Pablo Atchugarry: Heroic Activities

PA B L O AT C H U G A R R Y

HEROIC ACTIVITIES

PA B L O AT C H U G A R R Y

HEROIC ACTIVITIES November 17 through December 17, 2011 Essay by Jonathan Goodman

This catalogue has been published on the occasion of the exhibition “Pablo Atchugarry: Heroic Activities,” organized by Hollis Taggart Galleries, New York, and presented from November 17–December 17, 2011. isbn: 0-9800745-7-6 Front cover: Soñando New York (Dreaming New York), 2011 (pl. 19) Inside front cover: Quarry at Carrara, Italy, 2007 Page 1: Finishing Abrazo Cosmico (Cosmic Embrace), Lecco, Italy, 2010 Page 2: Working in the studio, Lecco, Italy, 2006 Page 3: Monumental sculpture for Artower building, Punta del Este, Uruguay, in process, 2011 Page 4–5: Artist’s studio, Lecco, Italy, 2011 Back cover: Working on Soñando New York (Dreaming New York), Lecco, Italy, 2011 Publication copyright © 2011 Hollis Taggart Galleries All rights reserved Hollis Taggart Galleries 958 Madison Avenue, New York, NY 10021 Tel 212 628 4000 Fax 212 570 5786 www.hollistaggart.com Reproduction of contents prohibited Design: Russell Hassell, New York Catalogue production: Sarah Richardson Printing: Capital Offset, Concord, New Hampshire Photography: Bruno Cortese with the exception of plate 8 by Joshua Nefsky

This exhibition has been made possible by the Ministry of Foreign Affairs and Consulate General of Uruguay in New York and the following generous supporters

Contents

8

Acknowledgments

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Pablo Atchugarry: Heroic Activities

by Jonathan Goodman

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Monumental Works and Installations

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Plates

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Selected Solo Exhibitions, Group Exhibitions,

Public Commissions, and Publications

Acknowledgments

The marble not yet carved can hold the form of every thought the greatest artist has.

Michelangelo Don’t look for obscure formulas or mystery in my work. It is pure joy that I offer you . . .

Constantin Brancusi

A definition of the word “heroic” might include “epic,” “larger than life,” “impressive in size and scope” —All fitting descriptions that can be applied to the art of sculptor Pablo Atchugarry.

The act of hewing creation from a block of stone has held deep fascination and meaning throughout time immemorial . . . Sculpture can express secular and temporal—as well as divine—themes, articulated through highly abstracted styles or conversely, through detailed realist traditions. Atchugarry’s sculptures “organically grow“ from their base supports through the artist’s complex carving which balances a sinuous, ethereal elegance with imposing driving forms. He writes, “I imagine an art that can address the fragility of human beings and their relations with the animal and vegetal world.” His work thus addresses the complexities and contradictions ever present in today’s modern world.

Atchugarry is long recognized in Europe as a leading sculptor, and it is with great honor that Hollis Taggart Galleries presents the artist’s first New York exhibition,”Pablo Atchugarry: Heroic Activities”. The selection of works on view and the accompanying catalogue provide the collector insight into Pablo Atchugarry’s mastery and passion for the art of direct carving. No undertaking is too daunting for him—from the 2003 Venice Biennale installation representing Uruguay, Soñando la paz (Dreaming Peace), to the private commission of a nearly completed five-story high sculpture carved from one block of Carrara marble, to the more intimately scaled, yet complex works such as those on view in the gallery. It is with a deep abiding personal philosophy formed through the desire to “enter the world of the third dimension” that binds Atchugarry inextricably to the act of creation and the subsequent joy he finds in sculpting.

It is a great pleasure for us to have the opportunity to learn from the artist and have him share with us his inspiring vision. And it is with deep gratitude that we acknowledge his wife, Silvana Neme, for her dedication and professionalism in overseeing many of the exhibition details throughout.

New York-based critic, essayist, and professor Jonathan Goodman, who specializes in contemporary sculpture, has thoughtfully considered Pablos’s work in his essay. He and the artist had the chance to establish a relationship spanning Lecco and New York. The result of this international dialogue, Jonathan’s commentary offers a fresh perspective on the venerable practice of direct carving from marble.

Tony Pontone and his Albemarle Gallery in London have been instrumental in bringing Atchugarry’s work to an audience in the United States, and we appreciate his collaboration. Thanks are also due to Alessandro Lorenzetti at Albemarle who assisted us with many aspects of this exhibition.

We are always glad to recognize the efforts of those with the gallery who have organized our exhibitions. We thank Exhibition Manager Sarah Richardson, who has attended to every detail of the show and its catalogue, along with Assistant Director Martin Friedrichs.

