of the 2012 Cataogo
page on the sculptor Giorgio Bortoli
page on the sculptor Giorgio Bortoli
Maestro Giorgio Bortoli, is inserted between the pages
of the prestigious Art Catalog
Sculptors of the 900 - Gallery Edition
Volume XI - Yearbook of Modern
and Contemporary Art - Quotes, biographies, galleries, auction
Powered by EFFECI art editions of Francis Chetta publisher
sculpture created by master Bortoli given as a gift to Francesco
teacher Bortoli right along with F. Moser left
Francesco Moser A gift of a sculpture "Venetian"
bronze sculpture mounted on an old brick tower of San Marco, the
sculptor Venetian George Bortoli,
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.
Tuesday, August 2, 2011 - ART &
of Bortoli in the ONU collection
- 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.
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.
page on the sculptor Giorgio Bortoli
Master Giorgio Bortoli,
inserted between the pages of the prestigious Art Catalog
Grandi Maestri "
by the Centro Diffusione Arte (Arts Centre Spread)
L. Ariosto, 19
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
B. Plumber, Venice Lido, 9 - 30126 Venice Studio: Via della Droma,
99-30126 Lido di Venezia (Venice) Tel / Fax 041 731389 - Cell
References: collections, public and private national and foreign
museums, squares, places of worship in New York, Geneva, Monaco
di Baviera, Milan, Rome (see website).
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.
G. Mazzariol, G. Perocco, M. Folin, ticks, F. Fuchs, O. Rosada,
M. Cacciari, G. Monti, O. Brusatin.
Actress Valeria Golino with a sculpture of master Bortoli
Cardinal Ersilio Tonini with Christ off the sculptor Giorgio Bortoli,
bronze and wood burned by the fire of the Teatro La Fenice di
Monday, May 24, 2010
Letters to the New Venice and Mestre
Knight of George Bortoli
'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.
Saturday, May 8, 2010
monument dedicated to George Bortoli Knight of Italy
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.
NUOVA di Venezia e Mestre
Wednesday, February 3, 2010
Day and Night ON SHOW / 2
The "Phoenix" of Bortoli
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.
a phoenix sculpture of George Bortoli
Servizi Giornali Online Radio SMS - TV
publishes on the monthly on line "Global Veneto" of
May 2009 to the address: http://www.regione.veneto.it/VenetoGlobale/
following article regarding the Teacher Giorgio Bortoli:
Bortoli, Venetian sculptor
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
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
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.
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
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.
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
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.
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
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
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
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.
you tell us something of his past? As the choice he has happened
to become sculptor?
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.
heknown people that have allowed his/her artistic growth and to
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
does he mean to make sculpture?
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.
does he think of the sculpture classical Greek fret and Roman?
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.
there projects for the future?
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.
you also deal with the formation of other artists?
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.
page related to the Sculptor Giorgio Bortoli
Teacher Giorgio Bortoli,
is inserted among the pages of the prestigious Catalog of art
ARTISTICHE" (artistic avant-garde)
from the Center Diffusione Art - Editions and Artistic Promotions
L. Ariosto, 19
of the Catalog 2009
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.
GAZZETTINO di Venezia
March 7 th 2009
LETTERS & OPINIONS
- 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.
January 8 th 2009
ART & OUTSKIRTSES
the sculpture the arcane symbols in 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.
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.
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.
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
Edited by her
A. Manzonl S.p.A.
Friday December 5 th 2008
art doesn't jam!
aloft to the left: Claudio Barbiero of the Restaurant
Gran Avenue, the actress Isabella Ragonesi and the
sculptor G. Bortoli
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
aloft to the right: The prize crowns for the actress Isabella
Ragonesi, realized by George Bortoli
International Show of the Cinema of the Beach in Venice
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.
in center to the right: 2007 - villa Emo of Fasolo (altorilievo
in bronze on steel inox), work published on the cover of the entitled
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
in low to the left: 2008 - phoenix in glass of they Wall
up exposed to the show of Asolo
believe that the sculpture of the Bortoli is goes seen, rather
glance as a poetry: for the sense of elevated spiritual
it was Savior
The association Cultural Venice - Marghera - New York,
He invites you to consult the site internet of the artist
Edited by her
A. Manzonl S.p.A.
Friday December 5 th 2008
Venice and New York
The towers, the water and the sculpture: Palladio and the art
of George Bortoli
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.
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».
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
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
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...
of George Bortoli to be put to the entry of Chains - Marghera
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.
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.
You Committee Consiglio Common of VeneziCultura - Tourism - Tradition
- Giorno e Notte
Wednesday January 4 th 2006
"Tsunami", sculpture of George Bortoli realized in the
twenty-year one of the 1966 flood
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.
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."
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."
