Water's reflexes: Venice and its Lagoon.
Bridges, churches, palaces and towers reflects themseleves on the water and identify its millenial history of sea-based city, navigators and sailors.

Water's reflexes: New York and its bay. The skyscrapers, towers, the thousand lights that are reflected and identify the modern city, vibrant and vital centre of the economic and financial power.
Two different cities, but similar in the natural element that unites them : water, the sea.


Venice and the St. Mark's tower: New York and the Metropolitan Life Tower: two symbols able to evidence the diversity and at the same time the architectural linearity with similar poportionality to identify the element that licking up the two cities it unities them. An artist, a master sculptor picks up this similarity, it brings banck the St. Mark's tower and the Metropolitan Tower in one only body, to snatch and to reproduce in its simbology the element that unify Venice and New York: the water

Marghera and the Industrial City: water reflexes of trembling lights of the factories slowly extinguishing, able to mirror in its water channels the decadence and at the same time capacity of change and transformation.
Marghera, identified as the place of the industrial production, becomes the laboratory of the artistic idea and construction of the body able to unify the St. mark;s tower and the Metropolitan Life Tower, symbolical merge of the two cities: Venice and New York.

We hope this masterpiece will represent and drive engineering, creativity and appointment of the so-called "Laboratory Marghera".

Vittorio Baroni, Venice City deputy counselor for Venice promotion
Renato Panciera, Venice City deputy counselor for culture,education and sport


The Bell tower of St. Mark

Metropolitan Life Tower

Graphic representation of the real proportions of the two buildings that has inspired Teacher Giorgio Bortoli's work

The first project of the sculpture "Venice - New York" done by hand directly free from the Teacher Giorgio Bortoli

History, inspirations and symbolisms

Venice, year 1511, dogado of Leonardo Loredan, earth trembles. Houses, buildings and towers seem to dance a music that the nature imposes him. Then a boato and as a giant "el dad of the bell tower" it shatters him to the ground in so many small pebbles. And' from here that the history of this work starts. In this moment it was decided to inspire him to the project of George Spavento and to build before even more a tall tower of the, that lengthened the more possible up to touch the sky (98,60 ms.). From that height you/he/she would be been able to dominate the whole city, observing the life of the citizens up to the islands, the activities of the "foresti" in theirs "fonteghi" and among the calluses, the ships that entered from the sea.

With his/her height and majesty the power of the great city would be shown, I bring of sea that picked up to its inside all the races and that for first it organized him to be able to contain, to integrate and to compare him with other cultures, modifying to this purpose his/her own structure urbanism and architectural. Venice invented the ghettos (subdivision in "fonteghi", only places in which the "foresti" you/they could develop his/her own activities) and it developed the Byzantine art.
With to strike of his the bell tower of St. Mark you toll it dominated the life of all the citizens and "foresti" and the five bells, each with a name and a different function, imposed the hours, the suppers, the retreat, the silences, the reunions, the deaths.
With the angel of thick gold, sets to the summit of the bell tower, the figure of the Doge would be recreated that held up the moral life, religious, politics, organizational and economic some capital of the Mediterranean and whoever had wanted to pass you. They picked up all the techniques of the time to raise this rampart from the mobile and unstable foundations of the city and they was chosen the best stones coming from the friends earths istriane. But the disaster of the earthquake inevitably seems to accompany the history of this giant that was struck, once more, from the nature July 14 th 1902. The fall of the bell tower aroused a terrible effect on the lovers of the city and been decided to reconstruct him/it "where it was and as it was." Hermann Hesse wrote: "I have approached in plaza full of expectations. The absence of the bell tower ago a terrible effect. My idea that the plaza had been able to purchase in sobriety it was wrong."
The times are changed: the Mediteranneo and Venice have lost their importance to surrender her/it, at first to the other sea of name ocean, then to the sky, in which you/they sail fast flying galleons.

But he/she anchors I'uomo it tries to build more and more tall towers and it develops technologies to finally succeed in touching the sky.
Just in 1909, few years after the collapse of the bell tower, to New York, new capital of the economic world, of the sciences, of the arts and of the cinema, an insurance company decided to show its record building the tallest tower of the world, the Metropolitan Life Tower (213 meters, old record in 1913 with the construction of the Woolworth Building).

