Franco Murer: Le antiche Pietre

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Antica Messene Sito archeologico Antica Messene Peloponneso Archaeological site of Ancient Messene Peloponnese Αρχαιολογικός Χώρος Αρχαίας Μεσσήνης, Πελοπόννησος

Franco Murer Le antiche pietre / The ancient stones / Οι αρχαίες πέτρες Testi /Texts/Κείμενα

Petros Themelis / Πέτρος Θέμελης Umberto Broccoli / Ουμπέρτο Μπρόκολι

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Franco Murer Le antiche pietre Sito archeologico Antica Messene Peloponneso Archaeological site of Ancient Messene Peloponnese Αρχαιολογικός χώρος Αρχαίας Μεσσήνης, Πελοπόννησος 10 Giugno/ June/ Ιουνίου – Settembre/ September/ Σεπτέμβριος 2023 Da un’idea di Margherita Bovicelli From an idea of Margherita Bovicelli Από μια ιδέα της Μαργαρίτας Μποβιτσέλι La mostra all’interno del sito archeologico a cura di The exhibition inside the archaeological site curated by Η έκθεση εντός του αρχαιολογικού χώρου yπό την επιμέλεια του Petros Themelis/ Πέτρου Θέμελη

Comune di Messini

Coordinatore generale responsabile degli scavi dell’Antica Messene Principal coordinator of the excavations of Ancient Messene Γενικός συντονιστής, υπεύθυνος για τις ανασκαφές της Αρχαίας Μεσσήνης, Πέτρος Θέμελης Petros Themelis/ Πέτρου Θέμελη Catalogo e referenze fotografiche a cura di Catalogue and photographic information edited by Κατάλογος και φωτογραφικές αναφορές επιμέλεια Nadia Grassi/ Νάντια Γκράσι

EMAS

ΚΟΙΝ.Σ.ΕΠ

Responsabili comunicazione e promozione: Principal coordinator of communications and promotion Υπεύθυνοι επικοινωνίας και προώθησης Direttore/ Director/Διευθυντής Istituto Italiano di Cultura/ Italian Institute for Culture/ Ιταλικό Μορφωτικό Ινστιτούτο Francesco Neri/ Φραντζέσκο Νέρι Cooperativa Sociale Palmi, Messeni/ Palmi Social Cooperative, Messene/ Κοινωνική Συνεταιριστική επιχείρηση Paris Kaisaris/ Πάρης Καίσαρης

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Un ringraziamento particolare: a Gianni Ferrini, Nicolas Papadatos, Nicoletta Bellin, il fabbro Georgakopoulos Fotios, ΦΙΛΟΙ ΤΟΥ ΜΟΥΣΕΙΟΥ ΤΑΚΗΣ ΚΑΤΣΟΥΛΙΔΗΣ, alla cooperativa sociale Palmi e ai giovani del servizio civile universale CNCA - Coordinamento Nazionale Comunità di Accoglienza per aver contribuito alla realizzazione di questo progetto.

With special thanks to: Gianni Ferrini, Nicolas Papadatos, Nicoletta Bellin, the blacksmith Georgakopoulos Fotios, ΦΙΛΟΙ ΤΟΥ

Associazione Erma Museo Augusto Murer, Falcade/Erma Association Augusto Murer Museum/ Σύλλογος Έρμα / Μουσείο Αουγκούστο Μούρερ, Φαλκάδε Sveva Murer/ Σβέβα Μούρερ Contributi in catalogo/Contributions to the catalogue/ Συνεισφορά στον Κατάλογο Patrizia Falcinelli / Πατρίτζια Φαλτσινέλι George Athanasipoulos / Γιώργος Αθανασόπουλος Margherita Bovicelli / Μαργαρίτα Μποβιτσέλιù Petros Themelis / Πέτρος Θέμελης Umberto Broccoli / Ουμπέρτο Μπρόκολι Franco Murer / Φράνκο Μούρερ Traduzioni: Inglese/Translation: English/ Μετάφραση Αγγλικά

ΜΟΥΣΕΙΟΥ ΤΑΚΗΣ ΚΑΤΣΟΥΛΙΔΗΣ

and the employees of the Palmi cooperative for their help in making this project happen. Ευχαριστούμε ιδιαίτερα, για την συνεισφορά στην υλοποίηση του έργου τον Gianni Ferrini (Γιάννη Φερίνι), τον Νικόλα Παπαδάτο, την Nicoletta Bellini(Νικολέτα Μπελίνι), τον Φώτη Γεωργακόπουλο, τον σύλλογο “Οι Φίλοι του Μουσείου Τάκη Κατσουλίδη”, την Κοιν.Σ.Επ ΠΑΛΜΙ και τους εθελοντές της Εναλλακτικής Κοινωνικής Θητείας του CNCA – Coordinamento Nazionale Comunità di Accoglienza ( Ιταλικός Εθνικός Μηχανισμός Συντονισμού των Κοινοτήτων Φροντίδας).

​​​​​​​​ Jessica Faye Hughes Senior Lecturer in Classical Studies/ Ανώτερη Λέκτορας Κλασσικών Σπουδών I testi di Petros Themelis e Margarita Bovicelli sono stati tradotti in inglese dall’ufficio traduzioni di /The texts by Petros Themelis and Margherita Bovicelli were translated into English by/ Τα κείμενα του Πέτρου Θέμελη και της Μαργαρίτας Μποβιτσέλι μεταφράστηκαν στα Αγγλικά από το μεταφραστικό γραφείο Ms. Athena Xanthakis, Kalamata/της κ. Αθηνάς Ξανθάκη, Καλαμάτα Traduzioni Greco/Translation Greek/ Μετάφραση Ελληνικά Lina Kamarinopoulou / Λίνα Καμαρινοπούλου

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Sono particolarmente lieta di poter presentare la mostra del Maestro Franco Murer dedicata alla mitologia greca che avrà luogo nella meravigliosa cornice del sito archeologico dell’antica Messini.

La ricerca artistica di Franco Murer ha ricevuto numerosi riconoscimenti e si è sviluppata in diverse direzioni, da temi intimistici a soggetti religiosi, da sculture commemorative a monumenti pubblici.

Le vicende degli dei dell’Olimpo che costituiscono l’oggetto di questa mostra hanno costituito per secoli una delle principali fonti d’ispirazione dei più grandi artisti del nostro paese e una componente fondamentale nella formazione di generazioni di italiani.

Il lavoro del maestro Murer mira dunque a celebrare, in questa occasione, il dovuto omaggio a una tradizione che unisce in profondità i nostri due paesi e che si presta ancora oggi a nuove e originali interpretazioni e riletture.

Desidero ringraziare la locale sovrintendenza, il Prof. Petros Themelis, e il Comune di Messini per aver messo a disposizione di questa iniziativa il sito archeologico.

Sono particolarmente grata anche al nostro agente consolare onorario a Kalamata, Margherita Bovicelli per l’impegno da lei profuso nell’organizzazione della mostra e per il suo costante interesse per l’organizzazione di attività culturali.

Patrizia Falcinelli

Ambasciatrice italiana in Grecia.

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I am delighted to have this opportunity to introduce Maestro Franco Murer’s exhibition of works inspired by Greek mythology, which will take place in the wonderful setting of the archaeological site of ancient Messene.

Franco Murer’s work has received numerous awards and has, over the years, developed in many different directions, from intimate portraits to religious subjects, and from commemorative sculptures to public monuments.

For centuries, the stories of the Olympian gods which are at the heart of this exhibition have been one of the principal sources of inspiration for the greatest artists of our country, as well as a fundamental component of the education and culture of generations of Italians. The work of Maestro Murer presented here thus celebrates and pays homage to a tradition that unites our two countries, and which still today lends itself to new and original interpretations and reinterpretations.

I would like to thank the local Superintendency, Prof. Petros Themelis and the Municipality of Messene for making the archaeological site available for this exhibition. I am also particularly grateful to our honorary consular agent in Kalamata, Margherita Bovicelli, for her efforts in organizing the exhibition and for her continued interest in planning cultural activities.

Patrizia Falcinelli

Italian ambassador in Greece.

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Στον αρχαιολογικό χώρο της Αρχαίας Μεσσήνης διεξάγεται μια σημαντική και πρωτότυπη έκθεση. Χαιρετίζω την πρωτοβουλία του σπουδαίου καλλιτέχνη Φράνκο Μούρερ. Είναι ιδιαίτερη τιμή για εμάς να φιλοτεχνήσει έργα ειδικά για την Αρχαία Μεσσήνη. Το περιεχόμενο των έργων του Φράνκο Μούρερ βασίζεται στην ιστορία της περιοχής και την ελληνική μυθολογία και με τη δημιουργία τους γίνεται γνωστή η αρχέγονη ιστορία και μυθολογία πέρα από τα σύνορα της χώρας μας. Το γεγονός ότι τα έργα αυτά ταξιδεύουν από την χώρα του δημιουργού για να εκτεθούν στον αρχαιολογικό χώρο απ’ όπου εμπνεύστηκε είναι από μόνο του μία γιορτή. Γιώργος Αθανασόπουλος Δήμαρχος Μεσσήνης

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An important and original exhibition is held at the archaeological site of Ancient Messini. I welcome the initiative of the great artist Franco Moorer. The creation of works specifically for Ancient Messini is a great honour for us.

