, the contradictions of a need to change lived from a city where instead it rages, also to mental level, the stillness and the self-satisfaction: and justly here is to also arrive the consequent provocation of Bortoli with the restauration of the title of the work that becomes so "TSUNAMI? "…

George Bortoli, as always sincere and without filter, with the same veracious and direct rawness of the materials that uses for a long time, it strikes once more to the heart and the mind of the public declaiming the love for his fragile city and at the same time reporting the mocking destiny and the sarcastic attitude with which draws her the humanity and, thing that perhaps still more it makes to suffer the artist the same people of Venice.

Roberto Turetta
President You Committee
Culture and Tourism
Common of Venice

2004

I very much like this little styled bronze Venetians dedicated to me! I like this material and I think the basement - created with an ancient brick of the old S.Mark's bell tower - is very original. I haven't seen a lot of Bortoli's works (truly Venetian), but it's enough: the big sculpture greets me every time I arrive at Venice Airport and makes me feel home. The symbiosis between steel and glass - which represents the verticality of Venice, with its palaces and bell towers, and of my city New York, with its buildings - a magic of "shadows and fog in the water", is absolutely interesting.

There is so much symbolism in this magnificent work: the two statues of Liberty illuminated from the inside are wonderful. I hope a second copy can be placed in New York Airport or even in Central Park, the place I love most.

(Woody Allen - Malibran Theatre - Venice, 2004).


2004

To the Hon.
Mayor Michael R. Bloomberg
City Hall
NEW YORK, NY 10007
U.S.A.

THE MAYOR
Venice 23 September 2004 - Prot. 307163 /SV

Dear Mayor,
I have the pleasure of sending you the most cordial greetings from the city of Venice and my staff. For a long time now New York and Venice have shared a particular affinity that connects the two cities over and above the geographical distance and the varied histories that separate them. In the imaginary collective each city, despite the differences in their nature, represents a place of creativity and a meeting point for men of every race, culture and religious faith, where they can live and work together, inspired by their respective cities to find inspiration for contributing new ideas in every field.

Recently, Venice has shown her solidarity and profound sympathy with New York and New Yorkers after the tragic attacks of September 11, 2001. Therefore in spirit of sincere friendship and collaboration, I am writing to you to outline the plan of my fellow citizen, Giorgio Bortoli.

Mr. Bortoli, descended from an ancient Venetian family, is a sculptor who has been showing his work for over twenty years in important art exhibitions. His work may be seen in galleries such as the Vatican Museum in Rome. In 2002, for an exhibition entitled "Marghera - Venice - New York", he created a sculpture that was exhibited for some months in a public square of Marghera (the industrial Quarter of Venice), and received the unanimous admiration of the public and the critics.

The work is an installation combining architecture and sculpture, 12 meters high and, more importantly, represents the Bell tower of Saint Mark contained within New York's Metropolitan Life Tower. As you well know, the Metropolitan Life Tower was built in 1909 by the architect Le Brun based on an image of the bell tower of Saint Mark, in order to bring a large emblem of Europe to America.

In Giorgio Bortoli's sculpture the Metropolitan Life Tower becomes the "container" for the Bell tower of Saint Mark, so that it seems to find shelter inside. The sculpture is rich in symbolic values, it reveals the author's attempt to express the requirement and the desire that modernity, whatever its shape, does not destroy the past but protects it. In the sculpture, steel is joined to glass, and also contains fragments of the original ancient Bell tower of Saint Mark which collapsed in 1902, which the artist managed to pull out of the sea where they had been dumped.
Mr. Bortoli's desire would be to see his work exhibited in New York. It is a plan that, given the sculpture's symbolism, I wholeheartedly share and is supported by a group of private sponsors who would be prepared to cover expenses. I was wondering if you would be able to suggest the availability of a suitable space in New York in which exhibit the work, the last place it was show was on the Canal Grande of Venice.

I trust that this project may be of interest to you and hope therefore to receive a positive reply. This would become part of the already intense and profitable cultural relationships between our cities, which stand as an excellent example of cooperation for the entire world. I would like to thank you for your time and personal attention to this matter and any future correspondence we may enter into. I send you once again my most cordial greetings,

Yours sincerely

Paolo Costa

2004

The Right's Silence

I could talk about the meaning of the work created by Bortoli in memory of my father, but I prefer to give everyone the possibility to imagine. This work was born to stir up emotions referred to the tragedy, the deportation and the Nazi extermination of a race.

Look at this bronze sculpture; it represents a deportee's coach, with barred windows; you can note some heads & hands inside. With this work the artist gets people upset, causing an effect in everyone's soul & feelings. An impression never to forget.