Kara Spellman, Director of Imaging and Web, and Registrar Reid Ballard have also made significant contributions to the success of our exhibition. And we are grateful for the work of Melita Schuessler, who compiled the bibliography and exhibition history, as well as Kirsten Olds for her editorial work. We are also appreciative of the efforts of gallery staff Debra Pesci, Associate Director; Stacey Epstein, Director of Modernism; assistant Letty Holton, and art handler Jason Mills. As ever, the skills of designer Russell Hassell and those of Jay Stewart and Ken Ekkens of Capital Offset have resulted in a beautiful publication.

Hollis Taggart, President

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Vivian Bullaudy, Director

I extend my deepest thanks for the sensitivity and unconditional support of the following: Ministerio de Relaciones Exteriores of Uruguay; Consulado General del Uruguay in New York; Hollis Taggart, Vivian Bullaudy, Sarah Richardson, Martin Friedrichs, and all the gallery staff; Professor Jonathan Goodman; Antonio, Fiorenzo, Gaspare, and Giancarlo Lucchetta of Gruppo Euromobil; Alessandro Calligaris of Calligaris; Giuliano Pavan of Piussi; Gianni Zonin of Banca Popolare di Vicenza; Tony Pontone of Albemarle Gallery; and Fondazione Abbazia di Rosazzo.

Pablo Atchugarry

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Pablo Atchugarry: Heroic Activities Carving is a heroic activity, one not necessarily in keeping with the interests of a generation used to being entertained on the Internet. But to offset its seeming anachronism, carving has the benefit of antiquity—in this case, the greatness of the Greeks, who brought the art of carving marble to its highest point in representational sculpture. Looking back at the Greeks, we can see in their marble sculpture an idealism that looks outmoded in its passion for perfection; today’s audience favors the partial, the ruined, as a better concept for an aesthetic in difficult, often confusing, times. Thus, any sculptor who has decided to pick up direct marble carving has a lot to contend with: first, he must measure himself against a historical ideal; and second, he must reckon with the indifference of an audience ignorant of or even hostile toward that ideal, which is now associated with an elite canon of Western art. As a result, carving marble has become heroic not only because of the sheer difficulty of the needed skills, but also because it stands out in ways that separate it from the frequently casual approach to contemporary art.

The work of Pablo Atchugarry, the Uruguayan sculptor now based in Lecco, Italy, where he is close to the marble he uses for his art, demonstrates extraordinary technical skills, which link him to a long tradition of excellence in the medium. Atchugarry acknowledges the hardship that is part of direct carving, which requires strong technical skills and belongs to a long artistic tradition of excellence in the medium: “I believe that the great difficulties involved in sculpting in marble, such as the knowledge and precision necessary to execute it, the great amount of time needed, plus the tough physical effort, limit access to this form of art.” Difficulty thus is inherent to the medium, which makes demands on both body and mind. In contemporary life, directed toward popular culture and entertainment, these demands may be seen as obstacles to enjoyment rather than a call for greater awareness. Even so, Achugarry has been highly successful within his field, representing Uruguay in the Venice Biennale in 2003.

While recognizing these artistic precedents, Atchugarry has created a balance between figuration and abstract themes that chart a course that is uniquely his own. Generally speaking, the sculptures describe a soaring upward motion—currently Atchugarry is working on a single five-story piece of stone!—that denotes spiritual yearning and transcendence. He achieves this by working with a well-established vocabulary, in which narrow, rounded forms,

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Atchugarry working on PietĂ , Lecco, Italy, 1981 11

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above, clockwise from left: Working on So単ando la paz (Dreaming Peace), Lecco, Italy, 2003; Model for So単ando la paz; Installation at Venice Biennale, 2003

So単ando la paz (Dreaming Peace), Venice Biennale, Uruguayan Pavilion, 2003 13

closely hewn together, rise upward in an attempt to escape their earthly bounds. The remarkable grace of the forms, much like the ascending spires of a church or, more secularly, like the skyscraping heights of a modern building, also indicates the artist’s love of marble as a pure material, which he exquisitely changes to imagery that strikes his audience as both entirely idealized and deeply erotic. A further dimension is found in the artist’s careful choice of colored stone, which adds a greater complexity and formal acuity to the genre.

Atchugarry comes from an artistic family; his father was a student of the great Uruguayan constructivist Joaquin TorresGarcia, and according to the artist, “He [my father] allowed me to enter the world of art almost without realizing it.” Even as a young child, Pablo was interested in art—once, confined to bed by illness, he began to model forms with Plasticine: “And I thus discovered volume.” But it was in the early years of his adulthood, between the ages of 18 and 20, that Atchugarry began to experiment with sand and cement; it was at that point, he said, “I realized that I was entering the world of the third dimension.” His interest in carving led him to Italy after traveling through Europe; he made his first sculpture in marble in Carrara in 1979, and set up three years later in Lecco. This was a big decision: as Atchugarry comments, “Living in Italy is a privilege, and I believe it was fundamental to my activity as a sculptor.” Of course, moving to Italy to sculpt was a step that affirmed the artist’s ambition to follow the masters; Atchugarry writes: “By frequenting the marble quarries of Carrara, I learned to love marble, to listen to its voice (it told me its secrets).