The content of Franco Moorer’s works is based on the history of the region and the Greek mythology, and with their creation, the ancient history and mythology become well known beyond the borders of our country. The fact that these works travel from the creator’s country to be exhibited in the archaeological site from where they were inspired is in itself a celebration.

George Athanasopoulos Mayor of Messini

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“Anche quel piccolo frammento che tu rappresenti, uomo meschino, ha un intimo rapporto con il Tutto e un orientamento ad esso, per cui tu sei giusto se ti aggiusti all’universa armonia”

(Platone, Leg. X, 903 c).

Molti anni fa, a Cesenatico, in Romagna mi sono imbattuta, quasi per caso, in una mostra del Maestro Tonino Guerra che mi lasciò sbalordita per la bellezza e la spettacolarità dell’allestimento. Le opere Erano grandissime, le figure elementari che contraddistinguono il tratto e la poesia quasi infantile dell’artista erano coloratissime.

Erano dipinte sui teli che venivano usati in spiaggia quando ancora non si usavano gli ombrelloni. Ad un palo alto un paio di metri veniva agganciato un legno, quasi a formare una croce. Da quel legno pendevano delle grandi tele di canapa le cui estremità venivano fissate nella sabbia con dei picchetti. All’ombra di quelle grandi tende i bagnanti si riparavano dal sole cocente dei pomeriggi in spiaggia.

Tonino Guerra aveva recuperato quella tradizione dimenticata da decenni e l’aveva proiettata nel suo mondo di maghi, fiori, papere e farfalle.

L’anno passato in aprile ero all’antica Messini per assistere ad una rappresentazione teatrale nell’ambito del festival internazionale del dramma antico per giovani studenti.

L’impegno di quei giovani mi face pensare, non senza preoccupazione, al futuro di quei ragazzi. Fu la profondità con cui quegli adolescenti interpretavano l’opera a farmi riflettere sulla modernità del messaggio di miti, opere e drammi antichi.

Avviandomi verso l’uscita mi fermai, tra gli ulivi ad ammirare lo spettacolo del luogo.

Sempre diverso, sempre emozionante, sempre con una nuova sorpresa che l’archeologo Petros Themelis porge come un prestigiatore che fa uscire una colomba da un fazzoletto.

Una intera città riportata alla luce dalla competenza, l’amore, l’onestà intellettuale, la caparbietà che lo contraddistingue hanno dato al mondo intero un grande dono.

All’ombra di quegli ulivi ho immaginato un viaggio nell’antica Grecia, nei miti che sono arrivati fino a noi attraversando tanti secoli. È stato il viaggio a farmi pensare alle vele. Grandi teli dipinti che, come le vele di una nave ci condurranno in un altro tempo

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quello della Grecia Antica. I miti legati a quel luogo saranno il tema delle opere. Da quel luogo e con quell’emozione nel cuore ho mandato una fotografia agli amici Franco e Nadia Murer.

Il maestro Franco Murer ci ha donato grandi opere nel tempo. Sempre pronto a immergersi nel lavoro e a regalarci tutto il suo talento. Con lui, e sempre con il patrocinio dell’Ambasciata d’ Italia ad Atene e dell’Istituto Italiano di Cultura, abbiamo portato in Grecia le opere Il teatro di Carlo Goldoni, 2008 e il messaggio di pace che arrivava dalle testimonianze di storie di amicizie tra greci e italiani durante la seconda guerra mondiale Ricordi in bianco e nero: racconti vissuti, 2015. Ci ha fatti immergere nella battaglia di Lepanto, 2017 con una guida davvero eccezionale: Cervantes che è stato tra i protagonisti di quegli eventi.

Contatto il prof. Themelis e gli sottopongo l’idea, mi incoraggia a continuare, Lina Kamarinopoulou, che ha lavorato con me a tutte le precedenti mostre sottopone al comune di Messini l’idea.

Ancora una volta comincia un sogno: a simboleggiare il nuovo viaggio nei miti legati a quel luogo saranno grandi vele dipinte dal Maestro Franco Murer.

Arriva la prima fotografia, l’artista dipinge in piedi su un’impalcatura: Zeus, Demetra, Europa, il viaggio. È tutta lì, in quella prima vela, ancora non finita, la modernità di un messaggio che parla di un’umanità che cerca dentro i confini dei propri limiti la strada migliore da percorrere in armonia con l’universo intero, da ciò che è infinitamente piccolo, a ciò che è spaventosamente grande.

Ringrazio di cuore tutti: l’Ambasciatrice d’Italia in Grecia Patrizia Falcinelli, il primo consigliere dell’Ambasciata Susanna Schlein, il direttore dell’Istituto di Cultura ad Atene Francesco Neri. Il Sindaco di Messini Giorgos Athanassopoulos, il vice sindaco e assessore alla cultura del comune di Messini Giorgos Dallas, La direttrice della Sovrintendenza ai monumenti Dottoressa Evangelia Militsi.

Margherita Bovicelli

Agente Consolare Onorario d’Italia Sud Peloponneso

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Whereof thy portion also, O perverse man, is one, and tends therefore always in its striving towards the All, tiny though it be. But thou failest to perceive that all partial generation is for the sake of the Whole, in order that for the life of the World-all blissful existence may be secured,—it not being generated for thy sake, but thou for its sake.

[Plato, Laws, book 10, section 903c] Many years ago, in Cesenatico, Romagna, I came across an exhibition by Maestro Tonino Guerra. I was amazed by its spectacular beauty.The works of art were very large. The basic features that defined the lines and the almost-childlike poetry of the artist were colorful.

Artworks were painted on sheets, of the sort that were once used at the seaside in place of umbrellas.

A two-meter pole and a piece of wood were attached so as to form a cross. Large Sheets were hanging from this wood and their lower extremities were secured by pegs in the sand, so that they looked like sails. In the shadow of these sheets, bathers were protected from the heat during sunny afternoons. Tonino Guerra revived this long forgotten tradition, and integrated it in his world of wizards, flowers, ducks, and butterflies.

Last April, I visited the archaeological site of ancient Messene to attend a theatrical performance, as part of the International Festival of Ancient Greek Drama for young students.

The students’ dedication made me think about their future, not without concern.

Their deep interpretations of ancient dramas made me value the contemporary message of ancient myths, plays, and dramas.

On my way out, I stopped between olive trees and admired the magnificence of the archaeological site. The place is always changing and fascinating, as archaeologist Petros Themelis constantly presents new surprises like a magician that pulls a dove out of a handkerchief. The entire city of ancient Messene has been brought to light and offered to the world as a great gift thanks to his skills, love, intellectual honesty, and persistence.

In the shade of olive trees, I imagined a journey to ancient Greece and its myths, which

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came to us from many centuries ago. It was the idea of the journey that made me think about sails. Large painted sheets which, like the sails of a ship, would take us to another time, in ancient Greece. Myths related to this place would be the theme of the works.

So, with this ideas in my mind and these feelings in my heart, I sent a photo to my friends, Franco and Nadia Murer.

Maestro Franco Murer has created great artworks over time. He is always ready to immerse himself into work and offer us his talent. Thanks to his collaboration, under the auspices of the Italian Embassy and the Italian Cultural Institute in Athens, we brought to Greece his work Goldoni 2008, and Memories in Black and White—Real Life Stories, 2015 a message of peace and friendship among Greeks and Italians during World War II. He made us dive into the battle of Lepanto, 2017 with a truly excellent guide, Cervantes, one of the main actors of the event. I contacted Professor Mr Petros Themelis to describe him my idea and he encouraged me to continue. Meanwhile, Lina Kamarinopoulos, whom I have worked with on all previous exhibitions, presented the idea to the Municipality of Messini. A dream wos beginnings to come true. The new journey into ancient Greek myths would be painted on large sails by Maestro Franco Murer.

In the first photograph I received from Franco Murer, the artist was painting Zeus, Demeter, Europe, and the journey, while standing on a scaffolding. On that very first sail, even if it was still unfinished, everything was there. The modernity of Greek myths is about humankind questioning its own limits, looking for the best way to live in harmony with the whole universe, from the infinitely small to the infinitely great. I sincerely thank the following people: the Italian Ambassador to Greece, Patrizia Falcinelli; the Deputy Ambassador, Susanna Schein; the Director of the Italian Institute of Culture in Athens Francesco Neri; the Mayor of Messini, George Athanasopoulos; the Deputy Mayor and Cultural Advisor of the Municipality of Messini, Giorgos Ntallas; the Director of the Ephorate of Antiquities, Dr. Evangelia Militsis.