Franco Perlasca (President)

GIORGIO PERLASCA FOUNDATION
Padua, may 2004

2003

The Art Work

The Starting point of the architectural sculptures is the Metropolitan Life Tower. The lantern wich dominates it is made up blow glass from Murano and pure gold powder, lit up with fiber optics.
On the New York skyscraper belongin to aninsurance company, the slogan used to be "the light whic never goes out."
Below, on the spire, cut out of the stailess steel by laser, thirteen stars take the place of windows. When multiplied by four they become the fifty-two stars of the American States. They too are lit from the inside with a golden light.

On all four sides, in blown glass from Murano, the emerald green pinnacles represent Venice as the eternal gateway to the East, they too are lit up with fibre optics.
Beneath the four cloks commemorating the American Neoclassical tradition, which show the times in Venice and New York, the provocatory slogan “time is money” has been cut out by laser and lit up.

In a side completely at sight and contained inside the greatest tower (12 meters), the bell tower of St. Mark (6 meters) covered by hundreds of tiles in glass of they Wall up, some with engraved the lion in moeca from the faithful colors to the original one; on the point it is situated the gilded angel that takes back Miss Liberty, the everything illuminated with a varying special light.
In the opposite angle, on plates in steel two statues of the liberty stamp on the slavery's chains settled to the base.

These figures are illuminated by the inside to create a special diffusion of light; the tables also them you draw on the plates they bring the incision of the date of the Declaration of independence of the United States of America: July 4 th 1776. And it is interesting to know that some exponents of the dawning state came in Europe to study the various public institutions to form a possible more democratic republican model. Their interest assembled above all him on the Serene one, Republic in ancient and prestigious Venice, that had laws that are still to the state-of-the-art one.
The body is in steel inox and the steel he wants to symbolize the material of our century on which so much is founded the development of the progress, in way particular that happened in the construction of the skyscrapers in New York.
While with tiles in glass of they Wall up he has covered the structure of the inside tower and the Moorish decorations that, with color ambrato, damage to the walls the color of the Venetian brick. The symbolizes of the glass wants therefore to represent the venezianità and to recall the art that he has been living with the city for centuries. The sculpture of the Bell tower of St. Mark will become so perennial witness of Venice in the other continent, and forming an only body with the sculpture of the Matropolitan Life Tower, it will ideally unite the two cities, that result to be “magic”, in the imaginary collective.

Venice, September 2003

Admiral Gabriele Calcagno
Maritime manager of Veneto.

2003

Admiral Paolo Pagnottella together with master Bortoli, on the background "Venezia New York: the two towers"

THE WORK'S MEANING

When I knew the meaning of Bortoli's work, I wanted to give it a specific placing in the Novalix 2003 Exhibition in order to make it visible to everybody.
The work ideally represents S.Mark's bell tower moved to the New Continent inside the Metropolitan Lifetower; it is a kind of twinship between the lagoon city and the American metropolis. This international project had, since the beginning, the support of the Italian Navy I represent. I liked this art work very much because it transmits me its meaning. This work joins elegantly together glass & steel, technology & craftsmanship; Venice, through its bell tower in the skyscraper, gives comfort to New York.

The city puts into service the "paron" to the Americans.
The "Arsenale" (naval shipyard), who was the leading character for the Venetian and Italian culture for many centuries, looks at the maritime culture and therefore it became the new Bortoli's work keeper.
We will look after the work until its flight to America. This work has to be admired by everyone, that's why it is placed on a floating military craft of our in order to be easily moved through the Lagoon.

Admiral Paolo Pagnottella
"Arsenale" of Venice - june 2003

2003

The overcoming of the arts' division
I know the sculptor Giorgio Bortoli very well and I am very interested in his activity, especially for the search of new materials.
To project his big sculpture, defined archi-sculpture, Bortoli used the University Library. He studied all the vertical developed buildings of New York, the building technologies and, first of all, the works of the "Chicago School (1880/1890)" characterized by the use of steel structures to reach considerable heights.
I have to highlight the innovative characters of this work: "the overcoming of the Arts' divisions", in this case the sculpture & the architecture.
The work has a symbolic nature because it represents the S.Mark's bell tower inside the Metropolitan Life Tower of New York. It wants to express a synthesis of Europe & America in the western culture.

The materials' quality and variety is noteworthy: glass, steel and bricks of the ancient S.Mark's bell tower taken by the sculptor himself in the sea. The materials have an allegorical meaning too and remind what recent studies discover: probably, Venetians ships reached the North American Atlantic coasts before Cristoforo Colombo.
Finally I stress up the harmonic nature of the composition, together with its intrinsic beauty.