I felt the presence of the giants who have loved marble, men such as Michelangelo and Brancusi.”

Carving’s ancient history has made its contemporary presence seem to some as antiquated. Atchugarry of course cannot help but state otherwise: “I disagree with those who say that carving is an antiquated art. Carving has almost surely been present in man’s expression since its origins, from the prehistoric Venuses in stone to the sculptures of the Cyclades. Sculpture that is born ‘by taking away,’ that is, direct carving, has been the main form of expression of the great artists of all times, from Michelangelo to Antonio Canova, Constantin Brancusi and Jean Arp to Isamu Noguchi.”

While Atchugarry admires Greek, Roman, and Renaissance sculpture “for their perfection, for their relationship to light, and their expressive strength,” he does not necessarily see himself as a scholar quoting the past. Nor does he worry about participating in contemporary trends. Indeed, he writes, “I consider there is no need to worry about whether sculpture in direct carving is or is not

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left to right: Carrying and finishing first marble sculpture, La Lumière, Brescia, Italy, 1979 15

contemporary. Contemporariness is often so ephemeral, banal, and repetitive that the desire to amaze and outrage becomes a priority.”

In this sense, he defines himself “as a post-contemporary artist.”

For Atchugarry the origins of his art in both a personal and historical sense derive from the study of the human body. Sculpture, at least in a historical sense, often serves as a memorial, but its tactility is traditionally derived from the artist’s rendering of a human form, no matter the material he may be working with. In particular, Atchugarry’s remarkable craft owes its inspiration to the timeless appreciation of the feminine; it is such an unexpected contrast to see the artist robustly carving into marble because his final forms, in their fragile elegance and simplicity, often echo the folds and outlines of a woman’s body. This conflation of the platonic ideal with shapes that suggest a woman’s physical presence results in a style that is completely Atchugarry’s own. As an artist, he strives for an oceanic sense of form, which begins with the human but drives toward transcendence. As he writes, “I have reached my current sculpture after a long path of synthesis where the human being and his relationship with nature are the center of my topics.”

But this was only part of the artist’s journey, which led him to larger and larger forms of idealism: “After a beginning in which the figure was present, an abstract sculpture gradually emerged through a constant metamorphosis where human essence and energy connect with the cosmos.” Atchugarry’s path begins with the particularity of the human in order to lead to the perfection of heaven in sculptures that resolutely affirm the spirit, poised as it is in the gap between the mortal and the unfathomable. Like the sculptor himself, we see in his art the desire for an absolute, however hard it may be to accomplish.

Some of the concerns of his work can be linked to what can be called an ecological vision: “The human being is a part of a system where nature is the center. We are gradually realizing that the planet Earth does not belong to us. We have the moral obligation to conserve it as best we can.” Inevitably, an awareness of the limitless returns to us through our concern for nature, which is responsible for our experience of cosmic form. Atchugarry is not a pessimist; he writes, “I imagine an art that can address the fragility of human beings and their relations with the animal and the vegetal world.” As an artist, he subscribes to a holistic reading of mankind and nature.

The forms of his art, done in the last five years or so, represent an ever-increasing sophistication in the realization of the abstract

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left to right: Ideali (Ideal) (2002), Monte Carlo; Pomona (1994), private collection, Italy; Semilla de la esperanza (Seed of Hope) (1996), Government Palace, Montevideo, Uruguay

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left to right: Camino Vital (Living Way) (1999), Berardo collection, Lisbon, Portugal; Il grande angelo (The Great Angel) (2006), private collection, Italy

left to right: Energia Vital (Vital Energy) (2004), Davidoff Cancer Center, Petah Tikva, Israel; Dama bianca (White Lady) (2010), private collection, Italy

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form. We must first remember, on seeing the sculptor’s work, that creating sculptures relating to cosmic energies is very hard to do! Those of the artist’s forms that are weighted in the direction of the heavenly spheres tend to be conical and closely carved, so that the folds of individual forms within each piece build toward a close relationship. Atchugarry’s fine sense of appropriateness enables him to carve in a way that allows forms to develop in conjunction with each other, so that the support for the sculpture is understood almost immediately, as happens in the untitled sculpture from 2006 (pl. 8). This work and other ones like it consist of a flat, top triangle of stone, supported by closely positioned cones, also of marble. They can hardly be seen, at first glance, as statuary, although Atchugarry calls it such.

