Edoardo Villa

Transcription

Edoardo Villa

Edoardo Villa
Changing Worlds
Edoardo Villa
Changing Worlds
Nirox Sculpture Park
10 March 2008–4 May 2008
Contents
Curator’s Note 9
A Modernist in Arcadia –
federico freschi 15
List of works by Edoardo Villa 62
Sponsors, Lenders, Curators 63
Acknowledgements 63
6
A MODERNIST IN ARCADIA
The NIROX Sculpture Park
T
he NIROX sculpture park situated in The Cradle of Humankind,
provides a spectacular outdoor space for exhibiting three-
dimensional art, which through its power and beauty exalts humanity by uplifting and enhancing the environment. As the sculpture
park’s inaugural exhibition Edoardo’s ‘Changing Worlds’ 1947-2008
eminently fulfilled these ambitions.
In July 2007 the NIROX artist’s residency program was initiated.
Comprising a comfortable principal two bedroom residence with
a generous studio and workshop and an adjoining self-contained
cottage with independent studios, the facilities enable the found
ation to provide international and local artists the opportunity to
collaborate and enjoy the unique environment.
The NIROX Foundation is grateful to Edoardo and the show
curators for their confidence in our fledgling project. We believe,
from the overwhelming positive public and critical response, that
‘Changing Worlds’ has endorsed Edoardo’s stature as one of South
Africa’s all-time leading sculptors and will position the NIROX
sculpture park as a destination for the future enjoyment of excellence
in the arts.
Benji Liebmann
8
C U R AT O R S ’ N O T E
Curators’ Note
Edoardo Villa
Changing Worlds
10
To work is to live
E
doardo Villa is one of South Africa’s most respected sculptors. His creativity has been characterized by a disciplined work ethic encapsulated in his phrase, to work is to live.
He has had thirty-five solo exhibitions and participated in seventy-five group exhibitions.
Now ninety-three, he has added a significant new body of monumental pieces to his already prodigious output. This exhibition foregrounds 40 recent works produced over the last three years,
shown in relation to several earlier historic pieces to highlight shifts in his approach and style. In
this long lived productivity he is reminiscent of few artists like Picasso, whose life and work were
likewise celebrated at ninety.
Born in Italy in 1915, Villa is by circumstance South African. Having been uprooted from Italy
by the global disruption of the Second World War, he was wounded and sent to South Africa as a
David Smith, Cubi VI, 1963
prisoner of war. He chose to remain in post-war Johannesburg, where he has worked single-mindedly ever since to fulfill his focused artistic vision. This exhibition focuses on the insistent presence
of the anthropomorphic or figure based qualities in Villa’s work.
The dominant features of his work have been the prevalence of bold volumetric forms; an
undeniable monumentality; the play with the power of symmetry; and the fact that the works
frequently have a consolidated core. All these features, and the closed-ness of form and solidity of
presence, are also distinctive of much traditional African sculpture. This is in contrast to the international style of constructed steel sculpture that in the tradition of both David Smith and Anthony
Caro, in America and England in the 60s through the 90s, dominated international sculptural
trends.
12
Anthony Caro (b. 1924), Black Cover Flat (1974), steel
13
The significance of the site of this exhibition is that it is situated against the
that of the machine. Unlike the caressing light that Moore worked with, Villa has made
dramatic highveld backdrop of the ‘cradle of mankind’, the hypothetical site of the emer-
the fierce southern sunlight and the resultant crisp shadows his allies. They help to
gence of our species. After a long evolutionary trajectory, we are the only species to
create the stark interplay of form and space which he has used to create his bold an-
produce art – a result of the capacity for self-reflexivity, and as seen in this exhibition of
thropomorphic creatures, here set against African skies.
‘figurative’ works, we are totally mesmerized by ourselves. This species-specific artistic
impulse somehow heightens the significance of this exhibition on this primal site.
14
unsettling beauty that has been drawn both from the landscape as well as from his
Iron-age archaeological sites abound in this region. Millennia later, South
experience of the socio-political climate within which he has lived and worked. His
Africa has emerged as one of the industrial giants on the continent, with its huge
oeuvre chronicles the darkness of our past, evident in his ‘sentinels’ of the late ‘60s ‘con-
mineral resources and, in particular, as one of the world’s major producers of iron-
frontation’ of the late ‘70s, his ‘prisoner series’ of the early ‘80s, and other historical works
ore and steel. Villa’s sculptures, made of this very African substance, steel, with their
that evoke both personal and social distress. In contrast, his new works have a youth-
rigorous reductivism, embody both the present as well as the striking beauty and
ful, lyrical and humorous quality exuberant with a sense of fecundity and eroticism.
austerity of the traditional art of Africa’s past. As with these African precedents, there
Their radiant colour has an optimistic quality that transforms the vertical sentinels into
is a powerful beauty and at times a serene simplicity, while at others a startling and
quirky child-like ‘toys’ that are irresistible to the eye and reflect both a personal and
unsettling ferocity. Villa displays an exuberant inventiveness that never lapses into
social confidence and optimism.
mindless prettiness.