Prof. Folin Arch. Marino
IUAV University Master
Venice, september 2003

2003

CREATIVE OF UTOPIAS

TO TRESPASS = TO ENTER

Here an example typical of an artist's trespass in the field of the architecture, reports me to the sculptor Giogio Bortoli, when I look at the great metallic and glassy sculpture, that is found in the airport in Venice, Aldo Rossi comes to mind, with his “Theater of the World”, work that floated as that some Venetian sculptor, on the Venetian lagoon.And I want to begin from the yard event in the city industrial post of Porto Marghera, to say that active imagination is a form of meditation, when I think to other works of Bortoli, its run espositivo becomes a sort of analysis psicanalitica of its personality. With the lions performed in different typologies and materials, it mirrors his/her wide region between water and earth.

You says that in every sculptural masterpiece, there is a body how alive, but George Bortoli: Catholic artist or Catholic artist? I believe in his/her search of the soul, trying to visualize her to all round. I remember Bortoli between the Beach in Venice and Monk of Baviera, I think about the painting of my father Ernest, I feel his need of gettar by the weight of the symbols and, to surrender him to the simple joy to use the color. I think about the Charles Scarpa that it had an exceptional sensibility for the space, united to an ability progettuale, was a teacher without school. I would like to speak on the visionary transformations of the reality, because they was born, from the fusion between the art and the architecture. The Corbusiers, Christo, Fish, Mendini, Red and others, are creative of utopias and of trespasses, that exactly Bortoli with his strong expressive and plastic value does us note.... to enter.

Francesca Fuchs-Vienna 2003

2003

GIORGIO BORTOLI

In November 2003, at the Goldoni theatre in Venice, the famous architect Renzo Piano and the ballet-dancer Carla Fracci were awarded the bronze "La Danzatrice" Mie Dancer) in occa-sion of the prestigious Prize "Una vita, nella musica" (an entire life in music). Giorgio Bortoli's work of art is threadlike, essential and delicate, almost at the limit of static harmony. Its stylized fisionomy is imbued with an harmonic balance of strength and movement. "La Danzatrice", almost fifty centimetres high, is the artistic

MAP:F6 ShowROOM ALBERGO La FENICE ET DES ARTISTES o S.M. 1937 o PH. +39.041.5232333.
creation of a scrupulous and inspired artist. His masterpieces are exhibited at the art gallery of the Hotel La Fenice et des Artistes in S.Marco.

 

2003

LA NAZIONE - IL GIORNO - il RESTO del CARLINO
"Venice inside New York" is an effective Bortoli's idea. The Venetian sculptor puts his bright bell tower on the water, near the boats' pears. The "two towers" are the incestuous & tender fusion of the Metropolitan Lifetower of Manhattan who gives birth or protects the smaller S.Mark's spire inside.

Americans have already fallen in love with it. People get excited at the firs glance, passing on a motorboat near the work during the night! The emotion people feel and keep with them during the days of the Venice International Film Festival: a big wave of reality and magic fiction.

Giampaolo Pioli
(U.S. Special correspondent)
04th september 2003

2002





La Nuova
Saturday February 16 th 2002

A sculpture of giorgio Bortoli in gift to the officers of the fire in New York.
The Leo flies on the theater her Phoenix

A sculpture all Venetian for the officers of the fire in New York. To Building Rota, to S. Marco, a delegation of the firemen of New York has been winning with a work of the sculptor Venetian George Bortoli, a bronze lion climbed on on a piece burnt of the theater her Phoenix. The work has been delivered by Alberto Stradiotto for the Metrasped Tiss, to underline the proximity of the lagoon city with the American metropolis.
The group leader has commented with visible emotion: "I have a lump in my throat", "I Have a knot to the throat" to remember the scenes of the theater in flames.

The two cities are also tied up from the project Marghera-Venice-New York, that he sees busy George Bortoli in the realization of the work that represents the bell tower of san Mark inserted in the Metropolitan Life Tower of Manhattan.Michael, one of the boys of the team, he/she remembered to have been before only few months really on the point of the American skyscraper, built as exact copy of dimensions doubled in comparison to the bell tower they march when this has collapsed to the beginnings of the Nine hundred to replace the lights that illuminate the summit of it.

The project sees hocked the Metrasped Tiss for the logistic support and the organization of the exceptional transport that it will bring the work in vertical, of well 12 meters high, to the bench of embarkation. The meeting in Venice has been organized by Ferdinando Galli that, with his child Andrew, will follow the conclusive phase of the project.

2002

This original lion, made by the Venetian sculptor Giorgio Bortoli, represents a novelty with respect to the characteristics of other already done ones because, even if it respects the original sculpture (Leone Marciano) in terms of shape and proportions, it is splittered in 4 parts.
The little bronze work is placed on a fragment of the old S.Mark's bell tower which collapsed in 1902. Prof. B.Rosada writes: "This is a brik given back to the art that joins ancient with modern times! My researches can assure the authenticiy of the stone".

Prof. Zecchi talked about a neo-lion in a "modern version" born from a deep study of the space and the immage with an optimal movement of lines and thickness plasticity. The Freudian theory of "dreams and thoughts stratification" represents the starting point for Bortoli's work which inspires him to create masterpieces in "sections and layers".