This skyscraper, new center of the insurance company, was built on image of the bell tower of St. Mark of Venice, not for ideological reasons, on the contrary "as the bell tower of the old continent" to distinguish the profile of the skyscraper in the skyline in Manhattan.
There is a thin profile that unites the cities of Venice and New York, that it passes through the sea and the history: old and new world; capitals of the art, of the science, of the architecture; centers of the echo-nomia and of the commerce in different times.
Teacher Giorgio Bortoli's archiscultura represents the historical connection that the two towers make to assist, the one in the other, during the passage of the witness: the greatness of once passed that you/he/she is overcome; the immoderate growth of all the things that brings from the first multiracial city of the today's metropolis multiculturale; the progress of the techniques and the materials that passes from an economy that he/she sees the record of the glass of they Wall up to another in which I'acciaio takes the upper hand.
Both the towers represent the power: the first one from which it was possible to observe the life of the citizens and to articulate, with the you toll some bells, a to be able legitimated by the tradition, from the religion and from the laws economic-politics; the second from which the feeling of subjection of the economic power arrives in more indirect way but as many binding.
There is finally Marghera, the City in transformation, that changes and it is retrained, that experiments new institutional runs with the Municipality.
Marghera, a young territory and also it I aim of meeting of about ten thousand of people bearers of different cultures and put together by the job offered by Porto Marghera.
Also Marghera is a City of water and really this element will allow the work, once ended, to connect himself/herself/themselves to Venice for I'inizio of a trip thought for making to know the beautiful things that Marghera is able to realize thanks to his/her generous hospitality and the union of that material, the glass and the steel, that the history in Venice and New York has marked.


The Teacher Bortoli to the job in his/her laboratory to the Alberonis (Beach in Venice)

The two cuspidis to comparison, bell tower of S. Marco to the left and Metropolitan Life Tower to the right

The central body of the sculpture

The sculpture in trip along the Canal Grande in Venice, while you/he/she is being moved from Teacher Bortoli's Laboratory toward the plaza of the town of Marghera for the last retouches


The sculpture in trip along the Canal Grande in Venice

The sculpture while he is being loaded to Porto Marghera

The job also continues during the winter under a special protection

The job also continues during the winter under a special protection

The work

The architectural sculpture 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. The used Materials represent the modernity with the steel and the history, the art 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 you/he/she has been studied for arousing feelings of movement as the buildings that him specchiano at night on the water of the channels in Venice.
Four great clocks will lean out on the sides of the tower of the Metropolitan to mark the time in Venice and New York and on its summit you/he/she will be put an illuminated lantern.
II hung general of the ended work is esteemed in around 1800 kilos.


The Teacher Bortoli to the job inside his/her sculpture, installed temporarily on the Plaza of Marghera

The sculpture with I break down him/it some Lagoon in Venice

The Teacher Bortoli together with the admiral Paolo Pagnottella and of his/her work

The sculpture where it is currently found, inside the airport Mark Polo of Venice

The work of sculptor Giorgio Bortoli comes to Venice via water thanks to an interesting process of experimentation with the rnaterials and the skilled techniques of glass-making involving Murano and, through the Municipality of Marghera, the Venetian mainland area. Before conclud-i ng its itinerary, in New York, the archi-sculpture will make a journey along the final stretch of the Grand Canal, from Palazzo Ferro Fini to the Basin of St Mark.
This work assumes an important significance because it interprets and conveys the idea of tbc unity of our territory and expresses immutable values and symbols. With great admiration 1 should like to thank all who have made this initiative possible, and I turn with particular gratitude to the artist who has elaborated these images of Venice and of Marghera in such an original way.

Paolo Costa Mayor of Venice

Particular of the cuspide of the Metropolitan Life Tower

Particular of the cuspide of the bell tower of S. Marco with the angel realized in Murano glass

Particular of the sculpture with the Statue of the Liberty engraved with mastery on the steel

The sculpture "Venice - New York" disguised as nighttime with his device of inside illumination