Margherita Bovicelli

Honorary Consul of Italy in the Southern Peloponnese

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Sommario/Contents/ περίληψη

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Ο FRANCO MURER (ΦΡΑΝΚΟ ΜΟΥΡΕΡ) στην Αρχαία Μεσσήνη, Πέτρος Θέμελης

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FRANCO MURER in Ancient Messene Petros Themelis

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Miti non muti Umberto Broccoli

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Myths with voices Umberto Broccoli

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Vele all’Antica Messene Sails in ancient Messene

Ιστία στην Αρχαία Μεσσήνη

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Gli dei nell’Antica Messene Franco Murer

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The gods in Ancient Messene Franco Murer

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Disegni preparatori delle vele Preparatory drawings for the sails προσχέδια

111 Biografia Biography

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Ο FRANCO MURER στην Αρχαία Μεσσήνη Πέτρος Θέμελης

Αντικρύζοντας τις μεγαλειώδεις μυθολογικές συνθέσεις του διακεκριμένου Ιταλού καλλιτέχνη Franco Murer μεταφέρεσαι αυτόματα στον κόσμο της Αναγέννησης και του μοντερνισμού, ταυτόχρονα και στη «χαμένη» μεγάλη ζωγραφική της κλασικής αρχαιότητας, στην τελειότητα του σχεδίου και στο κάλλος των μορφών της αττικής ερυθρόμορφης και μελανόμορφης αγγειογραφίας. Για πρώτη φορά ένας πολυδιάστατος ταλαντούχος καλλιτέχνης του σήμερα όπως ο Murer, γεννημένος στο Falcade το 1952, γαλουχημένος στον ελληνορωμαϊκό και αναγεννησιακό κόσμο της Ιταλικής χερσονήσου, εκθέτει έργα του στην Ελλάδα, ειδικά φιλοτεχνημένα για τον αρχαιολογικό χώρο της αρχαίας Μεσσήνης, αναγνωρίζοντας την αισθητική, παιδευτική και ιστορική αξία της, και τιμώντας την με τη εκφραστική δύναμη της καλλιτεχνικής προσφοράς του. Δεν είναι μόνο η γραφή επέκταση της όρασης, είναι και η εικαστική δημιουργία, ιδιαίτερα η ζωγραφική, όπως αυτή του Murer, επέκταση της όρασης τόσο του δημιουργού όσο και του ευαισθητοποιημένου θεατή, ο οποίος δέχεται τα μηνύματα που εκπέμπει η φόρμα και το περιεχόμενο της εικόνας. Είναι ο θεατής που επεξεργάζεται νοητικά τα μηνύματα αυτά, ανακαλώντας μνήμες και συναισθήματα, αγόμενος τελικά στην κάθαρση, μια κάθαρση ανάλογη με την αριστοτελική της τραγωδίας. Κάθε μία από τις δώδεκα παλλόμενες μυθολογικές/μυθικές παραστάσεις του Franco Murer είναι εμπνευσμένη από θεότητες, από ηρωικές μορφές, μύθους και λατρευτικά δρώμενα κυρίως της αρχαίας Μεσσήνης, βγαίνει μέσα από τα αναγεννημένα ερείπια, le antiche pietre της αρχαίας Μεσσηνιακής πρωτεύουσας, «έχει μέγεθος» είναι «μίμηση πράξεως σπουδαίας και τελείας». Το έγχρωμο σύνθετο θεματολόγιο των θείων μορφών του Murer σε ταξιδεύει πέρα από την αθλιότητα και τα πάθη του σύγχρονου αυτοκαταστροφικού κόσμου μας, στην χρυσή, κατά τον Ησίοδο, γενεά των ανθρώπων που έπλασαν οι αθάνατοι, ζούσαν τότε οι άνθρωποι ως θεοί χωρίς λύπες, μακριά από κόπους και πόνους για πάντα νέοι, όταν πέθαιναν ήταν σαν να κοιμούνται, η εύφορη γη, πραγματικός “παράδεισος”, πρόσφερε με αφθονία τους καρπούς της, είχαν όλα τα αγαθά δικά τους, ζούσαν ειρηνικά και ανέμελα. Έχουμε, επιτέλους, ανάγκη από ένα, οπτικό έστω, μήνυμα αισιοδοξίας.

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FRANCO MURER in Ancient Messene Petros Themelis

Looking at the magnificent mythological compositions of the distinguished Italian artist Franco Murer, one is automatically transported to the world of the Renaissance and modernism, as well as to the lost art of the great painting of classical antiquity, to the perfection of the design and the immense beauty of the forms of Attic red-figure and black- figure vase painting. For the first time, a multidimensional, talented contemporary artist like Murer, who was born in Falcade in 1952, and nurtured in the Greco-Roman and Renaissance world of the Italian peninsula, exhibits his works in Greece. These works have been specially created by the artist to grace the archaeological site of ancient Messene, recognizing its aesthetic, educational and historical value, and honoring the site with the expressive power of his artistic contribution.

Writing is not the only extension of vision; the creation of visual arts, especially painting like Murer’s, is also an extension of the vision of both the creator and the receptive viewer, who receives the messages conveyed by the form and content of the image. It is the viewer who mentally processes these messages, recalling memories and feelings, ultimately being led to purgation, a purgation like the catharsis of Aristotelian tragedy.

Each one of Franco Murer’s twelve vibrant mythological/mythical representations is inspired by deities, heroic figures, myths and rituals, mainly of ancient Messene, emerging from the regenerated ruins, le antiche pietre of the ancient Messenian capital, and is “of a certain magnitude”, “being an imitation [mimēsis] of an action that is serious and complete.”

Murer’s colorful and complex theme of divine figures takes you beyond the wretchedness and afflictions of our modern self-destructive world, to the ‘golden’(according to Hesiod), race of humans, created by the immortals, when humans lived as gods without sorrows, away from labor and pain, forever young, when death was like sleep, the earth was fertile, a true paradise, offering its fruits in abundance, living in prosperity, peace and carefreeness.

We are, at last, in need of a visual message of optimism.

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Miti non muti

Umberto Broccoli Lasciate l’Olimpo, audaci figli di Zeus e di Leda, e con animo a noi propizio apparite, o Castore e Polluce, che la terra e i mari correte su rapidi cavalli.

A voi è facile salvare i naviganti da pietosa morte, saltando da lontano sull’alto delle navi folte di rematori: girando luminosi nell’avversa notte intorno alle gomene, portate luce alla nave nera.

Parola di Alceo, poeta lirico -ovviamente- greco, contemporaneo di Saffo e nato a Mitilene, nell’isola di Lesbo. Siamo tra VII e VI secolo a. C. e già semplicemente rileggendo e ambientando il testo ci troviamo di fronte ad una contemporaneità quasi sconcertante.

Duemilaseicento anni fa, cosa più cosa meno, si pregavano Castore e Polluce affinché intercedessero e salvassero le vite ai naviganti in pericolo.

Castore e Polluce sono due gemelli, figli di Zeus loro padre e al tempo stesso padre degli dei. Chiamato Giove nel mondo latino e Tina in quello etrusco. Dioscuri è il loro nome e letteralmente rivela la loro origine: Διόσκουροι, “figli di Zeus”, l’uno (Castore) domatore di cavalli, l’altro (Polluce) specialista in pugilato. L’uomo antico immaginava possibile una discesa sulla terra dei Dioscuri per risolvere tragedie varie proposte dalla vita quotidiana: dalla possibilità di un naufragio, alla vittoria in guerra. Ragion per chi combatteva contro le onde del mare o contro altri uomini chiedeva aiuto, sperando di vedere apparire prima o poi i due gemelli all’orizzonte. Naufragi e guerre: temi sufficientemente attuali, da sempre difficilmente risolvibili dall’uomo, ragion per cui ci si mette nelle mani del divino.

Non solo. Ma Zeus impariamo a scuola essere marito/compagno di Era (la Giunone latina). Per cui dobbiamo immaginare una fuga extraconiugale del padre degli dei con Leda, regina di Sparta, donna rigorosamente terrestre. Piace a Zeus, Zeus la desidera

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fortemente, ma lei non ci sta. Allora il padre degli dei si trasforma in un cigno meraviglioso. Leda lo vede, ne resta affascinata, si avvicina e … resta incinta divinamente. Anche questa storia non è proprio nuova, perché non è unica per Zeus, divino e incontenibile: scende spesso dall’Olimpo perché attratto dalle bellezze terrestri facendo innervosire Era, pazientemente disposta a sopportare fino ad un certo punto le pulsioni del marito.

E anche questa non è esclusivamente una storia antica. E qualora vi interessi vedere da vicino qualche immagine dei Dioscuri, non meravigliatevi dei loro copricapi a forma di uovo: la leggenda racconta la loro nascita da due uova partorite da Leda, poiché congiunta con il Cigno/Zeus. Dioscuri esseri semidivini, involontariamente vicini a Calimero, il pulcino nero di una pubblicità famosissima di qualche decennio fa.

Al di là della preghiera di Alceo (e possiamo immaginare come questa recuperi tradizioni e invocazioni ben più antiche degli oltre duemilaseicento anni orsono), restano evidenti alcune considerazioni. La mitologia è territorio della fantasia. L’uomo antico immagina una schiera di divinità alloggiate sul monte Olimpo, tra Tessaglia e Macedonia, in vista del Mar Egeo, ma non così visibile dagli uomini, perché la sua vetta è spesso circondata da nuvole. Lassù vivono gli dei esattamente come gli uomini: con le loro stesse passioni, litigando, amando, divertendosi, banchettando, riposando e non dimenticando di scendere di tanto in tanto sulla terra, scegliendo uomini e donne da proteggere o da scegliere come preferiti. In questa storia non esiste il viceversa: gli umani non possono scalare il monte fino alla vetta. Gli umani potranno solamente limitarsi a vedere da lontano quelle nuvole bianche dietro le quali vivono gli dei. Tuttalpiù potranno sperare di essere testimoni di qualche incursione divina sulla terra o- magari- diventare oggetto di attenzioni olimpiche di qualsiasi tipo: essere scelti da un dio significa comunque cambiare vita, diventando in qualche modo semidei. Non solo, ma la collocazione stessa dell’Olimpo spiega come gli dei siano da una parte irraggiungibili e lontani e dall’altra alla portata degli umani, ai quali sono tanto, tanto vicini.