Essentially a table-top sculpture, this piece shows us that here craft is a kind of truth to nature, one that mimics the effect of a spirit rising upward, even though the forms are resolutely abstract and exist as examples of nonobjective form. The sculpture feels as if it were precariously balanced, accomplished by a trick of the sculptor’s hands, and presents a study in ascending motion.

In fact, Atchugarry goes so long and far with his abstraction, his work makes us wonder about sculpture’s ability to render a material version of spiritual life. Certain conical or spiral shapes suggest a drive toward transcendence, which is especially compelling because of our wishes to experience the cosmic, both as artists and viewers.

But just as important are the worldly skills the sculptor has amassed in the development of his career. Sculpture, like any other art, is found in the gap between the human and the spiritual. The reification of divine attributes is not without its formal problems, which an artist like Atchugarry relishes in solving. In some ways, his abstract statuary looks like the buttressing and support of a cathedral—a reference that would make sense in light of the artist’s drive toward the spiritual. This is not to say that Atchugarry is oriented only toward the heavens; his technical mastery of a very physical set of skills allows him to create work that seeks the ineffable. So the stone is carved in order to reference the sky. Rising verticals culminate in the close spacing of their high points; while the viewer is hard put to tell what exactly the work refers to or is, it becomes clear that it is generally oriented toward celestial wonder.

Two abstract sculptures of colored marble (pls. 5 and 6) look like maquettes for public sculpture, a category of art in which Atchugarry has taken a recent interest. The piece entitled Pink Iran Marble consists of conical shaped forms cut at a sharply inclined angle; it is elegant and orients the viewer skyward, where

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left to right: Untitled (2010), Groeninge Museum, Bruges, Belgium; Untitled (1999), Groeninge Museum, Bruges, Belgium 21

presumably the artist’s audience wishes to be. Again and again, we see in these works, mostly of table-top dimensions, the need to ascend. The art is not directly Christian, but it is on some level sacred in its quest for an elegant rise to a higher level. To find the forms that embody such a climb without succumbing to doctrine or ideology is one of Atchugarry’s foremost achievements. Pink Portugal Marble evokes our interest in much the same way as Pink Iran Marble. Here we have a dense thicket of stone verticals—buttresses for a private theology. The details of belief are not as necessary as the decision itself to believe—this is what Atchugarry has confidence in. The references, though, don’t belong entirely to architecture; they also contain intimations of human bones, which could be ribs put together by the artist’s hand. Many in today’s art world refuse to subscribe to the religious impulse in art; however, that does not mean that the impulse is dead. Atchugarry makes it clear that he is refining his vision without compromising worldly concerns.

The question remains whether Atchugarry can successfully tie his abstract vision to timeless, seamless elements that need to be heard on their own terms instead of belonging to a specifically theological doctrine. Still in the throes of modernism, many contemporary viewers continue to find formalism as the primary lens through which we view art. Atchugarry’s paring of formal concerns with the spiritual asserts a faith in the innate spiritual power of certain forms that is further supported by the brilliant elegance—the formal élan—of the forms themselves. As stalagmites, the sculptures press upward, upon the invisible air; there is even the 35-inch-high green bronze sculpture (pl. 10 and opposite) whose supple, gently curving forms draw the eye skyward. While the works in this exhibition are modest in size, he is currently working on the marble Abrazo Cosmico (Cosmic Embrace) (see pages 1 and 26), which is spectacularly large: 28 feet high and 56 tons in weight! Both artisan and visionary, Atchugarry makes it possible for the stone to assume an unusual plasticity, whose curvilinear forms demonstrate the artist’s craft at a time when craft no longer commands the interest it did. Even so, the giant works reveal the size of the sculptor’s determination to carve examples of the prodigious, a quality one finds even in the smaller works of art.

In a deeply moving way, then, we are the beneficiaries of Atchugarry’s courage and resolve. Like Brancusi, he remains poised between worlds—of emotion and intellect, of craft and vision. There is a bravery to his career that closely resembles the energetic intelligence we would ascribe to someone in prophetic

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left to right: Touching up a bronze sculpture at the foundry, Verona, Italy, 2006; Working in Punta del Este, Uruguay, 2007 23

mode. But one cannot go too far with the analogy: Atchugarry is a real person in the real world, whose efforts are temporal for all their intimations of ineffable design. Indeed, it is precisely the worldliness of his art that enables him to generate his cosmic forms. The balance between the two ways of knowing is something he has achieved by himself. Indeed, he is not beyond nodding to Christianity—and we remember he grew up in Latin America, where Catholicism is practiced by a majority of the population. In a sculpture from 2001 (pl. 1), we see a cone some 24 inches high, with a vertical opening in its center. Within the slot-like opening, we see two crosses—surely a suggestion of Christ’s descent! But, as I have mentioned, a specific religious reference such as this, while feasible, is in fact rare in Atchugarry’s art. He reminds us that the traditional ways of expressing the self still carry weight, intimating that while we have lost a sense of the spiritual in culture, we nevertheless can experience it on an individual, if isolated, basis.