Prof. S. Zecchi
(Dep. Aesthetic - National University of Milan - 2002)

2002

This crucifix (dedicated to Pope John Paul II) is placed in Rome (Vatican City) and it was made in 2004 under the commission of the Knights of the Italian Republic (Cavalieri della Repubblica Italiana).

The work (which is about 60 cm of height) was made from a piece of carbonized ceiling joist recuperated by Bortoli himself after a terrible fire destroyed the most important Venetian theatre: "Gran teatro La Fenice".
The cross is black, the wood was "marbled" with special resins and the body of Christ is made of bronze, but the head is detached from the rest of the body.

In 2002 a similar work was donated to cardinal Ersilio Tonini that really appreciated the high symbolic value of this revolutionary cucifix.

He said: "This stylized sculpture, with its detached head, certainly represents a big novelty: the suffering, but not offending body makes us reflect. I really appreciate Giorgio Bortoli because of his searching the Trinity and the reconjunction between the Son and the Father. It is not easy to represent the soul in a sculpture, but if art can make people approach God …

Cardinal Ersilio Tonini, Rome 2002


2001

Inauguration 49th International Exhibition of Art 2001 - Opera presentata "Benvegnui a el tapeo de el omo" "Welcome to the humanity carpet"

Presenta: Vittorio Sgarbi
Realizzazione: F.lli Giorgio e Piero Bortoli

WELCOME TO THE HUMANITY CARPET
49th Biennial of Visual Arts, Venice 2001

I have known and hold in great esteem the Venetian sculptor Giorgio Bortoli for many years. I have often met him in Venice, often the Fenice Theatre or at the Exhibition of Cinema at the Lido, where he makes and curates some of the prizes awarded along side this show. To call them prizes is to underestimate these sculptures, truly interesting as much for their originality as for the materials used in their making, creating new ones every year.

On this warm and sultry June day he inaugurates at this 49th International Exhibition of Art, together with his brother Piero, an artist working in England, alongside many other artists, with a large installation placed at the entrance of the pavilions. As with any self-respecting inauguration, the voice of dissent is present, presented by our Venetian artists. They have place in opposition to the "Platea of the Humanity", the official title of this exhibition, the "Tapeo del Omo" (Humanity carpet). The installation that has just been exhibited in Liverpool, measuring 10 meters by 6, constituted from 80 bags of jute sewn together (the bags are taken from the various coffee producers) forming a single and interesting carpet with one bag in the centre, with large red letters saying "benvegnui to el tapeo de el omo".

All this to symbolize a trampled and taken advantage of Venice, these are the outcries of protest of a new generation of artists who are not taken in consideration for the usual reasons.
The experimental techniques and materials that the siblings George and Piero continue to use, this material abstraction, appeals to me. It is made also through gestures and movements, inasmuch as in order to enter the inauguration everyone had necessarily to walk over the carpet, treading on the work.

I would want to remember that the Venice pavilion, constructed in 1932 and used until 1995 in order to host foreign countries, was then used as an office and then a toilet, was thought of and devised in order to accommodate "the Venetian Decorative Arts". I therefore lend my total support and aid to these brave and committed artists.

Member of parliament Vittorio Sgarbi - Venice June 2001

2001

But who is this Bortoli, that moulds the steels and does it study these new materials rigorously and does it realize with method a new sculpture?
It seeks the color in the Venetian Lagoon, in the woods of Curtain he/she remembers me Guttuso - Certain New York is similar to Venice but George Bortoli sculptor it is a provoker, the tall water…..

Marta Marzotto - Venezia 2001

photo: Naked female
I steel inox + glass of they Wall up
Collection Marzotto

2000 Project Venice-New York: the two tower - (you reward on the side menu the relative icon)

2000

La Biennale
I thank you again for the cultural initiative "Venice - New York: two towers" I had the pleasure to follow during its artistic evolution and now you are successfully ending.
The work is an ideally metaphor of the "future that goes back in the past"; Venice is the most "modern" city of the world, where modern means a city suitable for everybody.
Venice & New York: the last one is the navel of a globalized and technological world, whose skyscrapers remind us our bell towers, metaphor of our daily and contemporary living that needs continuity with the past.

Although their apparent radical oppositions, the two cities express the human need to give a contribute to its personal and social history through the culture, the only way can, even if in part, satisfy it.
Cordially

Yours Gianfranco Pontel (Director)
"LA BIENNALE" OF VENICE
Venice, 03rd october 2000

1999

COMUNE DI VENEZIA
Il Sindaco
Venezia 10 marzo 1999
Prot. n. 1931/CM/po

Dear Bortoli,
I know about your "New York project: two towers" and I wish to express my appreciation for the original idea.
"Effective affinity" does exist between the American Metropolis and the Lagoon city but often, even if without any justification, slips out of the most superficial observers' eyes of the big cities' architecture, town planning, social and economic history in their present and past dimensions. I congratulate on an initiative wants, symbolically, to make us reflect on this unknown aspect.

