I have mentioned previously that we are not really ‘big city’ people. When we travel, we like to take the back roads and stay in self-contained accommodation in quiet locations. Our wishes were certainly fulfilled when we arrived at the Lake House on the shores of Lake Taupo at Motuoapa Bay.
It is actually half a house but there were no occupants in the other half for the three nights we were there. The description of ‘a beautiful lakeside retreat with a twist of retro’ is something of an understatement. Stepping inside, memories of our childhood homes came flooding back as we explored the wonders within.
The well-equipped kitchen was reminiscent of our 1970’s lives, right down to the crockery.
The theme continued down the hallway
and into the bedroom.
I don’t think I have ever seen wall art created from carpet before.
I love the idea of using a shower curtain to make bathroom curtains.
We don’t usually take time out to relax and regenerate on holiday but we were feeling the need and Sunday was the perfect opportunity. A stroll to the local café for lunch took us past some lovely homes and very well behaved children
before returning for an afternoon of reading, napping and soaking up the view.
There are fifty four artists represented at Il Giardino di Daniel Spoerri,a sculpture wonderland set in the Tuscan countryside. I thought we had done a credible job of covering the ground but, on reflection, we only discovered half of them. It doesn’t matter, what we did see was astounding. Eva Aeppli was born in 1925 in Switzerland and, after her studies, moved to Paris. Around 1967, she started concentrating on textile life-size figures, creating sewn heads that refer to the planets. If you look closely, the stitch lines can be seen on the bronze casts of the Astrological Signs group.
The gold faces of The Planets represent the positive aspects of the Moon (in silver), Mercury, Venus, Sun, Mars, Jupiter, Saturn, Pluto, Neptune and Uranus
while the negative aspects, responsible for the sinful facets of human beings, are expressed in A Few Human Weaknesses. From left to right, these are Sloth (Moon), Envy (Mercury), Lust (Venus), Pride (Sun), Wrath (Mars), Gluttony (Jupiter), I seem to have missed Avarice (Saturn). Again, the heads were originally sewn and the texture of the silk fabric can be seen on close inspection.
An attempt to glue the figures rather than sew them wasn’t very successful. Two of the failed pieces were used as scarecrows in Eva’s vegetable garden while others were used for airgun target practice. One of the heads, collapsed and shrivelled, has been cast in bronze and embedded between two branches of an olive tree. Although it seems to be watching the passersby, the empty eye sockets see a world on The Other Side.
The three Greek goddesses of vengeance and retribution, known as the Erinyes or Furies, represent the negative aspects of the so-called invisible planets Neptune, Pluto and Uranus.
Ars Moriendi (Latin for ‘The Art of Dying’) by Italian artist, Giampaolo di Cocco, comprises three sculptures that represent life-size elephant bodies in various stages of decomposition.
Katharina Duwen’s Refuse from the Bronze Age relates to the subject matters that interest her most: traces of the past and relics of civilisation. Various items lie together as if on an illegal dump site, made of bronze they contradict the notion of putrefaction and decay. In the future, this evidence may provide useful information to archaeologists about the everyday lives of a past culture.
Not only is Angelo Maineri a maestro of sculpture, he has been responsible for the care and maintenance of the Giardino since 2016. He has melded bodies of steel and cement, seemingly weightless yet grounded, with the twisting branches of a tree for Chlorophilia – Rooted Life. He describes the work as, “humans, destroying nature, are yet dependent upon it and cannot escape it.”
When Daniel Spoerri was invited to propose a sculpture for the slopes of Vesuvius, he immediately thought of a drawing by his friend, illustrator and satirist, Roland Topor who died in 1997. The crouching woman intently watched a handful of small balls rolling from her lap (I’m not absolutely convinced of this anatomical description). The Vesuvius project was abandoned and Mamma muntagna, the Neapolitans name for their volcano, was sculpted in stone for the garden by Simone d’Angiolo.
A tower of old harrows and ploughs, wedged in amongst each other and screwed together, is titled Monument to Settledness. The artist, Arman, was well known in the sixties for his accumulations of several objects of the same kind such as milk cans, hairslides and bottle caps. These agricultural machines are the insignia of soil management and are stuck, immovable and useless, while the sound of modern agricultural machines can be heard in the surrounding hills.
Amongst the olive trees, sixty geese run in the direction of Seggiano, pursued by three extremely threatening, oversized and masked figures with drums. French artist, Oliver Estoppey has included a boy standing off to the side holding a goose under his arm, perhaps protecting the bird from the Day of Wrath.