Perhaps the best way to understand Atchugarry is to see him as a contemporary exemplar of the baroque, nearly to the point of becoming mannerist. In Templo de amor (Temple of Love) from 2006 (pl. 7), the object is completely a series of angles and folds, indicative of a reality that transcends our own. Carved with edges that are beveled, so that the gestalt suggests a garment, the piece shows us a form whose truths remain secretive, beyond our knowledge. But if the work’s references are intellectually obscure, Atchugarry ensures that the sublime remains alive in the forms themselves. That he does so even with the smaller works of art—this piece is just under forty inches high—shows just how skilled a stone carver he has become. The secret of his art is its refusal to assume anything about the form’s ability to affect us. Beyond a general penchant for an upward movement, the sculptures engage in mysteries that are truly cosmic in their implications. In unspoken dialogue with the artist himself, we feel intuitively that this is a grand achievement, hoping as we do for the momentary certitude these marble works spring from.

Jonathan Goodman

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Working on Totem de la Paz (Totem of Peace), Lecco, Italy, 2011

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Abrazo Cosmico (Cosmic Embrace), Lecco, Italy, 2010

M O N U M E N TA L W O R K S A N D I N S TA L L AT I O N S

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above and opposite: Monumento alla civiltĂ e cultura del lavoro lecchese (Monument to the Civilization and Culture of Work in Lecco), Lecco, Italy, 2002

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left to right: Nella Luce (In the Way of Light), outside Lecco studio; positioning on pedestal; and final installation at Loris Fontana park, Veduggio con Colzano, Italy, 2006

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Nella Luce (In the Way of Light) at night. Loris Fontana park, Veduggio con Colzano, Italy, 2006

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above and opposite: Installation of Light and Energy of Punta del Este, Punta del Este, Uruguay

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top and bottom: Working on El bosque de la vida (The Forest of Life) (2008–2011), at Atchugarry studio, Punta del Este, Uruguay, 2011

Obelisco del terzo millennio (Obelisk of the Third Millenium) (2001), Manzano, Italy

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above: Pablo Atchugarry Museum, Lecco, Italy, 1999 opposite: Pablo Atchugarry Foundation, grounds and interior pavilion, Manantiales, Uruguay, 2011

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above: Working on Cariatide (Caryatid) at the foundry, Verona, Italy, 2006 opposite: Working on Porta del Paradiso, Hotel Playa Vik, JosĂŠ Ignacio, Uruguay, 2009

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Working in Punta del Este, Uruguay, 2010

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P L AT E S

1 Untitled, 2001 Carrara marble 24 x 6⁵⁄₁₆ x 3I inches

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2 Untitled, 2006 Carrara marble 51 x 10L x 9⁷⁄₁₆ inches

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3 Untitled, 2005 Carrara marble 28³⁄₁₆ x 11¹⁄₁₆ x 6I inches

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4 Untitled, 2009 Pink Portugal marble 25L x 12G x 11¹³⁄₁₆ inches

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5 Emociones de la piel (Emotion of the Skin), 2007 Pink Portugal marble 25¹³⁄₁₆ x 10¹⁄₁₆ x 9⁷⁄₁₆ inches

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6 Untitled, 2009 Pink Iran marble 29I x 19⁵⁄₁₆ x 9M inches

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7 Templo de amor (Temple of Love), 2006 Carrara marble 39⁷⁄₁₆ x 11¹³⁄₁₆ x 11⁷⁄₁₆ inches

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8 Untitled, 2006 Carrara marble 26 x 9 x 11 inches

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9 Untitled, 2009 Pink Portugal marble 29¹⁵⁄₁₆ x 12G x 11G inches

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10 Untitled, 2009 Bronze 35¹⁄₁₆ x 5H x 5H inches

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11 Untitled, 2011 Bronze 20¹⁵⁄₁₆ x 11¹³⁄₁₆ x 7³⁄₁₆ inches

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12 Untitled, 2011 Carrara marble 57H x 11¹³⁄₁₆ x 8I inches

13 Untitled, 2011 Pink Portugal marble 22M x 10H x 5H inches

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14 Vision, 2011 Carrara marble 64G x 11¹³⁄₁₆ x 8⁵⁄₁₆ inches

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15 Las velas de la libertad (Sails of Freedom), 2011 Carrara marble 25 x 11¹⁄₁₆ x 11¹³⁄₁₆ inches

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16 Untitled, 2006 Carrara marble 21 x 7 x 4 inches