I appreciate your project because it wants to be a "cultural provocation" for Venice, a city who, in the past, was able to realize the ideal dream to be a bridge between East & West. Today Venice is not able to express anymore its semantic role of a symbolic city. The project "Venice-New York: two towers" deservedly represents the ambition to keep everybody's attention on Venice as a cosmopolitan city and an authentic cultural capital. Fortunately this dream finds a birthplace in the art and in the hands of artists, as you are, whom our city is proud of.
Cordially and best wishes.

City of Venice
Prof. Massimo Cacciari (Major)
Venice, 10th march 1999

1997

The idea: "The Speed's Aesthetic"

This mind's representation, an abstract thought during a cold winter morning, a solitary and foggy S.Mark's square, me and a friend of mine Giorgio Bortoli.
As other days we were going to work together and chatting the "work's leitmotif" came. I remember that dialog: the artist got a very important charge from the "Nuova Pansac s.p.a.", a European leader firm of the plastic sector. He had to create some bronze sculptures to represent the firm, in graphic style too. The figure had to be a new logo, not only a trademark, but an image operation, a simple, original & extraordinary idea.

The new owner, a young promising entrepreneur, inherited from his father an industrial empire and tried to expand it in other international realities. An intelligent person, fan of motor-engineering sports and speed, together with plastic materials, the flexibility, the transparency. There was the abstract concept, but he had to translate it in a material image: the arrow, the transparent arrow's speed (it hits & lights) and the union between the tornado's rotator motion and the flexibility.
I hope to have inspired and given a contribution for the realization of this project.

Prof. Silvio Fuso (Director) - FORTUNY MUSEUM
Venice, december 1997

1996

 

IL GAZZETTINO
Tuesday, October 15, 1996

VENICE - ART
A bell tower of S. Marco Giorgio Bortoli purchased from Germany

He wanted to present his sculpture, after removal of the scaffolding tower from marching, but has since been purchased by an industry of Monaco.

Thus, the artist Giorgio Bortoli, decided to exhibit yesterday at the Cafe Florian before sending it abroad permanently. It is a bell tower of San Marco and a half feet tall made with a mixed technique.
The copper spire, topped by a bronze angel rests on a belfry vitrified lava. But the peculiarity of this work is that the bell tower in glass, was "filled" with the old brick bell tower collapsed a hundred years ago, affected by shellfish lagoon.

1996

Isaak Stern was moved when he realized he was taking home, in New York, a piece of the Gran Teatro La Fenice. In 1996, the famous American violin player received in Venice the "A life in music award", simbolized by a stylized bronze lion placed on a piece of carbonized ceiling joist recuperated by Bortoli himself after a terrible fire destroyed the most important Venetian theatre. Stern said: "It has been an enormous loss for the entire world!

This award is of a high value to me, because it was made by a Venetian artist and it is full of meanings and rich in symbolism. This work was given me by the "eldest city of the future". This sculpture makes me feel a city rich of artistic vibrations, a preciousness of Benvenuto Cellini with a plastic work connoted by a high and intense expressivity".
(Isaak Stern - musician - New York 1996).

1994

IL GAZZETTINO
Wednesday October 19 th 1994

The sculptor Giorgio Bortoli gives one work of his to the mayor
"A horde of mice on the city"

A horde of mice in aluminum that gives the assault to a Venice in steel, suggested by the profile of his/her more important monuments, from the Basilica of St. Mark to the bridge of Rise to the Health, a city tightened by a knot scorsoio and bandaged by a flag of truce…

And' Venice 1994, new sculpture of George Bortoli, that devoted another sculpture to the theme of the mice three years ago, "The wave", then ended in Milan with the succession of the story "The magic piper."

"A provocation and whole a wish, because is faced and the problems of the city are resolved, to start from I dig him/it some riis, otherwise the mice will stay here… only you/he/she has explained Bortoli, which has brought the sculpture to Ca' Doublets and oferta has him to the mayor (photo actuality).

 

1994

THE GAZZETTINO
Monday August 1 st 1994

Rewarded the dancing Ulanova to St. Mark

Opening of exception, in èiazza St. Mark, for the shows introduced from the ballet and from the orchestra of the Theater Bolshoi in Moscow.
The ballerina Galina Ulanova has been winning from Gianfranco Pontel, superintendent of the Phoenix, with a sculpture of the artist Venetian George Bortoli, raffigurante the Phoenix;

a recognition has also been delivered to Yuri Grigorovich, manager of the ballet (you see image Fotoattualità).