Henry Moore, Two Piece Reclining Figure No. 5, bronze, Kenwood House, London (top)
Edoardo Villa, Untitled, 1968, bronze (bottom)
Villa’s work has been characterised by an austerity and an overbearing harsh and
Everard Read, Johannesburg, LizaNicole Fine Art and Nirox Foundation collab-
With monumental sculptures displayed within the landscape, Britain’s Henry
orating with curators Professor Alan Crump, Professor Karel Nel and biographer and
Moore inevitably comes to mind. Moore’s massive and robust sculptures distill the
historian Amalie von Maltitz are proud to host this exhibition. Edoardo Villa has been
archaic relationship between the human figure and a landscape both domesticated
invaluably supported by Lukas Legodi, his longstanding studio-technical assistant and
and pastoral. Villa’s works often both humanly heroic and robotic speak of a mechan
friend for the last forty-three years. This exhibition is a testament to their collaboration
istic age, an age that seems to blur the distinction between human consciousness and
and runs for two months from 10 March–4 May 2008.
Figural Forms, 2007
15
A Modernist
in Arcadia
Edoardo Villa’s Changing Worlds
at the Nirox Sculpture Park
Federico Freschi
Division of Visual Arts, Wits School of Arts
University of the Witwatersrand
16
A
s a Fine Arts student in the mid-1980s I was taken, with my class, to visit
Edoardo Villa’s studio. Of course, even as a callow undergraduate I was no
stranger to Villa’s work. In my mind his sculptures – whether the powerfully mechanistic steel figures in downtown Braamftonein, which I passed every day on my
way to university, or the audacious, brightly coloured tubes performing their sensual ballet outside the (then) Rand Afrikaans University – were synonymous with
my experience of the city. The studio visit presented us with a prodigious collection of his work in all its virile robustness and variety, but this time in the contained
tranquillity of his suburban garden rather than against the hard-edged backdrop
of a sleek International Style building. But ironically, this garden setting served
only to reinforce for me the essentially urban character of the work. Even though
(as our lecturers, preparing us for the visit, earnestly pointed out) Villa’s work was
informed by a deep commitment to a humanist, figurative tradition that was well
served by the calmly picturesque location, in their assertive and aggressive factitiousness they seemed to me to be impatient with this placid suburbanism: It
above left :
was almost as if they knew that they would be made somehow complete by the
left :
Villa, Black Group I. 1976. University of Johnnesburg Collection.
above :
18
Villa’s studio garden (left).
Villa’s monumental steel works
were installed on the raised
podium of the Schlesinger
Building, Johannesburg, for his
1968 exhibition. (right).
Sculptures in the graden at Villa’s studio.
Boccioni, Unique forms of Continity.
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Edoardo Villa, Confrontation, 1978 (left) Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (right)
implacable geometry of the city; that they would find in its relentless pace and
studied indifference their rightful place. Quintessentially modernist, they seemed
to embody in every way the brash idealism of Umberto Boccioni’s 1912 Technical
Manifesto of Futurist Sculpture (Boccioni 1993:179): ‘Our straight line will be alive and
palpitating; it will lend itself to the demands of the infinite expressions of materials, and its fundamental, naked severity will express the severity of steel, which
characterises the lines of modern machinery’.
Years later, reading Vittorino Meneghelli’s ‘notes on his work by a friend’ in
the catalogue to the 1980 retrospective of Villa’s work (Engel 1980: 16), I was reminded of this sense of the unresolved tension between culture and nature that
is conveyed by the paradoxical blend of ‘naked severity’ and seductive lyricism
in Villa’s work. ‘Your sculptures,’ he wrote, ‘deepens man’s knowledge of his condition: his size, privileges and failures. They are a breed of mythological beings,
of superior size, strength and endurance made by man as a symbol of his ability
to overcome his limitations’. It is precisely this sense of a utopian belief in perfectibility and progress; of the heroic triumph of humankind to assert itself over
20
Vertical IV (left), 1968 Brown Standing Figure (right), 2007
what Marshall Berman (1988:16) calls the ‘maelstrom of modern life’ that situates
Villa as the archetypal modernist, and that makes the city the natural locus for
his sophisticated, abstract figures. They represent, like the city, a triumph of culture over nature; like the city, they are in turn optimistic and threatening, playful
and aggressive, welcoming and sinister. A powerful and resilient reminder of the
complexities that bind our lives together, they mediate between the city’s past
and its future; between its citizens and the apparatuses of power that shape and
control their lives.