17 Viaje a través de la luz (Travel through the Light), 2011 Carrara marble 51G x 9M x 4⁵⁄₁₆ inches

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18 Totem de la Paz (Totem of Peace), 2011 Carrara marble 80I x 10G x 9⁷⁄₁₆ inches

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19 Soñando New York (Dreaming New York), 2011 Carrara marble 74¹⁄₁₆ x 30⁵⁄₁₆ x 10L inches

Pablo Acthugarry

Born: August 23, 1954, Montevideo, Uruguay Resides: Lecco, Italy

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1997 1996 1994 1992 1991 1989 1988

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S e l ec t e d Solo E x h i b ition s Albemarle Gallery, London Bienvenu Gallery, New Orleans Albemarle Gallery, London Museo Nacional de Artes Visuales, Montevideo Gary Nader Fine Art, New York Museu Oscar Niemeyer, Curitiba Museu Brasileiro de Escultura, São Paulo Centro Cultural Banco do Brasil, Brasilia Lagorio Arte Contemporanea, Brescia Frey Norris Gallery, San Francisco Albemarle Gallery, London Groeninge Museum, Bruges Galeria Sur, Punta del Este, La Barra Gary Nader Fine Art, Miami Museo Nacional de Bellas Artes, Buenos Aires Park Ryu Sook Gallery, Seoul Gary Nader Fine Art, Miami Galería Tejería Loppacher, Punta del Este Galleria Rino Costa, Valenza Villa Monastero, Varenna Albemarle Gallery, London Fondation Veranneman, Kruishoutem 50th Venice Biennale, Uruguay Pavilion, Venice Fondazione Abbazia, Rosazzo Galleria Les Chances de l’Art, Bolzano Ellequadro Documenti, Genoa Albemarle Gallery, London Palazzo Isimbardi, Milan Fondazione Il Fiore, Florence Galerie Le Point, Montecarlo Inter-American Development Bank, Washington Ellequadro Documenti, Genoa Foundation Veranneman, Kruishoutem Fatebenefratelli Center, Valmadrera Valente Arte Contemporánea, Finale Ligure Galleria Nuova Carini, Milan Galerie L’Oeil, Brussels Galleria Carini, Milan Biblioteca Civica, Lecco Galleria Carini, Milan Museo Salvino, Cocquio-Trevisago Villa Manzoni, Lecco Galería Felix, Caracas Galleria Visconti, Lecco Galleria Comunale, Monza Ibis Gallery, Malmo Galerie l’Art et la Paix, Paris Galería la Gruta, Bogotá Maison de l’Amérique Latine, Paris Galleria Visconti, Lecco Galleria La Colonna, Como Galería Lirolay, Buenos Aires Subte Municipal (City Hall), Montevideo

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S e l ec t e d G rou p E x h i b ition s Art First, Bologna TEFAF, Maastricht ArteBA, Buenos Aires Fiac, Paris TEFAF, Maastricht Art First, Bologna Fiac, Paris ArteBA, Buenos Aires Art First, Bologna

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Arco, Madrid Art First, Bologna Arco, Madrid Galería Sur, Punta del Este, Montevideo Hollis Taggart Galleries, New York Art First, Bologna Art London, London Gallery Bienvenu, New Orleans Art First, Bologna Art Basel, Miami Art London, London Miart, Milan Arco, Madrid Art First, Bologna Arco, Madrid Art First, Bologna Galerie Le Point, Monte Carlo TEFAF, Maastricht Arco, Madrid Art First, Bologna Art First, Bologna Arco, Madrid TEFAF, Maastricht Art First, Bologna Arco, Madrid TEFAF, Maastricht Mostra Xenobio, Bologna Art First, Bologna Orion Art Gallery, Brussels TEFAF, Maastricht Art Basel, Basel Arco, Madrid Scultura 98, Sondrio Biennale Aldo Roncaglia, San Felice sul Panaro Castle of Bourglinster, Luxembourg Art First, Bologna Gildo Pastor Center, Montecarlo Art First, Bologna Palazzo Ducale, Genoa Galleria Ellequadro Documenti, Genoa Venice Design Art Gallery, Venice 4th Biennial of Contemporary Sculpture, Passy Crepadona Palace, Belluno 9th Salon of Contemporary Art, Bourg-en-Bresse Contemporary Art International, Milan Sculpture Symposium for the Creation of an Open Air Museum at Nelson Castle, Bronte Lineart, Ghent IX International Valparaiso Art Biennial, Valparaiso Ternate Sculpture, Ternate International Sculpture Exhibition, Castellanza S. Francesco Exhibition of Sacred Art, Como International Exhibition, “Como Illustration,” Como 7th Exhibition of Sacred Art, Basilica of San Simpliciano, Milan XIX International Sculpture Exhibition, Legnano 1st International Small Sculpture Exhibition, Castellanza 3rd Exhibition of Sacred Art, Basilica of San Simpliciano, Milan Taormina Prize (First Prize), Taormina VII Original Drawing Biennial, Rijeca International Painting and Graphics Exhibition, “Alessandro Volta,” Como