Hanno le loro stesse passioni, commettono gli stessi errori, vivono collere violente, invidie sconfinate, gelosie infantili. Sono pronti al sotterfugio, alla violenza. Sanno mentire, rubare, piangere, ridere, mangiare, bere, soffrire, divertirsi, dormire, amare, odiare, sognare. In una parola: vivere. Ma non come noi: loro sono condannati all’immortalità e -a ben vedere- a ripetere continuamente i momenti del vivere quotidiano. Contraddizioni comprese: la loro vita è il nostro specchio. Nei loro comportamenti, anche quelli più estremi e incomprensibili, si distinguono le nostre possibilità di sbagliare, di prendere strade senza ritorno, di trovarsi in situazioni le cui risposte sono proprio nella (ri)lettura dei miti.

Direttamente o indirettamente Franco Murer ci mette davanti a tutto questo. Nei Tori un ricordo indiretto di una delle fughe in avanti di Zeus quando si trasforma in un toro per concupire Europa, la bella e giovane figlia del re di Tiro. Lei, affascinata, lo cavalca e diventa vittima della ennesima violenza divina del potere e-come tale- impunita. È tema

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così lontano dai nostri tempi? Direi proprio di no. E viceversa (qui ci sta). In Orfeo e le Menadi Murer racconta come Orfeo -disperato per la fine della sua compagna Euridice- si rifiuta di partecipare ai festini delle Menadi, una sorta di sacerdotesse, invasate e possedute da Dioniso. Orfeo finirà massacrato dalle Menadi, proprio perché invasate e possedute. Succede, quando la testa si perde ubriacandosi di tutto e con tutto.

Così i Centauri. Nulla a che vedere con i motociclisti e Murer ne rappresenta la forza animalesca mescolata alla razionalità umana: metà bestia e metà uomo, con una prevalenza della bestia sull’uomo.

Le immagini di Murer, secondo me, solo apparentemente restituiscono visioni del mondo antico. O meglio, ne restituiscono l’iconografia ripensata e rielaborata e -contestualmente- ci danno la possibilità di riflettere su noi stessi e le nostre contraddizioni, le nostre sofferenze, la nostra personalità recuperata dalle pieghe della mitologia antica. È il passato, sempre presente per guardare al futuro.

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Myths with voices Umberto Broccoli

“Leave Olympus, you brave sons of Zeus and Leda, and with a favourable spirit appear to us, Castor and Pollux, who run over land and sea on swift horses.

It is easy for you to save sailors from a pitiful death, leaping from a distance onto the high decks of the rowing boats: twirling brightly around the ropes, in the dismal night, bring light to the black ship.”

These are the words of Alcaeus, a lyric poet – obviously Greek - who was a contemporary of Sappho and born in Mytilene, on the island of Lesbos. He was writing between the seventh and sixth centuries BC, yet simply by rereading and contextualising these words, we find ourselves faced with a modernity that is almost unnerving. Two thousand six hundred years ago (more or less) Castor and Pollux were asked to intercede and save the lives of sailors in danger.

Castor and Pollux are twins, sons of Zeus – who is both their father and the father of the gods; he is known as Jupiter in the Latin world and Tina in the Etruscan world.

The twins are called the Dioscuri, and this name literally reveals their origin: Διόσκουροι, ‘sons of Zeus’, one (Castor) a horse tamer, the other (Pollux) an expert boxer. The ancients imagined that the Dioscuri were able to descend to earth and resolve the various tragedies of daily life: from the possibility of a shipwreck, to victory in war.

For this, they were invoked by those who fought against the waves of the sea, or against other men, and who hoped to see the twins appear on the horizon, sooner or later.

Shipwrecks and wars: themes that are all too current, and which have always posed problems for humans, which is why we put ourselves in the hands of the divine.

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And that is not all. We learn at school that Zeus is the husband/companion of Hera (the Latin Juno). So we must assume that the father of the gods had an extramarital affair with Leda, queen of Sparta, an entirely earthly woman. Zeus likes her. Zeus desires her strongly, but she refuses him. The father of the gods then transforms himself into a wonderful swan. Leda sees him and is fascinated. She approaches him, and ... is divinely impregnated. This story is not exactly new, because for Zeus – divine and uncontrollable – it is not a one-off occurrence: he often descends from Olympus because he is attracted to earthly beauties, making Hera angry, though she is patiently willing to tolerate (up to a certain point) her husband’s impulses. And this, too, is not an exclusively ancient story. If you are drawn to seeing some images of the Dioscuri up close, you should not be surprised that their headdresses are shaped like eggs: the legend tells of their birth from two eggs born from Leda, after she had joined in union with the Swan/Zeus. The Dioscuri are semi-divine beings, unintentionally close to Calimero, the black chick who starred in a famous advertisement a few decades ago.

From Alcaeus’ prayer (and we can imagine how this itself ties into traditions and invocations far older than two thousand six hundred years), other ideas spring to mind.

Mythology is the territory of fantasy. The ancients imagined a group of deities living on Mount Olympus, which is located between Thessaly and Macedonia, and visible from the Aegean Sea – although not so visible to humans, since its summit is often surrounded by clouds. Up there, the gods live exactly like humans: with the same passions, fighting, loving, having fun, feasting, resting, and not forgetting to come down to earth occasionally, selecting men and women to protect or to have as favourites. In this story, there is no vice versa: humans cannot climb the mountain to its summit. Humans are limited to seeing from afar those white clouds behind which the gods live. At most, they can hope to witness some divine visit to earth or – perhaps – to become the object of Olympian attentions of whatever kind: to be chosen by a god is anyhow a life-changing event, which means becoming in some way semi-divine.

Not only that, but the very location of Olympus explains how the gods are on the one hand unreachable and distant, and on the other within reach of humans, to whom they are so, so close.

The gods have the same passions: they make the same mistakes, live with violent anger, boundless envy, childish jealousy. They are ready for subterfuge, for violence. They know how to lie, steal, cry, laugh, eat, drink, suffer, have fun, sleep, love, hate, dream.

In a word: live. But they are also unlike us: they are condemned to immortality and – on closer inspection – to continually repeat the moments of everyday life. Contradictions included: their life is our mirror. In their behaviour, even at its most extreme and incomprehensible, we can discern our own opportunities for making mistakes, for taking roads with no return, for finding ourselves in conundrums whose solutions can be found in the (re)reading of myths.

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Directly or indirectly, Franco Murer places all this in front of us. In Bulls, there is an indirect memory of one of Zeus’s impulsive flights, when he transforms into a bull through desire for Europa, the beautiful young daughter of the king of Tyre. Fascinated, she rides him and becomes a victim of the umpteenth divine – and, as such, unpunished – abuse of power. Is this subject so far from our own times? I would say not. And vice versa (here it does apply). In Orpheus and the Maenads, Murer tells how Orpheus – desperate because of the demise of his partner Eurydice – refuses to participate in the feasts of the Maenads, who are sorts of priestesses, invaded and possessed by Dionysus. Orpheus will end up being massacred by the Maenads, precisely because they are invaded and possessed. It happens, when one loses one’s head, getting drunk on everything, and with everything.

The Centaurs are like this, too. Nothing like motorcyclists, Murer represents the animal force mixed with human rationality: half beast and half man, with the beastly part taking precedence over the human.

Murer’s images, in my view, seem to give us visions of the ancient world. Or rather, they give us back its iconography, reconsidering and re-elaborating it, and – contextually – they give us the opportunity to reflect on ourselves and our contradictions, our sufferings, and our personality, which is recovered from the folds of ancient myth.

This is the past, which is always present, as we look to the future.