With its estimated ten million trees, Johannesburg, the subcontinent’s biggest and most cosmopolitan city is also, according to a popular urban legend, the
world’s biggest man-made ‘forest’. Like everything else in this unabashedly capitalist city, whose very existence is owed to the wealth that its gold could provide on
international markets, the original planting of this ‘forest’ was inspired not by any
overt sentiment for the picturesque – that came later – but rather for the timber
it provided to the booming mining industry. Villa’s work has always embraced and
reflected the paradox implicit in this notion of an ‘urban forest’ and the contested
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War Figure, 1968 (left) notions of nature and culture that are implicit in it. Even when placed in the city’s
expansively landscaped public parks, his sculptures remind us – as Lucy Lippard
(1981:137) points out – that ‘the park itself is an ongoing process, the domain where
society and nature meet’. The potential metaphors for nature in his sculpture
are thus constantly subordinated to an insistent human presence – his anthropomorphic figures are totemic, hieratic, powerful, and even in the most benign
landscaped setting never allow for an easy escape into Arcadian fantasy. Rather,
they seem to turn the public park into a paysage moralisé of the mechanical age;
their insistent presence effectively rendering an allegorical landscape arranged to
prompt us into a solemn contemplation of the vanities that drive human desire to
assert order over implacable nature.
Despite its purist commitment to abstraction and formal integrity, Villa’s work
has thus nonetheless functioned as an important interface between modernist
notions of self-referential ‘art for art’s sake’ and an art making that is inextricably
linked to the social context from which it springs. Therefore, while Villa’s work has
never been overtly political, its omnipresence, particularly in Johannesburg, has
24
Thrust 2 (top) 1984/6 Black Group I (bottom), 1976
allowed it to serve as an evocative ‘soundtrack’ to the unfolding socio-political
drama of five turbulent decades. Whether in the unbridled optimism of the assertively monumental works of the 1960s, or the subtly disturbing sensuality of the
interlocking tubes of the early 1970s; the jagged, insistent spikes of the late 1970s
or the sinister marriage of tubes and planes in the 1980s, Villa’s works have with
unwavering urgency and poignancy reflected the prevailing mood of the times.
As the artist put it in an interview in the late 1970s (Herber 1979:123), ‘… conscious
or unconscious, you live in a country, you live with people, you pick up the emotion … I am involved with people’.
In post-apartheid South Africa, as the role of public sculpture and public spaces in articulating a representative South African identity become more fraught and
where increasingly backward-looking figurative and decorative solutions are offered, Villa’s sophisticated abstractions assert an aesthetic integrity that transcends
the banal particularities of the moment. In effect, they remind us of the important
role of permanent public art in what Harriet Senie (1992:234) calls a ‘culture focused
on the present’. ‘Art,’ she argues
26
Cage (left), 1983 Green, Orange and Blue Totem (right), 2006
is a vision of possibilities and potential. It becomes public art when that vision
is communicated to as large an audience as possible because then it does
more than define our common ground. It becomes an actual and symbolic
connector not only between diverse members of a single community, but a
vital link to the past and the future.
More than any other South African sculptor of twentieth century, Villa’s oeuvre
has served precisely this role of a ‘connector’ between the abstract and the figurative, the African and the European, the rarefied private world of the artist and the
fraught public space of the city.