Giorgio Bortoli and the paradox of Venice

Venice is dead. Venice is alive. Venice is about to die. A recent late roman-tic and decadent myth would have Venice a portend of death. And Thomas Mann had his say. And so it's the subject of irrational fantasies and imaginary tales of poisons, spells, sorcery and madness. Instead, Venice is the metaphor of life and hovers between Being and Nothing-exactly Re existence, according to Plato's teachings. And this is the basis for its perpetuity. Where yesterday there was a flourishing and heavily populated island, today tlvere is a stretch of water: Where today there is a stretch of water, tomorrow there'll be ali island covered with houses and palaces. Venice transforms and does not die; this is the guarantee of its success.
Venice is the triumphant denial of nature and of her laws, the f fruit of the continual struggle between man and nature> and rnarks a vic-tory for mankind, who shrewdly pretends io be on the side of nature, but only in order to get the better of her. Therefore, nature cannot kill Venice; only mankind can do that through ignorance or egoism. Venice lives. Venice wants to live. But it does not live if they save the stones and they chase away the people. A city is where its inhabitants are. Giorgio Bortoli knows this. And he knows too that art can confer that existence on Venice that the recent histor y of mankind would refuse it. Venice produces art. Venice can produce life. And Giorgio Bortoli's art is not a tribute to Venice; it is a living and active rnoment of the real state of Venice. For those who use Venice (and are of no use to Venice) this city is merely a "logo", a pres-tigious image to snatch, or a "venue" for placing art produced elsewhere. For Giorgio Bortoli Venice is part of himself And his art is ali authentic moment in the life of Venice.

Prof. Bruno Rosada


The man

Who is Giorgio Bortoli? He belongs to a very Venetian family. In Venice everyone knows who the Bortoli are. No sooner had printing been invented towards the end of the 16th century than they were a family of printers. In the early 20th century, when people still hardly knew what elec-tricity was, grandfather Luigi and his brothers Ettore and Giacomo founded and operated an electric plant and installation business. Altogether a sense of enterprise, a taste for innovation and an awareness of progress are factors stamped in his DNA. He is a sculptor, but he has a strongly innovative conception of sculpture. Naturally he knows how to work with marble and bronze, he knows how to cast, and with a chisel he can draw a dancingfigure out of a formless mass. But how to interpret the sense and the significance of our society today? How to understand alit] to make understood the direction we should be taking? Giorgio Bortoli is not resigned to the conditions of a Venice identical to itself, immobile and immutable; and is not content with the city's embalmment for the use and consumption of outsiders. And so, as soon as he can, among other and dif-ferent arguments that vitalize and give substance to his art, he thinks about how Venice should be: he wants it alive and active; and uses the most widely differing materials, pushing sculpture to the limits and work-ing on archisculpture, like this work that blends the incisiveness of sculpture with the spatiality of architecture. Though, with his very determined and clearcut innovation he never loses sight of reality, of the subject. Twentieth century avantgarde, abstraction and the informal are behind him. And by now also behind us. The future is waiting for him. Would to heaven that his future were also a future for our city.

Prof. Bruno Rosada

The work

From 24 October last it was on display for three or four months in the Piazza Mercato (the market place) at Marghera, and well received by the people. Now it floats on the waters of the lagoon. And this too has a symbolic value. This agile archi-sculpture, i.e., an installation of a spe-cial kind, is a mix of architecture and sculpture standing 21 metres high, the work of Venetian sculptor Giorgio Bortoli.
Commissioned by the Municipality of Marghera (the Venice City Council) and produced by the Marghera-Venice-New Yorkk Associa-tion, "it represents the bell tower of St
Mark's contained in the interior of the Metropolitan Life Tower of New York" - as the inscription placed at the foot of the structure states. The Metropoli-tan Life Tower - constructed in 1909 and the highest building in the world until 1913 - was a design architect Le Brun based on the bell tower of St Mark, almost as though to transplant a breath of old Europe into American territory; and for this reason it was chosen by Giorgio Bortoli as a "con-tainer" for the bell tower of St Mark that seems to shelter in its interior.
The evident purpose is to demonstrate a requirement and a desire that moder-nity in all its forms does not wipe out the past (whose preservation is cul-ture); that it safeguards it and takes due lessons from it. It is a structure with marry symbolic values, starting from the materials used, where steel, a clear symbol of modernity, is placed alongside glass - the symbol of Venetian craftsmanship - and fragments of the ancient bell tower of St Mark that collapsed in 1902, fragments at that time tipped into the sea and recently retrieved by the sculptor offshore from San Niccolò on the Lido. But there is another element that should be high-
lighted. Like every work of art, this too represents what it represents, but not only what it represents. Beyond the works and the symbols there are meanings. The high number of Veneto companies that have desired to spon-sor this work and the initiative that
goes hand in hand with it does mean something: it confirms the Veneto's prestigious, abundant, enterprising work in the world, and at the same time it reminds us how this fortunate phase of economic expansion was preceded by the trials and tribulations of emigration: but, however you look at it, as enterprise or manual labour, it is still work.