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Vele all’Antica Messene Sails in ancient Messene

Ιστία στην Αρχαία Μεσσήνη

1

Leda e il cigno Leda and the swan H Λήδα και ο κύκνος

2 Castore e Polluce, Afareo re di Messene Castor and Pollux, Aphareus King of Messene Κάστορας και Πολυδεύκης, Αφαρεύς ο βασιλιάς της Μεσσήνης 3

Zeus, padre degli dèi e degli uomini Zeus - Father of gods and men Ο Δίας, ο πατέρας των θεών και των ανθρώπων 4 Antica Messene - Un viaggio nella storia Ancient Messene - A journey through history

Αρχαία Μεσσήνη - ένα ταξίδι στην Ιστορία

7

Poseidone, Dio delle acque Poseidon - God of the Sea Ποσειδώνας, ο θεός της θάλασσας

8

Orfeo negli inferi Orpheus in the underworld Ο Ορφέας στον Άδη

9 Aristomene, “portano il toro e lo legano alla colonna che si innalza sul sepolcro” Aristomenes - “they bring the bull and tie it to the column that marks the tomb” Αριστομένης - «μεταφέρουν τον ταύρο και τον δένουν στον κίονα που βγαίνει από τον τάφο» 10 Asclepio il dio della medicina Asclepius the god of medicine Ασκληπιός, ο θεός της ιατρικής

5 Ithome lava Zeus nella fontana di Arsinoe a Messene Ithome washes Zeus in the fountain of Arsinoe in Messene Η Ιθώμη πλένει τον Δία στην κρήνη Αρσινόη στην Μεσσήνη

11 Issione, re dei Lapiti, la più antica tribù della Tessaglia Ixion, king of the Lapiths, the oldest tribe of Thessaly Ο Ιξίων, ο βασιλιάς των Λαπιθών, της πιο αρχαίας φυλής της Θεσσαλίας

6

12 Costellazione del Centauro

Persefone e Demetra Persephone and Demeter Περσεφόνη και Δήμητρα

Constellation of Centaurs Ο Αστερισμός του Κενταύρου

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Leda e il cigno Leda and the swan H Λήδα και ο κύκνος

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Castore e Polluce, Afareo re di Messene Castor and Pollux, Aphareus King of Messene Κάστορας και Πολυδεύκης, Αφαρεύς ο βασιλιάς της Μεσσήνης

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Zeus, padre degli dèi e degli uomini Zeus - Father of gods and men Ο Δίας, ο πατέρας των θεών και των ανθρώπων

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Antica Messene - Un viaggio nella storia Ancient Messene - A journey through history Αρχαία Μεσσήνη - ένα ταξίδι στην Ιστορία

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Ithome lava Zeus nella fontana di Arsinoe a Messene Ithome washes Zeus in the fountain of Arsinoe in Messene Η Ιθώμη πλένει τον Δία στην κρήνη Αρσινόη στην Μεσσήνη

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Persefone e Demetra Persephone and Demeter Περσεφόνη και Δήμητρα

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Poseidone, Dio delle acque Poseidon - God of the Sea Ποσειδώνας, ο θεός της θάλασσας

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Orfeo negli inferi Orpheus in the underworld Ο Ορφέας στον Άδη

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Aristomene, “portano il toro e lo legano alla colonna che si innalza sul sepolcro” Aristomenes – “they bring the bull and tie it to the column that marks the tomb” Αριστομένης- «μεταφέρουν τον ταύρο και τον δένουν στον κίονα που βγαίνει από τον τάφο»

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Asclepio il dio della medicina Asclepius the god of medicine Ασκληπιός, ο θεός της ιατρικής

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Issione, re dei Lapiti, la più antica tribù della Tessaglia Ixion, king of the Lapiths, the oldest tribe of Thessaly Ο Ιξίων, ο βασιλιάς των Λαπιθών, της πιο αρχαίας φυλής της Θεσσαλίας

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Costellazione del Centauro Constellation of Centaurs Ο Αστερισμός του Κενταύρου

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Gli dei nell’Antica Messene Franco Murer

Il mito ha in sé tutta la memoria di un popolo, il piacere dell’ascolto, la bellezza dei racconti. Costantino Kavafis ci ricorda che “non muoiono gli dei, muore la fede della moltitudine ingrata dei mortali. Immortali gli dei”.

Nella sua poesia Itaca ci augura che: “Se ti metti in viaggio per Itaca augurati che sia lunga la via, piena di conoscenze e d’avventure.

Non temere Lestrigoni e Ciclopi o Posidone incollerito: nulla di questo troverai per via se tieni alto il pensiero, se un’emozione eletta ti tocca l’anima e il corpo.

Non incontrerai Lestrigoni e Ciclopi, e neppure il feroce Posidone, se non li porti dentro, in cuore, se non è il cuore a alzarteli davanti.

Augurati che sia lunga la via.

Che siano molte le mattine estive in cui felice e con soddisfazione entri in porti mai visti prima; …”

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“Il mio viaggio per Itaca ha inizio nel 1973 quando mio padre Augusto organizzò la mia prima mostra personale e portò con sé due suoi grandi amici che mi insegnarono l’amore per la Grecia classica e la convinzione che ogni pensiero vola e insieme sta inciso nel tuo cuore.

Questi due maestri erano Tono Zancanaro e Cesare Zavattini”.

Ognuno di noi ha un suo giardino, luogo effimero se non lo si cura, lasciando che rimanga una cosa fragile e indifesa. È da incontri come questi e dai loro insegnamenti che si sviluppa il seme che dà vita a una metamorfosi intima alimentata dalla curiosità. Si tratta di un percorso che ti porta alla ricerca di te stesso proprio attraverso il tuo lavoro.

Oggi, a distanza di cinquant’anni, la realizzazione delle dodici vele dedicate agli dei del Sito archeologico dell’Antica Messene, racchiudono e restituiscono proposito di ringraziamento verso chi mi ha indicato un sentiero possibile per affrontare quello che ho rappresentato attraverso queste opere. Sono vele esposte al vento, al sole, alle intemperie che diventano alla fine, attraverso il mito, anche un mio autoritratto di uomo e artista.

Ringrazio Margherita Bovicelli che “sul campo” ha ideato con la collaborazione di Petros Themelis e dell’ambasciatrice italiana Patrizia Falcinelli questo meraviglioso viaggio verso una visione primordiale di uno dei luoghi più affascinanti ed educativi giunto a noi attraverso i secoli e che aiuta a purificarci da molte luci di celluloide. In queste vele realizzate per Messene, ho sviluppato tutto il mio andare fin qui, sorretto sempre da mio padre Augusto e da altri compagni di viaggio, fondamentali per il mio cammino. È stato un viaggio affascinante e faticoso, con alti e bassi inevitabili e con tutti quei dubbi fondamentali che mi hanno aiutato e spronato sempre a riprendere il lavoro il giorno dopo.

Perché, come dice Kavafis, più che l’approdo a Itaca, quello che conta davvero è il viaggio; e quindi, una volta ancora, “Augurati che sia lunga la via…(…verso) porti mai visti prima”.

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The Gods in Ancient Messene Franco Murer

Mythology embodies the shared memories of a culture – the pleasures of listening, the beauty of stories. Constantine Cavafy reminds us that “the gods do not die; it is the faith of the ungrateful multitude of mortals that dies. The gods are immortal.” In his poem Ithaca, he advises us: “As you set out for Ithaca hope your road is a long one, full of discoveries and adventures.

Do not fear Laistrygonians and Cyclops, or angry Poseidon, for you will find nothing like that on your way so long as you keep your thoughts raised high, and so long as a rare emotion touches your spirit and your body.

You will not meet Laistrygonians and Cyclops, or ferocious Poseidon unless you bring them along inside your heart, unless your heart itself sets them up in front of you.

Hope your road is a long one.

May there be many summer mornings when, with pleasure, and with joy, you enter ports you have never seen before…”

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My own journey to Ithaca began in 1973 when my father Augusto organised my first solo exhibition, and brought along two of his great friends, who taught me the love of classical Greece and the conviction that every thought both flies and is engraved in the heart. These two masters were Tono Zancanaro and Cesare Zavattini.

Each one of us has our own garden, which only flourishes if we care for it, and do not leave it fragile and defenceless. Such encounters and teachings plant the seeds of an intimate metamorphosis, fuelled by curiosity. This is a journey which leads you to look for yourself, through your work.

Today, fifty years later, these twelve sails dedicated to the gods of the archaeological site of ancient Messene encapsulate and communicate my gratitude to those who showed me how I might approach the things that I have represented here, in these creations.

These are sails exposed to the wind, to the sun, to the elements, and they have ultimately become, through myth, a kind of portrait of myself, as both a man and an artist.

I thank Margherita Bovicelli who has, together with Petros Themelis and the Italian ambassador Patrizia Falcinelli, organised this wonderful journey towards a primordial vision of one of the most fascinating and enlightening places that has been passed down to us through the centuries – a place which helps us to purify ourselves from These sails made for Messene reflect my entire journey so far, a journey I have made with the constant support of my father Augusto and my other fellow travellers, who have been fundamental on this path.

It has been a fascinating and tiring journey, with inevitable ups and downs, and marked by all those fundamental doubts that have nevertheless always helped me, pushing me to resume work the next day.

Because, as Cavafy says, more than arriving in Ithaca, what really matters is the journey; and therefore, once again, “hope your road is a long one... (towards) ports you have never seen before.”