28
29
Seeing Changing Worlds at the Nirox Sculpture Park transports me powerfully back
to that afternoon, twenty years ago, when I was first forced to confront the surprising effect of Villa’s work outside of an urban public space. But this time the
sculptures are not enclosed and delimited by a suburban garden with the comforting proximity of skyscrapers just visible over the treetops, but rather entirely
divorced from the city. The beautiful landscape, with its undulating lawns seemingly stretching all the way to the distant hills and its majestic woods and boundless sky mirrored in tranquil lakes, seems to have a profoundly calming effect on
the powerful figures. If they had then seemed to me impatient with the placid
domesticity of a suburban garden, they now appear to participate serenely in this
rustic setting, and to find in it new kind of authority. From a stark meditation on
the gritty paradoxes of urban life, their presence in the peaceful, picturesque landscape prompts a very different and much more introspective reading. Their fierce,
mechanical rhythm is momentarily stilled and one can see them for what perhaps
they have always been: an undisguised, elegiac contemplation of the fragile vanity
of human endeavour. The change in register is profoundly affecting, and puts me
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31
32
33
34
Vertical Form , 1958
Vertical IV (right), 1968
36
Tree, 1971
in mind of Rainer Maria Rilke’s (1985:43) famous account of the revelatory way in
which he came to terms with his initial ‘puzzlement and insecurity’ at encountering Cézanne’s paintings for the first time in 1907: ‘… and suddenly one has the
Green Figural Forms, 2007 Winged Figural Forms, 2007 Black Figural Forms, 2007 Orange Standing Figure, 2006 Blue Figural Forms, 2007 Orange Figural Forms, 2007 Blue Reclining Form, 2007
Figural Forms, 2007 (left) Orange Reclining Figure, 2006 (right)
right eyes’.
The self-consciously picturesque landscaping of the Nirox Estate cannot
also help but evoke the notion of an Arcadian idyll, suggesting, as it does a lyrical,
nostalgic evocation of a golden age of prelapsarian peace and innocence. This is
powerfully reinforced by the most recent of Villa’s works installed there, which,
with the pulsating brightness and playful eroticism of toy balloons, easily conjure
in this context the heady pleasures enjoyed by the nymphs and swains of pastoral
tradition. Like Christopher Marlowe’s ‘Passionate Shepherd’, they issue the irresistible invitation to
Come live with me and be my love,
And we will all the pleasures prove,
That valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
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39
40
Winged Figural Forms, 2007, (left) Black Totem (detail), 2008 (centre) Standing Figure XIV Yellow (detail), 2006 (right)
42
(Top) Green, Orange and Blue Totem, 2006 Brown and Blue Totem, 2005 Red Totem, 2004, Grey, Green and Red Totem, 2006 (Opposite) Standing Figure XIII Yellow, 2006 (left) Standing Figure XII Blue, 2006 (right)
Two Figures, 1970
Also like Marlowe’s shepherd they seem to exist in an eternal and joyful present,
unabashedly celebrating the immediate gratification of the moment. There is a
certain urgency and poignancy in this invitation, coming, as it does, from a nonagenarian whose work has been celebrated for its virility and vigour throughout his
long and prolific career. In true Arcadian tradition they are in effect a gentle memento mori, a reminder to celebrate the life-affirming pleasures of the flesh while
we still can.
This theme is also implicit in the older, more unequivocally monumental
works, but this time in a more sombre guise. Obdurately refusing to blend in with
their sylvan setting, their brooding and sinister presence is not only an insistent
reminder of the mechanical world that they have temporarily left behind, but, like
Nicolas Poussin, Et in Arcadia ego. (1637–1638)
the tomb in Poussin’s famous Et in Arcadia ego (1637–1638), serves as an ironic counterpoint to the sensual seductions of the landscape in which the carefree nymphs
and swains frolic. The Poussin painting depicts shepherds grouped around a tomb
in an idealised, classical landscape and pointing on the tomb to the inscription
Et in Arcadia ego – ‘I too was in Arcadia’. This is widely interpreted to mean ‘Even
44
46
Untitled, 1968
47
48
Vertical IV (right), 1968
Environmental Sculpture, 1971
in Arcadia I exist’ as uttered by personified Death, and, in the words of the great
iconologist Erwin Panofsky (1995:296), serves to ‘conjure up the retrospective vision
of an unsurpassable happiness, enjoyed in the past, unattainable ever after, yet
enduringly alive in the memory’. Grave and ominous in the serene setting, Villa’s
sculptures introduce a profound and elegiac note into the landscape, effectively
refiguring it as a paysage moralisé for our time.
In his seminal study of Poussin’s painting, Panofsky (1955) shows how interpretations of the painting shifted from the artist’s time to the nineteenth century
from a stoical acceptance of the inevitability of Death, even in Arcadia, to a nostalgic regret that the characters portrayed – and by extension the viewer – were no
longer in Arcadia. Ultimately, he suggests that the painting shows not ‘a dramatic
encounter with death but a contemplative absorption in the idea of mortality’
(Panofsky 1955:313). Much the same might be said of Villa’s Changing Worlds: as a
modern elegy it brings us face to face with the fragility of the landscape in the face
of the relentless march of progress; as a specifically South African elegy it comes at
a time of pressing social and economic woes where we are daily forced to confront
50
Tree, 1971
the potentially explosive possibilities of change brewing under the calm surface of
our beautiful but contested landscapes.