1993


 

LA NUOVA VENEZIA

A sculpture against drug. Yesterday, an initiative that joins art with social problems was presented at the "Marco Polo" High School. Thousand postcards and posters, which represent the art work created by Giorgio Bortoli, have been printed thanks to the initiative of the engineer Salvatore Pianura and in collaboration with the school master Bruno Rosada.

These will be distributed in the schools and in other public places in order to sensitise young people and the public opinion on this problem.

LA NUOVA VENEZIA
Venice, 25th may 1993


THE ARTIST'S INITIATIVE
DRUG & AIDS: A MESSAGE ON A POSTCARD

Drug-AIDS is one of the most alarming binomials of the last years. The only efficacious tactic to avoid any further disease diffusion seems to be the sensitisation and the prevention. The sculpture signed by Giorgio Bortoli is an aluminium skull threaded by a number of syringes and sustained by a bronze pipe on a black African granite tombstone. The work is an explicit & direct message to impress the observer and to make him reflect. The engineer Salvatore Pianura (Stargas s.p.a. - shipping company), "mecenate" (sponsor) of this young sculptor, gave the possibility to reproduce & print the work on 2000 postcards (to be sent all over Italy) and 350 posters (already affixed in Venice and Mestre).

The "Marco Polo" High School contributes to let people know the sculpture-message. The schoolmaster Bruno Rosada organized a first conference (other ones will follow) in his school; youngest people risk more! "The work, particularly strong and incisive on a poster, seems to be very terrorist, but sometimes the terror is the only way to save people already in balance, who is choosing the no-return way."

IL GAZZETTINO
25th may 1993

1992

Giorgio Bortoli is an intelligent young sculptor.
First of all he uses the raw materials that he founds at the Lido during his long walks along the sea and the Murazzi: stones, iron wires, shells, blocks of wood reduced to a skeleton by the sun, and other elements which can suggest sculpture, which comes out from his studies at the Accademia and from common forms.
For instance, the wave of the sea.
The wave of the sea is in front of his study, in the open air, stretched out towards the sky, sinuous and seducing, more than three metres high, zinc - plated ironed, in a development of forms which cross with measured cadence and have the overbearing strength and the elegance of the flow of the sea.
The wave in sculpture compares with nature.
The study of Giorgio Bortoli at the Alberoni, between the sea and the lagoon near the lighthouse, among the trees, detached from the world, allows a sculptor only to follow the very thin thread of imagination to go beyond tbc limit, to have waves and clouds as raw materials and the play of lights of the sun during the hours of the day.
Venice from this study is very far, may be hardly seen among the outlines of the greatest monuments.
But the sculptor can just see it with a touch of pessimism, it isn't renewed like the sea with its waves: he thinks that a little at a time it depopulates, it is a coral of the sea worn by time even if untouched, the domes of St. Marco, tbc church tower, the Palazzo Ducale, the Salute, the Ponte of Rialto are symbolised in golden zinc, with their unique outline, but rough expressions in their beauty, among the enemies which are in ambush, and the hurried tourists, who take away a stone hidden under their overcoats.
But the idea of the five wonderful monuments all united, in file hand in hand, the one with the other, with enthusiasm, is immortal like Venice, the idea evanescent by fancy.

Bortoli in his typical black mood thinks of enemies, like mice which succeed in gnawing its enchantment: a thought which takes a scream of alarm. Sculpture tells unusual events with innocent unembarasse ment which reaches immediately its destination.
He is more and more against drugs and AIDS: a scourge of these years.
The sculptor seizes an head reduced to a skeleton, with the brute force of digging the skullcap and making it more and more fearful, because of disease, in order to provoke repugnance, he places many syringes to shoot drug.
All that is a sign which reaches its effect and goes beyond the limits of the sculpture, with a shudder: the artist obtains his intention with a unique fantasy in bis expressiveness: these are forcings which have a definite aim, against a scourge.
Giorgio Bortoli is radica] in his meaning; his plastic creations have regarded the most varied aspects; sculptures against war executed with war surpluses, a statuette given as a present to the Pope, on the occasion of his visit to the theatre Fenice years ago, entitled "No to the second crucifixion", a "Face of Christ", rnade with a wood left by the sea on tbc murazzi, then destined to the church of St. Rocco, some "Madonnas" with iron wire, creations for "Salvare Venezia", and so on for numerous concrete meanings, new opening which lor a young artist of talent, like our sculptor, constitute a secure future.

Lido of Venice, Dec 29th 1992

Professor Guido Perocco
Historic critical of art
Formerly Director of the Musei Civici of Venice

1992

LA NUOVA VENEZIA
Lunedì 22 giugno 1992

The sculptor Giorgio Bortoli presented his work at the meeting on "AIDS and hepatitis in the prisons" taken place last week at the Cini Foudation.

"AIDS" is the Bortoli's sculpture title, an artist known for his provocations and strong social pledge: 20 syringes threaded in a metal skull fixed on a black African granite basement, a kind of tombstone. Nicolò Amato, general prison director, has appreciated the work very much.