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Disegni preparatori delle vele Preparatory drawings for the sails Προσχέδια των ιστίων

1

Leda e il cigno Leda and the swan H Λήδα και ο κύκνος

2 Castore e Polluce, Afareo re di Messene Castor and Pollux, Aphareus King of Messene Κάστορας και Πολυδεύκης, Αφαρεύς ο βασιλιάς της Μεσσήνης 3

Zeus, padre degli dèi e degli uomini Zeus - Father of gods and men Ο Δίας, ο πατέρας των θεών και των ανθρώπων 4 Antica Messene - Un viaggio nella storia Ancient Messene - A journey through history

Αρχαία Μεσσήνη - ένα ταξίδι στην Ιστορία

7

Poseidone, Dio delle acque Poseidon - God of the Sea Ποσειδώνας, ο θεός της θάλασσας

8

Orfeo negli inferi Orpheus in the underworld Ο Ορφέας στον Άδη

9 Aristomene, “portano il toro e lo legano alla colonna che si innalza sul sepolcro” Aristomenes - “they bring the bull and tie it to the column that marks the tomb” Αριστομένης- «μεταφέρουν τον ταύρο και τον δένουν στον κίονα που βγαίνει από τον τάφο» 10 Asclepio il dio della medicina Asclepius the god of medicine Ασκληπιός, ο θεός της ιατρικής

5 Ithome lava Zeus nella fontana di Arsinoe a Messene Ithome washes Zeus in the fountain of Arsinoe in Messene Η Ιθώμη πλένει τον Δία στην κρήνη Αρσινόη στην Μεσσήνη

11 Issione, re dei Lapiti, la più antica tribù della Tessaglia Ixion, king of the Lapiths, the oldest tribe of Thessaly Ο Ιξίων, ο βασιλιάς των Λαπιθών, της πιο αρχαίας φυλής της Θεσσαλίας

6

12 Costellazione del Centauro

Persefone e Demetra Persephone and Demeter Περσεφόνη και Δήμητρα

Constellation of Centaurs Ο Αστερισμός του Κενταύρου

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1 Leda e il cigno Leda aveva “tenuto in braccio” il bellissimo cigno di cui Zeus aveva preso l’aspetto per sedurla e dalle uova nascono i due gemelli, Castore e Polluce. Figli di Zeus e Leda, regina di Sparta. Castore, guerriero e domatore di cavalli. Polluce invincibile nel pugilato. Conosciuti come Dioscuri, Polluce che non era creatura divina, viene ucciso; al che Castore implorò il padre Zeus che metà della sua vita fosse data al fratello permettendo loro di stare insieme, metà nel tempo dei vivi e metà nel mondo dei morti.

1 Leda and the swan Leda had “held in her arms” the beautiful swan which Zeus had morphed into, when he wanted to seduce her. The twins, Castor and Pollux, were then born from eggs. They were the sons of Zeus and Leda, Queen of Sparta. Castor was a warrior, and a horse tamer. Pollux was a champion boxer. The two were known as the Dioscuri. Pollux was not divine, and he was killed; Castor then begged his father Zeus that half of his own life be given to his brother, thus allowing them to stay together, spending half their time with the living, and half with the dead.

1 Η Λήδα και ο κύκνος Η Λήδα είχε “κρατήσει στην αγκαλιά της” τον όμορφο κύκνο στον οποίο είχε μεταμορφωθεί ο Δίας, όταν ήθελε να την αποπλανήσει. Τα δίδυμα, ο Κάστωρ και ο Πολυδεύκης, γεννήθηκαν τότε από αυγά. Αυτοί ήταν οι γιοι του Δία και της Λήδας, βασίλισσας της Σπάρτης. Ο Κάστορας ήταν πολεμιστής και δαμαστής αλόγων. Ο Πολυδεύκηε ήταν πρωταθλητής πυγμαχίας. Οι δύο τους ήταν γνωστοί ως Διοσκούροι. Ο Πολυδεύκης δεν ήταν θεός, και σκοτώθηκε. Ο Κάστορας τότε παρακάλεσε τον πατέρα του,τον Δία να δοθεί η μισή του ζωή στον αδελφό του, επιτρέποντάς τους έτσι να μένουν μαζί, περνώντας το μισό χρόνο τους με τον με τους ζωντανούς και το μισό με τους νεκρούς.

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2 Castore e Polluce, Afareo re di Messene L’ uomo antico immaginava possibile una discesa sulla terra dei Dioscuri per risolvere tragedie varie proposte dalla vita quotidiana: dalla possibilità di un naufragio, alla vittoria in guerra. Ragion per chi combatteva contro le onde del mare o contro altri uomini chiedeva aiuto, sperando di vedere apparire prima o poi i due gemelli all’orizzonte.

2 Castor and Pollux, Aphareus King of Messene The ancients imagined that the Dioscuri were able to descend to earth and resolve the various tragedies of daily life: from the possibility of a shipwreck, to victory in war. For this, they were invoked by those who fought against the waves of the sea, or against other men, and who hoped to see the twins appear on the horizon, sooner or later.

2 Κάστωρ και Πολυδεύκης, Αφαρεύς ο βασιλιάς της Μεσσήνης Οι αρχαίοι φαντάζονταν ότι οι Διόσκουροι ήταν ικανοί να κατέβουν στη γη και να επιλύσουν τις διάφορες τραγωδίες της καθημερινής ζωής: από την πιθανότητα ενός ναυαγίου, μέχρι τη νίκη στον πόλεμο. Για το λόγο αυτό, τους επικαλούνταν εκείνοι που πολεμούσαν ενάντια στα κύματα της θάλασσας, ή εναντίον άλλων ανδρών, και οι οποίοι ήλπιζαν να δουν τα δίδυμα αδέλφια να εμφανίζονται στον ορίζοντα, νωρίτερα ή αργότερα.

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3 Zeus - Padre degli dèi e degli uomini Il sito archeologico dell’Antica Messene era dedicato a Zeus.

I suoi simboli sono la folgore, il toro, l’aquila, la quercia e l’olivo

3 Zeus - Father of gods and men The archaeological site of ancient Messene, which was dedicated to Zeus. His symbols are the thunderbolt, the bull, the eagle, the oak and the olive tree.

3 Δίας: ο πατέρας θεών και ανθρώπων Ο αρχαιολογικός χώρος της αρχαίας Μεσσήνης, η οποία ήταν αφιερωμένη στον Δία. Τα σύμβολά του είναι ο κεραυνός, ο ταύρος, ο αετός, η βελανιδιά και η ελιά.

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4 Antica Messene - Un viaggio nella storia Il sito archeologico si trova in una vallata ai piedi del monte Ithome circondato da ulivi e dal territorio ondulato del Peloponneso.

Dalle sue possenti mura difensive si vede il mare.

4 Ancient Messene - A journey through history The archaeological site is situated in a valley at the foot of Mount Ithome, surrounded by olive trees and the undulating landscape of the Peloponnese. The sea can be glimpsed from the great defensive walls of Messene.

4 Αρχαία Μεσσήνη - Ένα ταξίδι στην ιστορία Ο αρχαιολογικός χώρος βρίσκεται σε μια κοιλάδα στους πρόποδες του όρους Ιθώμη, περιτριγυρισμένος από ελαιόδεντρα και το κυματιστό τοπίο της Πελοποννήσου. Από τα ισχυρά αμυντικά της τείχη βλέπεις τη θάλασσα.

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5 Ithome lava Zeus nella fontana di Arsinoe a Messene Zeus figlio di Crono e di Rea. Il padre, dopo aver appreso da un oracolo che un figlio avrebbe potuto spodestarlo, cominciò a divorare i figli che generava.

La sposa Rea decise di salvare l’ultimo dei suoi figli, con l’aiuto di Gea, partorì di nascosto il piccolo e al posto di Zeus consegnò a Crono una grossa pietra avvolta in fasce che il Titano divorò in un boccone.

Preso in consegna il neonato le ninfe locali Ithome e Neda lo lavarono nella sorgente Arsinoe. All’entrata del sito archeologico troviamo la fontana di Zeus.

5 Ithome washes Zeus in the fountain of Arsinoe in Messene Zeus, son of Cronus and Rhea. Cronus, after learning from an oracle that one of his sons could overthrow him, began to devour his children as soon as they were born.

His wife, Rhea, decided to save the last of her children, with the help of Gaia. She gave birth to the child in secret, and instead of giving Cronus the baby Zeus, she handed him a large stone wrapped in swaddling clothes, which the Titan devoured in one bite.

Taking the newborn into their care, two local nymphs named Ithome and Neda washed him in the Arsinoe spring. The fountain of Zeus is situated at the entrance of the archaeological site.

5 Η Ιθώμη πλένει τον Δία στην κρήνη Αρσινόη Δίας, γιος του Κρόνου και της Ρέας. Ο Κρόνος, αφού έμαθε από ένα χρησμό ότι ένας από τους γιους του μπορούσε να τον ανατρέψει, άρχισε να καταβροχθίζει τα παιδιά του μόλις γεννιόντουσαν. Η σύζυγός του, η Ρέα, αποφάσισε να σώσει το τελευταίο από τα παιδιά της, με τη βοήθεια της Γαίας. Γέννησε το παιδί κρυφά, και αντί να δώσει στον Κρόνο το μωρό Δία, του παρέδωσε μια μεγάλη πέτρα τυλιγμένη σε σάβανα, την οποία ο Τιτάνας καταβρόχθισε με μια μπουκιά. Παίρνοντας το νεογέννητο υπό τη φροντίδα τους, δύο ντόπιες νύμφες με τα ονόματα Ιθώμη και Νέδα το πλένουν στην πηγή της Αρσινόης. Η κρήνη του Δία βρίσκεται στην είσοδο του αρχαιολογικού χώρου.

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6 Persefone e Demetra Persefone Sposa di Ade, regina dell’oltretomba e dea della primavera. Il divino Ade, figlio di Crono e di Rea, il dio dell’oltretomba, rapì Persefone ancora fanciulla, mentre coglieva i fiori in un prato. La madre Demetra, partita alla ricerca della figlia, aveva provocato la sterilità dei campi e per molti mesi la popolazione fu costretta alla fame. Zeus fece risalire dagli inferi Persefone a condizione che non avesse toccato cibo nell’Ade. Persefone aveva assaggiato qualche chicco di melagrana. Zeus intervenne decretando che Persefone avrebbe vissuto per sei mesi (autunno e inverno) con Ade e per sei mesi con Demetra (Primavera ed estate), facendo rifiorire la natura.