Like W. H. Auden’s poem of the same title, this paysage moralisé offers the
tempting vision of an escape from the exigencies of city life, where
Each in his little bed conceived of islands
Where every day was dancing in the valleys
And all the green trees blossomed on the mountains,
Where love was innocent, being far from cities.
But something of their grave and forbidding character reminds us, as does the
poet in the final sestet and envoi of the poem, that this temptation to abandon all
social and political commitments exacts its own moral crisis:
So many, doubtful, perished in the mountains
Climbing up crags to get a view of islands,
So many, fearful, took with them their sorrow
Which stayed them when they reached unhappy cities,
So many, careless, dived and drowned in water,
So many, wretched, would not leave their valleys.
52
53
Homage to Maillol, 1965
It is our sorrow. Shall it melt? Then water
Would gush, flush, green these mountains and these valleys
And we rebuild our cities, not dream of islands.
In the final analysis the view of the landscape offered by Villa’s Changing Worlds is
profound and unsettling. Like the so-called ‘Black Mirror’ or ‘Claude Glass’ (named
for the landscape painter Claude Lorrain whose characteristically picturesque
landscape paintings inspired their use) which eighteenth and nineteenth century
artists and travellers used to view the landscape, Villa’s sculptures have the effect
of abstracting and concentrating their picturesque surroundings. And also like a
Claude Glass – which required the viewer to turn his back on the scene in order to
observe the framed scene in the mirror – they force us to turn away from that very
landscape and to confront in the dark reflection the fragile essence of our being.
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55
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References
Allison, Alexander W. (ed.) 1983. The Norton Anthology of Poetry. New York: W. W. Norton.
Auden, W. H. (Wystan Hugh) 1966. Collected Shorter Poems 1927–1957. London: Faber & Faber.
Berman, Marshall 1988. All That Is Solid Melts into Air: The Experience of Modernism. New York:
Penguin Books.
Boccioni, Umberto 1993 (1910). ‘Technical Manifesto of Futurist Sculpture’. Languages of Design 1(2):
174–180.
Engel, E.P. (ed.) 1980. Edoardo Villa: Sculpture. Johannesburg: United Book Distributors.
Herber, Avril 1979. Conservations: Some People, Some Place, Some Time, South Africa. Johannesburg:
Bateleur Press.
Lippard, Lucy 1981. ‘Gardens: Some Metaphors for Public Art,’ Art in America, November: 136–150.
Panofsky, Erwin 1955 (1982) ‘Et in Arcadia Ego: Poussin and the Elegiac Tradition’, in Meaning in the
Visual Arts. Chicago: University of Chicago Press
Rilke, Rainer Maria 1985 (1952). Letters on Cézanne. Ed. Clara Rilke. Trans. Joel Agee. New York:
Fromm International.
Senie, Harriet F. 1992. Contemporary Public Sculpture: Tradition, Transformation and Controversy.
New York: Oxford University Press.
58
59
60
61
List of works by Edoardo Villa
Page 6-7 Environmental Sculpture, signed and dated 1971, steel and
paint, height: 2.12cm
Page 14 Untitled, 1968, bronze, 125 cm
Page 15 Figural Forms, signed and dated 2007, steel and paint,
198 x 114 x 80cm
Page 19 (right) Vertical IV, signed and dated 1968, steel, 427 cm
Page 21 (left) Confrontation, signed and dated 1978, steel,
height: 423 cm
Page 23 (left) Vertical IV, signed and dated 1968, steel, height:
427 cm (right) Brown Standing Figure, signed and dated 2007,
steel and paint, 298 x 70 x 70 cm
Page 25 (left) War Figure, 1968 (right) Figure, signed and dated
1968, steel and paint, height: 400 cm
Page 27 (top) Thrust 2, signed and dated 1984/6, steel, size: 243 cm (bottom) Black Group I, signed and dated 1976, steel, size: 250 cm
Page 29 (left) Cage, signed and dated 1983, steel, size 340 cm (right) Green, Orange and Blue Totem, signed and dated 2006,
steel and paint, 294 x 70 x 70 cm
Page 34 Vertical Form , signed and dated 1958, bronze, size 125 cm
Page 35 Vertical IV (right), signed and dated 1968, steel, size 427 cm
Page 36-37 Tree, signed and dated 1971, steel and paint
Page 38 (top from left) Green Figural Forms, signed and dated 2007,
steel and paint, 198 x 114 x 80 cm Winged Figural Forms, signed and dated 2007, steel and paint,
196 x 80 x 80 cm Black Figural Forms, signed and dated 2007, steel and paint,
215 x 70 x 70 cm Orange Standing Figure, signed and dated 2006, steel and paint,
100 x 50 x 42 cm Blue Figural Forms, signed and dated 2007, steel and paint,
220 x 135 x 80 cm Orange Figural Forms, signed and dated 2007, steel and paint,
176 x 70 x 95 cm Sponsors
Acknowledgements
Blue Reclining Form, signed and dated 2007, steel and paint,
Patrick Watson, Wesley de Wit and Stephan and Tammy du Toit for
77 x 128 x 60 cm
the design, development and maintenance of the NIROX landscape.