An interesting figure that appears like a piece of wood is, in fact, bronze and is carefully attached to the wall of the villa. The Pisser served as an artist shower during a sculptors’ symposium in Freiburg in 1977 and Daniel Spoerri retrieved it from storage for the Giardino with artist Alfonso Hüppi’s consent. The refreshing stream of water usually emitted from the woman was absent on this day.
A connecting link between the distant past and modernity is seen in Two Steel Lenses, One Leaning Tower and Five Geode. The installation, by Jürgen Knubben, consists of two lens-shaped steel constructions lying next to slate stones of similar shape and size, known as geodes, that are around 180 million years old. The leaning tower resembles the obelisks used in Egypt around 2000 BC as cultic stones to honour the sun god.
Daniel Spoerri wanted an iron sculpture by his Swiss friend, Bernhard Luginbühl for the Giardino. Peasant Monument comprises ploughs and parts of agricultural machines, symbols of power, and the exaggerated verticality is a symbol of fertility.
Over the course of a year, Josef Pleier visited the Giardino several times to make measurements and calculations regarding different positions of the sun. The holes in his basalt column, Sunstone, direct the gaze to certain points on the horizon where the rising or setting sun can be seen on the day of the winter solstice (21st December), the equinox (23rd September and 21st March) and the summer solstice (21st June). The opening at the top is the point of true midday when the sun is at its zenith in the sky (and it’s not 12 noon).
Pavel Schmidt has an interest in the phenomenon of kitsch, in particular replicas of popular sculptures. Do Not Open Before the Train Has Halted (Venus and David Between the Buffers) features kitsch figures of Michelangelo’s David and Botticelli’s Venus that he blew up and then glued the fragments together. They have been placed on railway buffers arranged in the form of a cross, gazing in opposite directions.
Austrian artist Erwin Wurm became famous for a series of One Minute Sculptures where he poses people in unexpected relationships with everyday objects. Sewn together at the waistband, the pant legs of Doppelhose seem to be fidgeting in the air.
The Gordian Knot is a legend associated with Alexander the Great, the untying of an impossibly tangled knot often used as a metaphor to describe an intractable problem. German artist Till Augustin created a series of sculptures with this title, two of which are presented atop pillars each side of the path. The cables were pressed together under huge pressure and then cut so that the inside of the twisted rope is visible, giving the impression the knot could spring apart at any moment.
In a hollow in the Giardino, elaborate iron constructions topped with reddish-brown, bell-shaped heads reach 4-6 metres into the sky. Luigi Mainolfi’s mushrooms symbolise The Fertile Earth in these towering species.
The bronze figure of Banzai! Banzai! Banzai! was inspired by a small sculpture standing on Ay-O’s desk when Daniel Spoerri visited him in New York. A few grains of rice placed in the boy’s mouth would traverse the short digestive tract and exit from the rear. This impressed and amused Spoerri and he asked Ay-O to produce a life-size version for the Giardino where Banzai! wishes happiness, success and good health. I didn’t realise at the time but for those wishing to see the little fella “in action”, little bags of rice are available at the reception desk.
Roberto Barni’s figures in Continuo are positioned mid-stride on a seesaw in permanent equilibrium. The title is a contrast to the musical term, Continuo, meaning a constant accompaniment provided by the bass instruments. The men are blindfolded, a typical element of Barni’s works, perhaps in order not to disappoint their illusion of progress.
Italian Luciano Ghersi describes himself as a ‘hyper-textile hand-weaver’. The chairs of The Fakirs’ Meeting are woven with barbed wire, a comment that they would be a good seat for the government which, in Italy and elsewhere, should not be able to sit back in comfort.
The Cake Dream, created by Rosa Roedelius using aluminium and clay, is accompanied by a few lines:
What remains is the cake dream
What was or will be, trivial
Floating above the water
Living things grow from it
Standing on a viewing tower taking in the ambience of the landscape, The Visitor by Esther Seidel looks out over the labyrinthine wallpath. But is he really observing it or only seeing images inside his head?
Flying Buttress is one of the many installations by Mauro Staccioli found in public spaces all over the world. Viewed as a fragment of an archway, the large steel construction establishes a link to the motto of the Giardino, Hic Terminus Haeret and to Terminus, the Roman god of boundaries and transition.
Famous ballet dancer, Daniel Nijinski was legendary for his high leaps from a standing position. A photographer captured the moment when, at an advanced age, he leapt unexpectedly for one final time into the air. Artist Non Vital based his sculpture, Daniel Nijinski Superstar, on that photograph and he is appropriately suspended high above the ground.