Prof. Bruno Rosada


The cover of the poster realized for the exposure of the work of George Bortoli to the fiftieth International Exposure of art in Venice

The Teacher Bortoli while it is finishing up the particular ones of the "Statue of the Liberty"



IL GAZZETTINO - INSIDE THE CITY'
Domenica October 27 th 2002
"With glass and steel I have melted Venice and New York"
Nell' architectural sculpture inaugurated to Marghera they are also there some fragments recovered from the bell tower collapsed in 1902

An idea matured in four years, two of which of real job, around an only idea: the bond among Venice and New York, that he has pushed the sculptor Venetian George Bortoli, 44 years, to realize in the "yard - event" of Market plaza, to Marghera, an architectural sculpture in glass and steel, where the bell tower of St. Mark melts him in a skyscraper in Manhattan.
Venice and New York: as he has done to see a bond among two so distant realities?
Idea was born four years ago, talking to Massimo Cacciari. With the water as common element and the citizens always with the head to the insù, to see the skyscrapers or the sky above the calluses, has come me spontaneous to unite the two cities. Then, through a search to the Iuav, I have discovered that there was a further point of contact: in 1902, the year of the collapse of the bell tower of St. Mark, to New York the Metropolitan Life Tower rose, that looks case it has a double height in comparison to the bell tower. This way, to one century day distance, has pen-sato to a work that it contained another of it.
Road doing the tragedy of September 11 has arrived, that has approached New York to the whole world, and therefore also in Venice. "The emotion and the competition of solidarity towards America he has given an acceleration to the job and he has favored some personal contacts. I have had the opportunity of knowing to Venice a team of officers of the fire in New York, which I have given a fused sculpture above a find of the fire of the Phoenix. And my sculpture, that he/she will remain to Marghera up to Christmas, will transfer then him to Venice and following New York."

Have people appreciated this match between Venice and New York?
"II I contact with the people, in the yard - event organized by the Municipality of Marghera in Market plaza, has been a beautiful experience. Here I have found again my people, genuine and sometimes criticism, and the interest of his/her/their children has struck me. One, have seen particularly my sculpture as a castle, and you/he/she has told me that he would have inserted a staircase snail. I had also thought there me."
Which materials has he used for melting two cities and two so different buildings in one?
"Glass and steel, worked first of all with tools to tall technological content. But also material classical: for the bell tower of St. Mark I have also used bronze and gold zecchino in the tiles produced to they Wall up. And also bricks of the old bell tower."
The collapsed one?
"Yes, I have recovered them of person to St. Nicolò, where the tide has brought them to shore after you/they had been thrown in sea. A marmista has worked them and then they have been inserted in the bell tower."
Difficult, for an artist, to detach herself from Venice..,
"Yes, even if not always be understand effortless as artists. In a world in which it dominates the globalization and the individualism the thick artist he finds again only, and it feels him small as a child. At times I wonder me if has been a fortune or an adversity to be a sculptor. And I have started to six."
But now that its sculpture is ended, as he feels?
"As emptied, after so much work. But also happy for this experience with the people of Marghera. Now I hope that is Venice, next it covers some sculpture, to help me."


Alberto Francesconi


ECO d'arte moderna - N. 141 N. 3l4 - mar./apr. 2003

Giorgio Bortoli
The forge of the art

I rediscover the sculptor Giorgio Bortoli in an extraordinary occasion: the inauguration of his/her sculpture tall twelve meters that it assembles the Bell tower of St. Mark and the skyscraper of the Metropolitan Lífe Tower in New York, happened in October of 2002 to Marghera, in the yard - event of plaza of the Market. Idea came him four years ago: after an illuminating interview with Massimo Cacciari and a search to the I.U.A.V, he discovers that in 1902, year of the I collapse of the Bell tower of St. Mark, to New York the Metropolitan Life Tower rose that it has a double height in comparison to the bell tower. To one century of distance it comes so thought by Ours a work that it contained another of it. But the most interesting thing has been the relationship with the people of the yard - event organized by the Municipality of Marghera: particularly the observation of a child that recommended the young sculptor to insert a staircase "to snail" in the Tower, where an angel is found already! For the realization of the work, that will be transferred first to Venice and then in New York, I/you/they have been used material as the glass and the steel, worked with tools to tall technological content: for the Bell tower of St. Mark bronze and gold zecchino in the tiles produced to they Wall up and also bricks of the old bell tower recovered to St. Niccolò, where the tide has brought you to shore once thrown in sea:
To understand his/her taste of the abstractness and the bashful character, thinks about the "studio" to the Beach in Venice, isolated, with vegetation, waves and clouds, where the project is born inside a mean armored soldier suited for place of job and entirely dressed again of wood: be as a game of child! Ripercorriamo his/her career. Been Born in Venice, you/he/she is influenced by the fatherly grandfather (great expert of music) and from Murer and Borsato.
In 1984, with "Explosivo visus", it enters to the 69a collective Show of the Bevilacqua You Masa and his/her entitled creation "No to the second crocefissione to Pope Giovanni II" it is situated in the Museums Vaticani in Rome. In 1985 "Wave" it finds splendid space on the Canal Grande in front of the hotel Europe and Regina.