6 Persephone and Demeter Persephone, wife of Hades, queen of the underworld and goddess of the Spring. The divine Hades, son of Cronus and Rhea and god of the underworld, kidnapped the young Persephone while she was picking flowers in a meadow. Her mother Demeter set off in search of her daughter, which made the fields barren; for many months, the population was close to starvation. Zeus agreed that he would bring Persephone back up from the underworld, but only on the condition that she did not eat anything in Hades. However, Persephone had sampled a few pomegranate seeds while she was down there. Zeus therefore decreed that Persephone would live for six months (autumn and winter) with Hades and for six months with Demeter (Spring and Summer), thus making nature flourish again.

6 Περσεφόνη και Δήμητρα Περσεφόνη, σύζυγος του Άδη, βασίλισσα του Κάτω Κόσμου και θεά της Άνοιξης. Ο θεϊκός Άδης, γιος του Κρόνου και της Ρέας και θεός του Κάτω Κόσμου, απήγαγε τη νεαρή Περσεφόνη ενώ μάζευε λουλούδια σε ένα λιβάδι. Η μητέρα της Δήμητρα ,άρχισε να αναζητά την κόρη της, γεγονός που έκανε τα χωράφια άγονα, έτσι για πολλούς μήνες, ο πληθυσμός ήταν κοντά στην πείνα. Ο Δίας συμφώνησε ότι θα έφερνε την Περσεφόνη πίσω από τον Κάτω Κόσμο, αλλά μόνο με τον όρο ότι δεν θα έτρωγε τίποτα στον Άδη. Ωστόσο, Η Περσεφόνη είχε δοκιμάσει μερικούς σπόρους ροδιού όσο ήταν εκεί κάτω. Ο Δίας έτσ αποφάσισε ότι η Περσεφόνη θα ζούσε έξι μήνες (φθινόπωρο και χειμώνα) με τον Άδη και έξι μήνες με τη Δήμητρα (Άνοιξη και Καλοκαίρι), κάνοντας έτσι τη φύση να ανθίσει ξανά.

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7 Poseidone - Dio delle acque Poseidone, il dio del mare, dei terremoti, protettore dei cavalli. Nacque da Crono e da Rea, fratello di Era, di Demetra, Estia, Ade e del dio Zeus.

Il mondo venne diviso in tre regni, Zeus ricevette il cielo, Ade il mondo dell’oltretomba e Poseidone le acque e il mare.

7 Poseidon - God of the Sea Poseidon, god of the sea, of earthquakes, protector of horses. He was born from Cronus and Rhea, and was brother of Hera, Demeter, Hestia, Hades and the god Zeus.

The world was initially divided into three kingdoms. Zeus received the sky, Hades the underworld and Poseidon the waters and the sea.

7 Ποσειδώνας: ο θεός της θάλασσας Ποσειδώνας, θεός της θάλασσας, των σεισμών, προστάτης των αλόγων. Γεννήθηκε από τον Κρόνο και τη Ρέα, και ήταν αδελφός της Ήρας, της Δήμητρας, της Εστίας, του Άδη και του θεού Δία. Ο κόσμος ήταν αρχικά χωρισμένος σε τρία βασίλεια. Ο Δίας έλαβε τον ουρανό, ο Άδης τον Κάτω Κόσμο και ο Ποσειδώνας τα νερά και τη θάλασσα.

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8 Orfeo negli inferi Ovidio nelle sue Metamorfosi racconta la discesa agli inferi di Orfeo per riprendersi la sua sposa Euridice. Orfeo ha imparato a suonare direttamente dalle Muse la lira che Apollo stesso gli ha donato. Nell’Oltretomba, Orfeo non solo riesce ad incantare con la sua musica Caronte il traghettatore, Cerbero, i tre giudici dei morti e Ade che gli restituirà Euridice al mondo dei vivi alla condizione che non si volti mai indietro finché non sia arrivata alla luce del sole. Durante la salita Orfeo continua a suonare, appena intravede la luce si gira per abbracciarla, la sposa era ancora in ombra e la perde per sempre.

8 Orpheus in the underworld In his Metamorphoses, the poet Ovid describes Orpheus’ descent to the Underworld, where he would recover his wife Eurydice. The god Apollo himself had given Orpheus a lyre, and the Muses taught him how to play it. In the Underworld, Orpheus managed to enchant Charon the ferryman with his music, as well as Cerberus, the three judges of the dead, and Hades, who agreed to return Eurydice to the world of the living, on the condition that Orpheus would not look back at her before she had reached the sunlight. During their ascent, Orpheus continued to play, but as soon as he saw the light, he turned to embrace her. His wife, however, was still in the shadows, and so he lost her forever.

8 Ο Ορφέας στον Κάτω Κόσμο Στις Μεταμορφώσεις του, ο ποιητής Οβίδιος περιγράφει την κάθοδο του Ορφέα στον Κάτω Κόσμο, για να πάρει πίσω τη σύζυγό του Ευρυδίκη. Ο ίδιος ο θεός Απόλλωνας είχε δώσει στον Ορφέα μια λύρα, και οι Μούσες του έμαθαν πώς να την παίζει. Στον Κάτω Κόσμο, ο Ορφέας κατάφερε να μαγέψει με τη μουσική του τον Χάροντα, τον πορθμέα, τον Κέρβερο, τους τρεις κριτές τουτων νεκρών, και ο Άδης, ο οποίος συμφώνησε να επιστρέψει την Ευρυδίκη στον κόσμο των ζωντανών, με την προϋπόθεση ότι ο Ορφέας δεν θα γύριζε να την κοιτάξει πριν βγουν στο φως του ήλιου. Κατά τη διάρκεια της ανάβασής τους, ο Ορφέας συνέχισε να παίζει, αλλά μόλις είδε το φως, γύρισε για να την αγκαλιάσει. Η σύζυγός του, ωστόσο, ήταν ακόμα στη σκιά, και έτσι την έχασε για πάντα.

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9 Aristomene – “portano il toro e lo legano alla colonna che si innalza sul sepolcro”.

Alla colonna che si innalza dalla tomba di Aristomene, eroe della seconda guerra messenica, veniva legato un toro, se agitandosi e saltando scuoteva la colonna era un buon presagio per i Messeni; se la colonna rimaneva immobile annunciava sventure.

Sulla tomba di Aristomene venivano compiuti numerosi riti.

9 Aristomenes – “they bring the bull and tie it to the column that marks the tomb”.

A bull was tied to the column that marked the tomb of Aristomenes, hero of the second Messenian war. If it shook the column with its agitated and leaping movements, this was taken as a good omen for the Messenians; but if the column remained motionless, this signified that misfortunes were on the way. Numerous rituals were performed at the tomb of Aristomenes.

9 Αριστομένης- «μεταφέρουν και δένουν τον ταύρο στη στήλη που υψώνεται από τον τάφο » Στη στήλη που υψώνεται από τον τάφο του Αριστομένη, ήρωα του Δεύτερου Μεσσηνιακού Πολέμου ένας ταύρος ήταν δεμένος, αν κουνιόταν και πηδούσε και ταρακουνούσε τη στήλη ήταν ένας καλός οιωνός για τους Μεσσήνιους- αν η στήλη παρέμενε ακίνητη, αυτό προμήνυε κακοτυχία. Στον τάφο του Αριστομένη τελούνταν πολυάριθμες τελετές.

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10 Asclepio il dio della medicina Figlio di Apollo e di Arsinoe, è un semidio. Imparò la medicina dal centauro Chirone, e dal padre Apollo e divenne così abile nell’uso dei ferri chirurgici e nel somministrare erbe benefiche che ora è onorato come il padre della medicina.

Asclepio ricevette dalla dea Atena il dono di cambiare il suo sangue con quello di Medusa, la Gorgone. Il sangue che sgorgava dalle vene dal fianco sinistro era velenoso, ma quello del fianco destro aveva il potere di guarire qualsiasi malattia e di fare risorgere i morti.

Il bastone di Asclepio aveva poteri terapeutici e poteva guarire ogni malattia. Il serpente rappresenta il potere della guarigione del dio, simboleggiato dalla muta del rettile che richiama un’eterna rinascita.

10 Asclepius the god of medicine Son of Apollo and Arsinoe, Asclepius is a demigod. He learned medicine from the centaur Chiron and his father Apollo, and he became so skilled in using surgical instruments and in administering herbal medicines that he is now revered as the father of medicine.

The goddess Athena gave him the power to exchange his blood with that of Medusa, the Gorgon. The blood that flowed from the veins of Medusa’s left side was poisonous, but that which flowed from the right side had the power to heal any illness, and to resurrect the dead. Asclepius’ staff also had therapeutic powers and could cure every illness. The serpent represents the healing power of the god, which is symbolised by the shedding of the serpent’s skin, and the notion of eternal rebirth that this recalls.