Yoko Ono is famous for many reasons, one of them being her contribution to art. The first iteration of Play It By Trust was exhibited in 1966 and since then has been represented in various sizes and materials. The all white interactive chessboard functions as a metaphor for the futility of war, eliminating the colour-based opposition of one side versus another. Beyond a series of initial moves, the game is doomed to failure.
After lunching in the beautiful town of Seggiano, we just had to visit nearby Il Giardino di Daniel Spoerri. The Swiss artist created the sculpture park in the early 1990s and it opened to the public in 1997. Set among 16 hectares of rolling Tuscan countryside,
there are now 113 installations scattered seemingly at random. Even with map in hand, I think we missed quite a few. There are too many works to cover in one post, with 54 different artists represented, so I will firstly cover those by Daniel Spoerri himself. The adventure begins as soon as we leave the ticket office
with an oversized cup atop an antique capital standing on the lawn.
A baking oven has been constructed in the style of a Trulli, a traditional dry stone hut from the Puglia region of Italy. Five smoke stacks, modelled on a family of tailors dummies, have been added so when the oven is in use, fine smoke flows from the heads.
Daniel Spoerri is best known for his snare-pictures, a process where a group of objects, such as the remains of a meal along with the table setting, are fixed as they are and transformed from a horizontal plane to a vertical one. There are two snare-pictures cast in bronze at the garden. Luncheon Table in All Eternity is suspended on the exterior wall of the restaurant, Non Solo Eat Art, while Eternal Breakfast, complete with bread and eggs, complements it on the adjacent wall of the estate villa.
Many of the sculptures feature ordinary objects used in unconventional ways. Remnants from a foundry form the face of The Bersagliera, a sharpshooter who seems to have received a few shots herself, awaiting visitors outside the restaurant.
A Flower Bouquet made from mirrors, a variety of rods and a chestnut roasting pan is arranged in a flattened bucket.
The artist was invited by Acquedotto Santa Fiora to create a Golem, a human-like being from Jewish folklore usually made from clay. They gave him parts of water supply systems including old pumps, valves and sieves and Acqua Golem was born.
One of the first installations in the garden, Unicorns – Navel of the World, is on the site where, according to legend, the village of Seggiano once stood. There is now a spectacular view of the town on the opposite hill. The long horns protrude from horses skulls and are held by gloves like lances leaning towards the centre of the circle.
The inspiration for Damocles’ Rose Bower Walk came from a trip to England where Spoerri sketched a pergola comprising a row of interwoven sickles. Roses and Jasmine will eventually grow over the framework.
Marble slabs depicting the last meals of twelve famous women are mounted on a wall, an unusual monument to Marie Antoinette, Hannah Arendt, Hildegard von Bingen, Tanja Blixen, Madame Curie, Marlene Dietrich, Isadora Duncan, Mata Hari, Frida Kahlo, Cleopatra, Empress Elisabeth of Austria and the goddess Leda.
Eight gaunt Nightmares appear from the shadows and I am pleased to say I have never encountered anything like these in my sleep.
The scary theme continues with the four bronze cast skulls guarding Gorilla Bridge
and the macabre totem of Skull Tree.
The title of You white? You black? comes from the merging of two figures where the African and European heads have been switched.
In a shady, wooded area, a Marble Table is set with movable pieces that are work samples from a studio in Carrara. The table is supported by cast bronze scraps rather than ordinary table legs.
Next to the table, a twisting column holds up a small golden head which appears to grow out of a flower bud. Renaissance is dedicated to the Sicilian town of Gibellina which was destroyed in an earthquake in 1968.
At the rear of the restaurant there appears to be a pile of old slippers, the kind that are made of felt and handed out at palace tours to protect the floors. No entry without slippers pays homage to artist Joseph Beuys who frequently used felt in his work.
The villa, where Daniel Spoerri lived for a long time, has been divided into four spacious holiday apartments all with fabulous views of the garden.
The Chain Heap is just that. Spoerri saw the mass of iron chains hanging in an Italian scrap merchant yard and had them transported to the garden where he augmented the collection. The result is reminiscent of a chieftain or medicine man decorated with fetishes.
Something you don’t expect to find in a sculpture garden is a meatgrinder, however, Spoerri finds the diversity of form of this piece of kitchen equipment astounding and intriguing. The 3 metre high Meatgrinder Fountain was sans water on this day but I imagine it would be quite a spectacle.
The same kitchen appliance has been combined with hat models for Warriors of the Night, a small battle-scarred army rising up from a pond.