Tuesday October 25 th 2005
TOWER OF ST. MARK
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
"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,
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.
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.
Wednesday June 15 th 2005
- You "Lightness" of George Bortoli to St. Mark
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
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.
head reporter: David Scalzotto
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.
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
Zanuttich - Der Katzlmacher - Munich 2005
Dr Pietro Roselli - Istituto
Italiano della Cultura.
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
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.
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.
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,
CULTURAL HERITAGE MINISTRY
Venice, 25th october 2005
T s u n a m i ? "
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.
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
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.
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
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.
President You Committee
Culture and Tourism
Common of Venice
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
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.
Allen - Malibran Theatre - Venice, 2004).
Mayor Michael R. Bloomberg
NEW YORK, NY 10007
Venice 23 September 2004 - Prot. 307163 /SV
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.
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,
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.
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.
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
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.
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,
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
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.
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
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.
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.
Maritime manager of Veneto.
Paolo Pagnottella together with master Bortoli, on the background "Venezia
New York: the two towers"
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
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.
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
Admiral Paolo Pagnottella
"Arsenale" of Venice - june 2003
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
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
Finally I stress up the harmonic nature of the composition, together
with its intrinsic beauty.
Folin Arch. Marino
IUAV University Master
Venice, september 2003
TRESPASS = TO ENTER
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
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.
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
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.
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.
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.
(U.S. Special correspondent)
04th september 2003
Saturday February 16 th 2002
sculpture of giorgio Bortoli in gift to the officers of the fire
in New York.
The Leo flies on the theater her Phoenix
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.
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.
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
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".
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".
(Dep. Aesthetic - National University of Milan - 2002)
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.
2002 a similar work was donated to cardinal Ersilio Tonini that
really appreciated the high symbolic value of this revolutionary
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
49th International Exhibition of Art
2001 - Opera presentata "Benvegnui a el tapeo de el omo" "Welcome
to the humanity carpet"
Realizzazione: F.lli Giorgio e Piero Bortoli
TO THE HUMANITY CARPET
49th Biennial of Visual Arts, Venice 2001
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.
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".
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.
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
of parliament Vittorio Sgarbi -
Venice June 2001
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
Marzotto - Venezia 2001
I steel inox + glass of they Wall up
Project Venice-New York: the two tower
- (you reward on the side menu the relative icon)
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.
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
Yours Gianfranco Pontel (Director)
"LA BIENNALE" OF VENICE
Venice, 03rd october 2000
10 marzo 1999
Prot. n. 1931/CM/po
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
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
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
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
Tuesday, October 15, 1996
A bell tower of S. Marco Giorgio Bortoli purchased from Germany
wanted to present his sculpture, after removal of the scaffolding
tower from marching, but has since been purchased by an industry
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.
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!
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).
Wednesday October 19 th 1994
The sculptor Giorgio Bortoli gives one work of his to the mayor
"A horde of mice on the city"
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
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
has explained Bortoli, which has brought the sculpture to Ca'
Doublets and oferta has him to the mayor (photo actuality).
Monday August 1 st 1994
the dancing Ulanova to St. Mark
of exception, in èiazza St. Mark, for the shows introduced
from the ballet and from the orchestra of the Theater Bolshoi
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;
recognition has also been delivered to Yuri Grigorovich, manager
of the ballet (you see image Fotoattualità).
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.
will be distributed in the schools and in other public places
in order to sensitise young people and the public opinion on this
Venice, 25th may 1993
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).
"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."
25th may 1993
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.
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
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
of Venice, Dec 29th 1992
Historic critical of art
Formerly Director of the Musei Civici of Venice
Lunedì 22 giugno 1992
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
Venice, 22nd june 1992
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.
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.
Venice, 21st july 1992
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
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
Domenica August 6 th 1989
"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.
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.
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.
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.
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"
Best wishes for your artistic activity and thanks.
SAVE VENICE INC.
Beatrice H. Guthrie (Executive Director)
New York, september 1999
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
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
Prof. G.Mazzariol - (Dep.
Art History - Ca' Foscari Univ, Venice 1988)
Weekly independent conceived and directed by Franco Batacchi
3 August - 26 August 1987
of Bortoli to the Des Bains
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
GAZZETTINO di VENEZIA
Thursday February 12 th 1987 Bronzy Madonna
of Bortoli tall two meters
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 sculpture realized by George Bortoli represents a Madonna
and you/he/she has found position in the Square you Fontaine to
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.
Tuesday February 3 rd 1987
bronzy Madonna in the Square of Ca' Bianca
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
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
Wednesday July 3 rd 1985
in Vatican - You figurine given by the Phoenix
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.
George Bortoli of the Theater, has exposed to the Bevilacqua You
Masa and it belongs to a Venetian known group of visual arts.
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
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.