1977 XL National Salon (Acquisition Prize), Montevideo

International Exhibition of Applied Arts, Bella Center, Copenhagen 1976 Galeria Aramayo, Montevideo

Minisculpture Salon, Montevideo 1975 XVI International Salon Paris-Sud, Juvisy 1974 XXII Municipal Salon, Montevideo

XV International Salon Paris-Sud, Juvisy 1973 XX VI National Plastic Arts Salon, Montevideo 1972 XX Municipal Plastic Arts Salon, Montevideo 1965 IGE Plastic Arts Youth Exhibition, Montevideo

S e lec te d P u b lic Co m m i ss i o n s 2009 Luz y energía de Punta del Este (Light and Energy of Punta del Este), Punta del Este 2007 Nella Luce (In the Way of Light), Loris Fontana park, Veduggio con Colzano 2004 Energía Vital (Vital Energy), Davidoff Cancer Hospital, Petah Tikva 2003 Soñando la paz (Dreaming Peace), Venice Biennale

Ascención, Franc Daurel Foundation, Barcelona 2002 Ideali (Ideal), commissioned on the occasion of the 50th anniversary of the coronation of Prince Rainier, Monte Carlo 2001 Obelisco del terzo millennio (Obelisk of the Third Millenium), Manzano

Monumento alla civiltà e cultura de lavoro lecchese (Monument to the Civilization and Culture of Work in Lecco), Lecco 1998 Cariatide (Caryatid), Therme Palace Hotel, Ostend 1997 Vertunno, private collection, Manzano 1996 Semilla de la esperanza (Seed of Hope), commissioned by the President of the Republic of Uruguay, Julio Maria Sanguinetti, Government Palace sculpture garden, Montevideo

S e lec te d P u b lic at i o n s 2010 Lucie-Smith, Edward. Pablo Atchugarry: The Spirit of Marble. London: Albemarle, 2010.

2008 Barbero, Luca Massimo. Pablo Atchugarry: ‘Le emozioni del marmo.’ London: Albemarle, 2008.

2007 Lacasa, Jacqueline, and Luca Massimo Barbero.

Pablo Atchugarry. Brescia: Shin, 2007.

Pirovano, Carlo. Pablo Atchugarry: Under the Spotlight. Valmadrera: Editoria Grafica Colombo, 2007.

2006 Borchert, Till. Pablo Atchugarry: A Journey between Matter and Light. Oostkamp: Stichting Kunstboek, 2006.

Castillo, Martin. Entrevista a Pablo Atchugarry—Un sueño de Infancia. La Barra/ Punte del Este: Galeria Sur, 2006.

Desmidt, Lieve. Pablo Atchugarry. Groeninge Museum Bulletin (Bruges), no. 2, 2006.

2005 Belucci, Alberto, and Nelly Perazzo. Pablo Atchugarry. Buenos Aires: Museo Nacional de Bellas Artes, 2005.

Damian, Carol. The Marble of Deception. Coral Gables: Gary Nader Gallery, 2005.

2004 Pablo Atchugarry: The Spirit of Marble. London: Albemarle Gallery, 2004.

Sogni e segni su carta. Varenna: Villa Monastero, 2004.

Torres, Alfredo. La persecution de la diferencia.

Punta del Este: Galeria Tejeria Loppacher, 2004.

2003 Caramel, Luciano. Scultura come ‘arte di simboli, per la comunità.’ Venice Biennale, 2003.

Caramel, Luciano. Soñando la paz. Bolzano: Les Chances de l’Art Gallery, 2003.

Corgnati, Martina. Atchugarry. Maastricht: Foundation Veranneman, 2003.

Frasson, Paolo. Antiche pietre nuove peitre.

Rosazzo: Abbazia di Rosazzo, 2003.

Campione, Germano. “Il sogno di pace scalpito da Pablo.” La Gazzetta di Lecco, 9 June 2003.

Ansa. “Venecia, capital arte mundial.” Diario El Pais (Montevideo), 14 June 2003.

Bouys, Gabriel. “La biennale d’art de Venise fête ses 50 ans et s’étend à la ville.” Le Figaro, 15 June 2003.

Lorenzelli, Tiziana. “Atchugarry alla Biennale di Venezia.” Giornale di Lecco, 30 June 2003.

Sugliano, Claudia. “Fatica e passione.” Arte In (June–July 2003).

Jessy, Sergia. “‘Sognando da Pace.’ La Ricerca de contatto fisico nei marmi di Atchugarry.” Corriere del Veneto, 19 July 2003.

Carabajal, Miguel. “El otro Atchugarry.” Diario El Pais (Montevideo), 20 July 2003.