Five life size mannequins lie distorted in a ditch, reminiscent of mass gravesites as humans destroy other humans. The Mass Grave of the Clones isn’t exactly uplifting, though, as the artist explains, “Over and over again, the Giardino shows us dark sides, for without these there could be no beauty”.
The Labyrinthine Wall Path is based on a pre-Columbian Neolithic cave drawing, altered slightly to create a labyrinthine form, it was then ‘drawn’ on the meadow using a low wall. The cosmic union of Mother Earth and Father Son is symbolised by representation of a hermaphroditic creature with a phallus and breasts.
Tintin-Elefant is so named due to its similarity to the spherically headed hero of the Belgian comic series Tintin by Hergé. Obviously, the hoseline nose contributes to the second half of the title.
When Spoerri’s good friend Roland Topor died in 1997, he felt there should be something to memorialise him at the garden. Topor was a satirist and illustrator and so Spoerri selected a drawing from which to create the sculpture that is The Eccentric Reader.
Skull Chapel verified Spoerri’s fascination with the cadaver’s cranium. The collection housed in the chapel includes Tibetan monks’ skulls, two mummies’ heads and monkey skulls.
There are so many more incredible sculptures at Il Giardino, they will be featured in a later instalment.
Having explored the Hamilton Gardens Paradise Collection, we moved on to the Fantasy Collection where imagination and fantasy are integral to the garden design. Three of these are found along paths leading from Time Court. Bronze characters from Alice in Wonderland are assembled atop a plinth, a plaque quotes: “If you don’t know where you are going, any road will take you there. Lewis Carroll.”
We entered the Surrealist Garden along a disconcerting black & white tiled passageway that led to a fireplace with nothing on the mantlepiece except a pair of egg shaped ornaments.
Surrealist art came to the fore in the 1920s and 30s when artists and writers became fascinated with the mysterious world of dreams and the subconscious mind. In garden design, this was illustrated through distortion of scale, strange forms of topiary & sculptures and elements behaving in an unexpected manner.
Everything in this garden is five times the normal scale
and the lawn edging curves up at the corners like a sheet of paper.
Instead of a dozen white roses, a dozen white noses are dotted throughout the thick foliage bordering the lawn.
I thought I was seeing thing when I saw the ‘branches’ of these trees moving. The ivy covered shapes, known as ‘trons’, appear slightly sinister as their hydraulically controlled arms move when least expected.
The Tudor Garden reflects the fascination 16th century English aristocracy had with geometric patterns and symbolism. A stone pavilion, based on the one at Montacute House in Somerset, overlooks intricate knot gardens that were traditionally outdoor settings for fantasy plays or ‘masques’.
Mythical beasts on green and white striped poles each hold a flag of the Tudor Rose as well as a sculptural crest of some of the notorious personalities of the day. Although some of the shields can’t be seen from the angle of the photo, royalty are represented by the unicorn (Mary, Queen of Scots), the griffin (King Henry VIII) and the dragon (Queen Elizabeth I).
Lord Chancellors of the aforementioned royalty make an appearance with the Centaur (Sir Thomas More) and Satyr (Sir Francis Bacon).
Two favourites of Queen Elizabeth I, both described as a ‘privateer’, are upheld by the sea serpent (Sir Walter Raleigh) and the Phoenix (Sir Francis Drake). The most endearing is the lovable Bottom from Midsummer Night’s Dream holding the shield of Sir William Shakespeare.
Chinese and Japanese imports flowed into Europe in the 18th century and created a fashion craze that became known as ‘Chinoiserie’. Garden design became an expression of the Western fantasy of Oriental art. This Chinoiserie Garden is quite simple. Once through the Bottle Gate and along the path to the Perfume Garden,
there are Chinoiserie seats and a Chinese Pavilion overlooking a sweeping lawn.
The pavilion is modelled on the ‘Chinese House’ at Stowe Landscape Gardens in England which was built in 1738. Like the original, the roof is copper and the colourful decoration gives it a theatrical touch.
Planting in the Tropical Garden has been designed so that the hardier plants offer protection to those more susceptible to Waikato winters. Exotic plants such as bromeliads and orchids sprinkle colour amongst the lush greenery and a trickling stream adds to the tranquil tropical atmosphere.
The next three Fantasy gardens led from Braithwaite Court where a Huddleston airship, full of gardening gadgets, is tethered. The airship is more than ornamental, it glides through the night delivering plants and pruning hard-to-reach hedges.
Essentially a form of outdoor conceptual art, the Concept Garden has been inspired by the square boxes of a legend on a map. Nine types of New Zealand landscape are symbolised in the blocks; pasture is represented by the grass, native bush by Muehlenbeckia astonii, urban areas by White Carpet roses, horticultural by citrus trees, tussock grassland by Carex buchananii, coniferous forest by Pinus mugo, scrubland by Leptospermum scoparium, wetland by Apodasmia and water bodies by the central pool.