Its activity also proceeds to the foreign countries, particularly to Monk of Baviera. In 1988, for "Save Venice", it realizes "imaginary Venice", now in New York. The following year a "Paganini" of intonation giacomettiana is suited to the Theater it Climbs her of Milan from the ex artistic manager of the Phoenix of Venice Tangucci. Of it! 1995, for the International Show of the Cinema, with evenings of inspiration freudiana, 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 the Foundation Arthur Rubinstein commissions him the realization of the International Prize "A life for the music" for the American violinist Isaac Stern. It creates then for the Region Veneto the "ordinary lions", in oxidized bronze. Numerous the errands from the world of the industry (Libco, St. Benedict, New Pansac, Fincantieri, Illinor). It is of 1997 the bronze "Homage to Maria Callas" for the association entitled to the artist. The search of the subject before and the study of the materials I am a constant of the job of Bortoli, that pushes him to the factory, modern forge of industry and art. The great Venetian tradition is respected.

Paola Puccini



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The prof. Marino Folin, Rector of the I.U.A.V. with the Teacher Bortoli

THE OVERCOMING OF THE DIVISIONS AMONG THE ARTS

I congratulate me the sculptor Giorgio Bortoli, that I have been knowing for many years and that it follows with great curiosity, above all for the search of materials. To plan his great sculpture, defined archiscultura, he has used our file of the university for the whole historical search of the buildings to vertical development in New York, the constructive typologies and even before the work of the school in Chicago of the years 1880-90, tied up to the employment of structures in steel, that you/they allow to reach notable heights.
Skyscraper, tall building, with many floors, the word comes from scratching and sky - from English "skiscraper", "ski" and "to scrape".
In the ancient Venice Ghetto the Jews under the Venetian Republic were "isolated "and separated from the rest of the City. Forced not having more space to build in height, on this site we find the tallest buildings in the city and realize the first "skyscrapers, structured to make better use of vertical space, since you could not" expand "; urban experiment.
I have to underline the innovative characters for: "the overcoming of the divisions among the arts."
In this case the sculpture and the architecture; for the nature

symbolic of the work, that representing the bell tower of san Mark contained inside the Metropolitan Life Tower in New York, he wants to express the synthesis of Europe and America in the western culture; and for the quality and variety of materials, among which the glass, the steel and also bricks of the ancient bell tower of san Mark picked up by the author on the fund of the Adriatic offshore the Beach: also the materials dress again in him same an allegorical meaning and they remember what studies recent they have revealed, and that is that very probably before Christopher Columbus, Venetian ships had come on the Atlantic coasts of America of the north.
I conclude underlining the harmonic nature of the composition, united to his/her intrinsic beauty.

Prof. Folin Arch. Marino Rector I.U.A.V.
Venice September 2003 - Fondaco della Farina




LEO - The Venice Magazine
N° 22 febbraio / aprile 2004

New York awaiting

The grand metallic sculpure by Venetian Giorgio Bortoli, entitled "The Two Towers", will be on display at Marco Polo Airport for the whole Carnival period before taking off for New York.
The Venetian artist's work (in the photograph) sets the seal on what is almost a twinning of Venice and the Big Apple in America. In point of fact, Bortoli has fused together the San Marco bell tower and the historic Metropolitan Life Tower in New York.

LEO - The Venice Magazine
"The Two Tower"
a work by Venetian sculptor Giorgio Bortoli for the Big Apple

In cnceiving his mega sculpture entitled "The two Twers", an interpretation of the bond between the two cities and their respective cultures, Venetian artist Giorgio Bortoli has made a tribute to New York, to the whole of america and "hig aspirations". The "tower" is a ten metre high steel and glass structure, built in marghera and until October is on display outside the Hotel Europo e regina, in the Grand Canal, before being flown off to New York.
Inspired by the bell tower of St Mark's and the Metropolitan Life Tower in the Big Apple - the two symbolic motifs that the sculptor has fused into a single body - according to Bortoli, the work is meant to suggest "a twinning that serves to foster cultural relations and reiforce human exchanges".