Venice, 22nd june 1992


A death signal for the life, a brutal invite to think about the precocious and disaggregating end drug addiction can cause, in order to gain a fuller life after pain and misery.
The "skull with syringe" created by the Venetian sculptor Giorgio Bortoli refers to this dialectic and was officially presented during a recent meeting on "AIDS in the prisons" taken place in Venice at the Giorgio Cini Foundation.
A controversial work that represents a "strong warning", an attempt directed to everyone, who think drug gives "a surplus of life", at least at the beginning.
20 syringes threaded in a skull made of metal placed on a granitic base (black African granite) indicate where drug hits first: the human brain, the "divine spark shining inside us", the rationality that is the first distinguished victim of the drug.

Bortoli's work demolishes with any illusion of "artificial heavens" and undermines the heart of the largest part of our contemporary culture, a "culture of death".
The materials used have a symbolic value: the black granitic basement and especially the skull's metal, who alludes to the progressive mental disruption of every drug addict.

Prof. Sandro Menegazzo
Venice, 21st july 1992

1992

A winged feet Mercury or an outstretched athlete's soul toward the sky? The metallic figure created for us by Giorgio Bortoli is an archetype, an ideal shape of an inhabitant of a metaphysic world of Platonic memory. The athlete's dynamism is vaguely represented, the effort is absent, there are no contracted muscles and no torsions. A tension toward other world destinations is rather palpable; a higher "excelsior", over the obstacle, over the finishing line. The metal material of Bortoli's work is suitable for representing an ideal breath from head to foot. Once again a siluette; Bortoli's production is characterized by a stylized purity referred more to the carnal rarefaction than to its heaviness; a voice telling the force of the Spirit, lord of matter.
Prof. Menegazzo dr. Sandro
S.BENEDETTO MINERAL WATER
Venice, 11st june 1992

1989

LA NUOVA VENEZIA
Domenica August 6 th 1989

"Salute Venice"
"SAVE Venice", salute Venice, is the title of the sculpture to mixed technique realized by George Bortoli after the concert of the Pink Floyd and the polemics that of it is followed.
A support that recalls the outline of the "Mose", the experimental form for the closing of the mouths of I bring: a network that recalls the graph of a computer, symbol of the society that sets out to the Year two thousand; so many elastic, that hold suspended Venice, that you/they wind the Basilica, the bell tower, Ducal Building and the bridge of Rise: they are these the principal elements of the work created by the artist of the Beach.

The elastic ones point out the brittleness of the urban fabric, they report that the city is suspended, abandoned among thousand projects that never realize him.

Above to everything there is a man, that ago pee: this way, also for the lack of hygienic services during the concert of the Pink Floyd, the junta is fallen.

1989

Save Venice

Dear Master Bortoli,
I am very grateful for your original and significant work that, in its civil protest, expresses the Venetian and Worldwide wishes and anxieties. The work has been placed in this comitate's centre where it can be admired and comprehended by a number of friends and collaborates of us, people who love Venice in particular and gave financial support to restore important art works during the 20 years activity of our comitate. We hope your battle shows, one day, its fruits and we hope Venice finds its ancient identity again.

I really appreciate, in these sculptures, the attitude swinging between irony and the tendency to pick the aesthetic attraction of the banal consumer goods. It reminds me Grade Alloway's pop art, artist who coined the artistic term: pop means both "blow" and "popular".
Best wishes for your artistic activity and thanks.

SAVE VENICE INC.
Beatrice H. Guthrie (Executive Director)
New York, september 1999

1988

"Some of Bortoli's works which are reported in the catalogues of the Bevilacqua Lamasa Foundation remind me of the Florentine sculptor Luca Della Robbia (XV cent.), who is famous for his continuous experimentation of "never seen" arts and sciences. As the important Florentine master, who introduced the technique of blending glass with

terracotta to give colour and quality to the painting and the mosaic, the Venetian Giorgio Bortoli gives colour using Murano Glasses, by manipulating the stainless steels with the precision of the laser cut".

Prof. G.Mazzariol - (Dep. Art History - Ca' Foscari Univ, Venice 1988)

1987

VENEZIA 7

Weekly independent conceived and directed by Franco Batacchi
3 August - 26 August 1987

Sculptures of Bortoli to the Des Bains

George Bortoli, young Venetian sculptor, quickly burns the tappes of his/her career. Currently some compositions of his - of taste metaphysical mole - they are exposed in the rooms of the hotel Des Bains to the Beach in Venice

 

 

1987

IL GAZZETTINO di VENEZIA
Thursday February 12 th 1987 Bronzy Madonna of Bortoli tall two meters