Two Māori whakataukī, or proverbs, appear in the garden. He peke tangata, apa he peke titoki, is inscribed on the white wall, meaning ‘the human family lives on while the branch of the titoki falls and decays’. Perhaps a suggestion that as the population grows, it is at the expense of natural environments. The other whakataukī is inscribed on a steel pipe, which will gradually rust away; the interpretation of this message is, ‘but in the end, nature is going to win’.
A change in attitude toward the formality of garden design came about with the Picturesque Garden movement in England during the 18th century. Gardens retained a natural look, some deliberately wild and overgrown, and often had a sequence of features representing a fantasy story or classical legend. The Picturesque Garden at Hamilton makes reference to the story of The Magic Flute, written by Mozart in 1791, along with Masonic symbolism found in the story. We entered through a cave guarded by a pair of sphinxes
and passed the figure of Papageno
before reaching the Woodland Temple of the Queen of the Night.
The number three is significant to the Freemasons, as evinced by the three guardian angels, three portals to enter the temple and, through the dark passage, three temptresses represented in relief sculpture on the wall.
A table of food and wine awaited in a meadow
and the entrance to the cave where Tamino faced his last test is flanked by a brazier and bowl, symbolising fire and water. Opening a door at the end of the path, we wondered what could possibly top that experience.
We weren’t disappointed. One of the foremost pioneers in modern literature, New Zealand born Katherine Mansfield wrote her short story, The Garden Party in 1922. Inspired by an event that took place in Wellington in 1907, the architecture, food and design detail of the Edwardian period has been recreated in the Mansfield Garden. Circular gravel driveways with a pond or fountain in the centre were a common theme
and the Model T Ford was a status symbol of the time.
The lawn tennis court is the setting of the party
and workmen erected a marquee against the karaka hedge, specifically mentioned in the story, on the far side of the court.
The banquet table is laden with mouth-watering fare. Fifteen kinds of sandwiches with the crusts cut off are suggested in the story, although only two were specified; cream cheese with lemon curd and egg & olive. ‘Godber’s famous cream puffs’ were also on the menu, a nod to James Godber, a very successful baker, confectioner and caterer in Wellington at the turn of the century. The delectable spread is actually made from concrete and resin to withstand the elements.
Yet another detail from the story is the placement of the ‘very small band’ in another corner of the tennis court.
Having read Katherine Mansfield’s short stories since our trip, this fantasy garden lacked nothing. Sadly, she died with tuberculosis in 1923 at the age of 34.
It is no secret that Italy is home to some of the most impressive classical statues in the world. The Piazza della Signoria in Florence has an abundance of marble crafted male genitalia, all notably underendowed (I will get to the reason for that shortly). In my opinion, the true forte of the 16th century sculptors was fashioning a fine set of buttocks. Florentine artist Baccio Bandinelli excelled himself with the spectacular derrière of Hercules, poised to slay Cacus for stealing his cattle.
The work was commissioned to stand to the right of the entrance of the Palazzo Vecchio, to balance Michelangelo’s David on the left. At around five metres tall, they are both rather imposing figures, although David is probably more widely known. Many aspersions have been cast on the size of David’s appendage and much has been written on the subject. Historians have reasoned that large penises were associated with unappealing characteristics such as foolishness, lust and ugliness, whereas a small member belonged to a rational, intellectual and authoritative man. In 2005, two Florentine doctors argued another theory that the impending fight with Goliath has caused some shrinkage due to fear. The reasoning is irrelevant, the point is, David’s real assets are viewed from behind.
There is a young man on the left of the doorway to the Palazzo Vecchio sporting a modestly poised fig leaf but he doesn’t rate a mention in any literature I could find. He may represent Adam and, although he is smaller in stature than Hercules and David, he too has a pleasing posterior.
Across from the palazzo in the Loggia di Lanzi, Flemish sculptor, Giambologna, has continued the custom with his work, The Rape of the Sabine Women (I must clarify, at that time the term ‘rape’ referred to abduction or kidnapping not sexual assault).
There are many more superb examples in the Piazza della Signoria although I wasn’t really aware of it at the time, I shall have to return for more extensive research. At Villa Reale di Marlia, the adolescent god Apollino presented a youthful rear
but this one had seen better days. Perhaps the marble will shine again with a good clean.
It seems it wasn’t only human bottoms that were given such attention to detail as we found at the Colosseum.