10 Ασκληπιός, ο Θεός της Ιατρικής Γιος του Απόλλωνα και της Αρσινόης, ο Ασκληπιός είναι ημίθεος. Έμαθε ιατρική από τον Κένταυρο Χείρωνα και του πατέρα του Απόλλωνα, και έγινε τόσο ικανός στη χρήση χειρουργικών εργαλείων και στη χορήγηση φυτικών φαρμάκων, ώστε να τον τιμούν σήμερα ως τον πατέρα της ιατρικής. Η θεά Αθηνά του έδωσε τη δυνατότητα να ανταλλάξει το αίμα του με αυτό της Μέδουσας, η Γοργόνα. Το αίμα που έτρεχε από τις φλέβες της αριστερής πλευράς της Μέδουσας ήταν δηλητηριώδες, αλλά αυτό που έρεε από τη δεξιά πλευρά είχε τη δύναμη να θεραπεύει κάθε ασθένεια και να ανασταίνει τον νεκρό. Το σκήπτρο του Ασκληπιού είχε επίσης θεραπευτικές δυνάμεις και μπορούσε να θεραπεύσει κάθε ασθένεια. Το φίδι αντιπροσωπεύει τη θεραπευτική δύναμη του θεού, η οποία συμβολίζεται με την αποβολή του δέρματος του φιδιού, και την έννοια της αιώνιας αναγέννησης που αυτό θυμίζει.

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11 Issione, re dei Lapiti, la più antica tribù della Tessaglia Mitico re tessalico dei Lapiti, figlio di Flegia e di Perimele. Fece morire a tradimento il re Deioneo, di cui aveva sposato la figlia Dia, senza consegnargli i doni promessi. Egli fu il primo a portare tra i mortali l’assassinio di congiunti. Egli cadde preda della follia e nessuno, uomo o dio voleva purificarlo del suo delitto. Zeus stesso ebbe pietà di lui, lo purificò e lo ospitò in cielo e gli donò l’immortalità. Issione nella sua ingratitudine tentò di usare violenza a Era, sposa di Zeus. Issione fu invitato dal dio a un banchetto e non si accorse che la donna che stava desiderando non era la dea Era, bensì una donna creata da Zeus stesso (con una nuvola chiamata Nefele) si unì generando i centauri. Così il dio, irato, lo consegnò a Ermes perché lo torturasse e flagellasse senza pietà. Fu poi gettato nel Tartaro e legato con serpi ad una ruota con l’intervento di Ermes ed Efesto e fu condannato a girare in eterno nella volta celeste.

11 Ixion, king of the Lapiths, the oldest tribe of Thessaly The mythical Thessalian king of the Lapiths, son of Phlegyas and Perimele. Ixion betrayed and killed King Deioneus, whose daughter, Dia, Ixion had married – but without delivering the promised bridal gifts. He was the first mortal to murder his own relatives. He fell prey to madness, and nobody, mortal or god, wanted to purify him of his crime. Zeus himself took pity on Ixion, purifying him, hosting him on Olympus, and even making him immortal. But the ungrateful Ixion planned to violate Hera, wife of Zeus. Zeus then invited him to a banquet, where Ixion failed to realise that the woman he desired was not the goddess Hera, but rather a woman created by Zeus himself (with a cloud called Nephele); they joined together, and their union generated the centaurs. The angry Zeus handed Ixion over to Hermes to be tortured and whipped without mercy. He was then thrown into Tartarus, where Hermes and Hephaestus helped to tie him, with serpents, to a wheel, and he was condemned to rotate across the Heavens for eternity.

11 Ιξίων, ο βασιλιάς των Λαπίθων, της αρχαιότερης φυλής της Θεσσαλίας Ο μυθικός Θεσσαλός βασιλιάς των Λαπίθων, γιος του Φλεγύα και της Περιμήλης. Ο Ιξίων προδόθηκε και σκότωσε τον βασιλιά Δειονέα, την κόρη του οποίου, τη Δία, είχε παντρευτεί ο Ιξίων - χωρίς όμως να παραδώσει τα υποσχόμενα νυφικά δώρα. Ήταν ο πρώτος θνητός που δολοφόνησε τους συγγενείς του. Έπεσε θύμα της τρέλας, και κανείς, θνητός ή θεός, δεν ήθελε να τον εξαγνίσει από το έγκλημά του. Ο Δίας λυπήθηκε τον Ιξίωνα, τον εξάγνισε, τον φιλοξένησε στον Όλυμπο και μάλιστα τον έκανε αθάνατο. Αλλά ο αχάριστος Ιξίων σχεδίαζε να βιάσει την Ήρα, τη σύζυγο του Δία. Ο Δίας τότε τον προσκάλεσε σε ένα συμπόσιο, όπου ο Ιξίων δεν κατάλαβε ότι η γυναίκα που επιθυμούσε δεν ήταν η θεά Ήρα, αλλά μια γυναίκα που δημιουργήθηκε από τον ίδιο τον Δία (με ένα σύννεφο που ονομάζεται Νεφέλη)-ενώθηκαν και η ένωσή τους δημιούργησε τους Κενταύρους. Ο θυμωμένος Δίας παρέδωσε τον Ιξίωνα στον Ερμή για να τον βασανίσει και να τον μαστιγώσει χωρίς έλεος. Τότε ρίχτηκε στα Τάρταρα, όπου ο Ερμής και ο Ήφαιστος βοήθησαν να τον δέσουν, με φίδια, σε έναν τροχό, και καταδικάστηκε να περιστρέφεται στους ουρανούς αιωνίως.

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12 Costellazione del Centauro Popolo mostruoso di forma metà umana e metà equina, discendenti di Issione.

12 Constellation of Centaurs A hybrid people, half-human and half-horse, descendants of Ixion.

12 Ο Αστερισμός του Κενταύρου Υβριδικό ον, μισό άνθρωπος, μισό άλογο, απόγονος του Ιξίωνα.

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Franco Murer, si è formato accanto al padre Augusto e poi all’Accademia delle Belle Arti di Venezia. Tra le sue opere: la Via Crucis, collocata nel paese natale di Papa Luciani. Un’altra Via Crucis si trova nella chiesetta degli emigranti a Jaraguà Do Sul in Brasile, abbellita dagli affreschi di Arcangelo Michele e di Emigrazione 1875.

Nel 2010 realizza sei altorilievi in bronzo, dedicati alla vita di San Giuseppe, quale ornamento della centesima fontana collocata nei Giardini Vaticani ed inaugurata dal Santo Padre Benedetto XVI. Per la Scuola Grande di San Rocco a Venezia il busto di Giovanni XXIII e il rilievo di Giovanni Paolo I. Ad Atene e a Kalamata presenta “Ricordi in bianco e nero”, storie di guerra, mentre a Nafpaktos espone le gesta di Cervantes e la battaglia di Lepanto (1571) e per la celebrazione del 450° anniversario della battaglia, le opere sono state esposte nella Scuola Grande di San Rocco a Venezia.

Per i 700 anni dalla morte di Dante Alighieri, ha illustrato i canti dell’inferno e del paradiso raccolti in due cataloghi con la presentazione del Cardinale Giovanni Lajolo.

Rilevanti sono i ritratti civili: l’archeologo De Guidobaldi, il maestro Ricciotti a Nereto, (TE), dell’avv. Riccardo Cerulli e Vincenzo Bindi a Giulianova, (TE) e nel 2013 a Monrovia, quello di Ellen Johnson- Sirleaf, Presidente della Repubblica della Liberia, il ritratto di Antonio Gramsci e di Aldo Moro a Castel Sant’Angelo (RI), Il San Martino a Nereto (TE), il ritratto di Giuseppe Lisciani a Teramo. Ha creato il reliquiario esposto durante la messa in piazza San Pietro per l’acclamazione a Beato di Albino Luciani.

Franco Murer trained as an artist alongside his father, Augusto, before attending the Academy of Fine Arts in Venice. His major works include the Via Crucis in Canale d’Agordo, the birthplace of Pope Luciani, and another Via Crucis in the Alpine chapel set up by immigrants in Jaraguà Do Sul, Brazil, which also contains his frescoes of the Archangel Michael and ‘Emigration 1875’. In 2010 he created six bronze relief sculptures representing episodes from the life of St. Joseph to decorate the hundredth fountain set up in the Vatican Gardens, which was inaugurated by Pope Benedict XVI. Other important works include the bust of Pope John XXIII and the relief of Pope John Paul I made for the Scuola Grande di San Rocco in Venice. Many international exhibitions have been dedicated to Franco Murer’s work, including “Ricordi in bianco e nero” (Memories in Black and White) in Athens and Kalamata, which focused on images of war, and an exhibition of paintings depicting the deeds of Cervantes and the battle of Lepanto (1571), which was shown first in Nafpaktos and then in the Scuola Grande di San Rocco in Venice, as part of the celebrations marking the 450th anniversary of the battle of Lepanto. For the 700th anniversary of the death of Dante Alighieri, he produced illustrations for the Inferno and Paradiso; these were collected in two catalogues, with an introduction by Cardinal Giovanni Lajolo.

His public sculptures include portraits of the archaeologist De Guidobaldi, the scholar and writer Ricciotti (in Nereto, TE), the lawyer Riccardo Cerulli and the historian Vincenzo Bindi in Giulianova (TE), Ellen Johnson-Sirleaf, President of the Republic of Liberia (Monrovia, 2013), Antonio Gramsci and Aldo Moro in Castel Sant’Angelo (RI), and Giuseppe Lisciani in Teramo, as well as the sculpture of St Martin in Nereto (TE). He also created a reliquary to mark the beatification of Albino Luciani, which is displayed during Mass in St. Peter’s Square.

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