A work of modern art gone out of the study of a living sculptor enters to belong to the cultural patrimony of the Beach constituting beyond the intrinsic value of the religious meaning a novelty and a contribution to the enrichment of the I furnish urban of the island.
The sculpture realized by George Bortoli represents a Madonna and you/he/she has found position in the Square you Fontaine to Ca' Bianca.
The ceremony of the inauguration is developed to the presence of monsignor Fusaro yesterday afternoon, of representatives of the Board of district - the deputy mayor Bergamo consents for other appointments - and of numerous citizens with the share of the priest of Sant'Ignazio Mr. Paul Donadelli that you/he/she has blessed the statue.
The originality of the work, tall two meters whose subject very stylized it is a Virgo orante, it consists in the fact that is gotten with the welding of bronze rods previously shaped. Besides the material has suffered a procedure of oxidation that you/he/she has guaranteed a protective action of it in the time.
The wanted sculpture expressly from the parish of Sant'Ignazio you/he/she has been realized thanks to the contribution of the Bench san Mark for the planning and to the collaboration of the shops fabbrili of Ettore Bertoldini of Malamocco. Idea was born on the occasion of the visit of Giovanni Paul II to which was given from the Theater her Phoenix a Crucifix in wood of the same Bortoli, now to the museum vaticano.
George Bortoli is also author of a sculpture in beaten iron entitled "Wave" that you/he/she has been exposed in front of the hotel Europe & Regina in Canal Grande on the occasion of the recurrence of the tall water of November 4 '66.
Roberta Bearzi



 

La Nuova Venezia
Tuesday February 3 rd 1987

A bronzy Madonna in the Square of Ca' Bianca

And' tall altogether two meters the bronzy Madonna that will rise to Ca' Bianca, to the Beach, in the Square devoted to the cardinal her Fontaine. The work (in the photo), creation of the sculptor Giorgio Bortoli, Wednesday will be inaugurated 11 at 16,30 o'clock to the presence of the vicesindaco Ugo Bergamo and probably of monsignor Fusaro in representation of the patriarchy; a religious and civil ceremony at the same time.
Planning and execution are respectively edited by the Bench St. Mark and of the firm Fabbrile & Bartoldini. "It deals with a modern work, stylized - he/she explains George Bortoli, 26 years, an artistic curriculum already studded of tappe inportanti - And' a construction in bronze rods, shaped according to an ascending rhythm… "
The Commune has predisposed the nighttime illumination with a lighthouse halogen: not few will contribute to illuminate the square that becomes, so, authentic point of reference in median position in comparison to the island, to the crossroad between Murazzi and lagoon.
"The installation of the statue doesn't entirely dress again a devotional meaning - it holds to specify George Bortoli - it is an aspect of the I furnish urban, an invitation to multiply initiatives of this type to the Beach, from too many years it authenticates earth burnt in such sense. The comparison the comparison is enough with Mestre, ex city worker, ex dormitory, today center vivibile interventions graces that are deeply modifying the urban fabric." And' correct to remember then her "fountain" planned by Bortoli, approved by the assessorato to the public Jobs, destined to furnish the square of the "red houses" (lodgings Iacp and town).
The work in the limbo of the good intentions is suspended still for lack of funds. An important appointment therefore, that of Wednesday 11, reach crowning of a bureaucratic ordeal lasted more than one year and that you/he/she has seen the project climb and to go down the "hard" staircases of the assessorato to the private housebuilding and of the Safeguard to the Environmental Good.

(sandro menegazzo)

1985



LA NUOVA VENEZIA
Wednesday July 3 rd 1985

Exposed in Vatican - You figurine given by the Phoenix

The Sacred Sculpture, of the artist Venetian ventisettenne, George Bortoli, given to the Pope (on the occasion of his/her visit here in the city) from the personnel of room of the Theater You Phoenix (the gift has been fit, at the end of the concert done in his/her honor) from the title of the work: "No to the second crucifixion", you/he/she will be exposed in the museum Vatican to Rome.
The work represents a risen Christ, that stretches out him everything toward the sky, wanting to serve as lighthouse, illuminating the whole world, giving peace and speranza.La sculpture of 50 cms is completely graven in wood of maritime pine, to exclusion of a small cross made of boxes settled among them, coming from the highland of Asiago and Tonezza, residual war of the great war '15 - '18, picked up by the artist himself.

Dependent George Bortoli of the Theater, has exposed to the Bevilacqua You Masa and it belongs to a Venetian known group of visual arts.

And' is artistically initiated from the teacher Murer, known in the woods of Falcade, disappeared in these days, student besides of professor Borsato his/her rouser. One sculpture of his is perpetually situated in the church of S. Rocco to Venice, wanted by the rector monsignor Fusato.

Currently he is working to the creation of a great sculpture, that should be cllocata in a church of the Beach, where the artist resides.
In the photo Interpress: the figurine while you/he/she is being given to Karol Wojtyla.