Page 38 (bottom left) Figural Forms, signed and dated 2007, steel
and paint, 114 x 82 x 50cm Thanks to Nadine Gordimer, Karel Nel, Isaac Shongwe and the
Imilonji Kantu Choir for the opening ceremony.
(bottom right) Orange Reclining Figure, signed and dated 2006,
steel and paint, 155 x 170 x 50cm (right)
Page 40 (left) Winged Figural Forms, signed and dated 2007, steel
and paint, 196 x 80 x 80 cm (centre) Black Totem (detail), signed and dated 2008, steel and
paint, 224 x 60 x 60 cm
(right) Standing Figure XIV Yellow (detail), signed and dated
2006, steel and paint, 336 x 80 x 80 cm
Special thanks to Karel Nel for the opening address, walk-abouts and
invaluable advice and support throughout.
Special thanks also to Edoardo Villa, Gordon Schachat and Giovanni
Cervi for their generousity that made this catalogue possible.
Also thanks to Benji Liebmann and Mary-Jane Darroll who initiated
Page 42 (from left) Green, Orange and Blue Totem, signed and dated
2006, steel and paint, 294 x 70 x 70 cm Brown and Blue Totem, signed and dated 2005, steel and paint,
310 x 95 x 100 cm Red Totem, signed and dated 2004, Steel and paint,
260 x 70 x 70 cm the concept of the exhibition, raised sponsorship and approached
Edoardo Villa and the curatorial team to undertake the project. Both
Benji and Mary-Jane were instrumental in many curatorial decisions
Letsema Company Holdings
and in the complex installation of the works at Nirox.
Lenders
This catalogue is published to mark the exhibition
Grey, Green and Red Totem, signed and dated 2006, steel and
paint
Page 43 (left) Standing Figure XIII Yellow, signed and dated 2006, steel
and paint, 235 x 60 x 45 cm (right) Standing Figure XII Blue, signed and dated 2006, steel and
paint, 238 x 50 x 55 cm
Page 45 Two Figures (left) 1970
Page 46-47 Untitled, 1968, bronze, 125 cm
Page 48-49 Vertical IV (right), signed and dated 1968, steel,
427 cm
Edoardo Villa: Changing Worlds
Billiton Collection
at the Nirox Scuplture Park,
Page 51 Environmental Sculpture, signed and dated 1971, steel and
paint, height: 212 cm
gordonschachatcollection
10 March – 4 May 2008
Page 52, 56, 58 Tree, signed and dated 1971, steel and paint
Page 55 Homage to Maillol, signed and dated 1965, steel,
height: 340 cm
Apexhi
Wits Art Galleries Collection
Published in 2009 by Everard Read
Copyright © Everard Read, LisaNicole Fine Art, Nirox Foundation
Copyright © ‘A Modernist in Arcadia’ Federico Freschi
All rights reserved.
Curators
No part of this publication may be reproduced or
Alan Crump
without prior permission from the publishers.
Karel Nel
Amalie von Maltitz
transmitted, in any form or by any means,
ISBN 978-???? ??????????
Photographic credits: Benji Liebmann, Bob ??? Prospero ???,
Daren Chatz, Karel Nel, Cally Henderson, Andrew Dunn, Talmor Yair
Designed by Kevin Shenton and Karel Nel
62
EDOARDO VILLA: CHANGING WORLDS
Printed by Colors, Johannesburg
63

Edoardo Villa

Transcription

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