Morali, Cesare. “La ‘pace’ di Atchugarry alla Biennale di Venezia.” Il Nuovo Giornale di Bergamo, 13 August 2003.

Caprile, Luciano. “Uruguay–Sogni di Pace.” Arte In (September 2003).

Massara, Gian Giorgio. “A Venezia: sogni e conflitti.” La Luna (September 2003).

2002 Puig, Arnau. El mundo escultórica de Pablo Atchugarry. Barcelona, 2002.

Miralles, Francesc. “Formas muy esenciales.”

La Vanguardia (Barcelona), 12 April 2002.

Pirovano, Carlo. “Atchugarry.” Monumento alla civiltà e cultura del lavora lecchese. Lecco, 2002.

Colombo, Don Marino. “Atchugarry–L’arte a Lecco: due nuovi monumenti.” Il Punto Stampo (Lecco), 2002.

Ferrario, Paolo. “Una scultura onora il lavoro: progresso e fatica su marmo.” Il Resegone (Lecco), 17 May 2002.

Ronfani, Ugo. “Atchugarry–Una scultura esalta la civiltà de lavoro.” Il Giorno (Milan), 18 May 2002.

Maggi, Isabella. “In memoria dei caduti.” Giornale di Lecco, 20 May 2002.

Sandionigi, Paola. “Monumento, un tributo d’amore.” La Provincia (Lecco), 20 May 2002.

Riva, Gianni. “Un monumento a chi muore sul lavoro.” Il Giorno (Milan), 21 May 2002.

Morali, Cesare. “Civiltà e cultura de lavoro.”

Il Nuovo Giornale di Bergamo, 22 May 2002.

Camps, Eudald. “Seduccio per la forma.” Diari de Girona–Accents, 21 June 2002.

Perera, Marga. “Pablo Atchugarry: La espiritualidad del mármol.” Siglo XXI Subastas (Madrid) (June 2002).

Casal, Alvaro, and Natalie Scheck. “Los mármoles de Pablo Atchugarry.” Diario El Pais (Montevideo), 2 July 2002.

Novarese, C., and L. Roux. “Uruguayas que aprobaron con sote.” Diario El Pais (Montevideo), 27 December 2002.

2001 Colombo, Nicoletta. Le infinite evoluzioni del marmo. Milan: Palazzo Isimbardi, 2001.

Frasson, Paolo. Titanismo nella scultura de Pablo Atchugarry. Manzano: Obelisco de Terzo Millennio, 2001.

Ronfani, Ugo. Dinamiche del marmo. Loano: Merchionne Gallery, 2001.

Pablo Atchugarry. London: Albemarle Gallery, 2001.

Sanguinetti, Julio Marìa. Una obra con vocaciòn clàsica. Milan: Palazzo Isimbardi, 2001.

Sgorlon, Carlo. Il monumento della sedia ‘Obelisco de Terza Millenio’. Manzano: Obelisco de Terzo Millennio, 2001.

Amoretti, Alvaro. “El hombre de mármol.” Diario El Pais (Montevideo). 16 October 2001.

Meyer Long, Jorge, “Libertad y espíritu.” Diario El Pais (Montevideo). 16 October 2001.

2000 Pirovano, Carlo. Atchugarry. Monte Carlo: Galerie Le Point, 2000.

Toftgaard, Anders. Inside Out. Bologna: Xenobio, 2000.

Rizzi, Paolo. “Dolce marmi, languide carezze.”

Arte In (August 2000).

1999 Caprile, Luciano, and Tiziana Leopizzi. Alla ricerca del sublime. Lecco: Museo Pablo Atchugarry, 1999.

Leopizzi, Tiziana. Pablo Atchugarry. Genoa: Museo Pablo Atchugarry, 1999.

Orsi, Valeria. “Il miracolo . . . della materiale.”

Art Leader (February 1999).

Franceschetti, Roberta. “Atchugarry. Fonde Arp e il Medioevo, l’uruguayano di Lecco.” Arte (Milan) (February 1999).

“Le scelte della critica: il magnifici cinque del 1998.”

Il Giornale dell’arte (Turin) (February 1999).

Garavaglia, Barbara. “Da Settembre a Lecco il Museo di Atchugarry.” Il Resegone (Lecco), 26 March 1999.

Driesbach, Martina. “Leihgabe kam in Trummern.”

Taunus Zeitung (Bad Homburg), 11 June 1999.

Driesbach, Martina. “Der Mann, der Marmor in Falten Legt.” Taunus Zeitung (Bad Homburg), 17 June 1999.

Hoyer, Renate. “Faszination in Marmor.”

Frankfurter Rundschau, 22 June 1999.

“Kunstwerk voor jarige Veranneman.” Vlaamse Ardennen (Kruishoutem), 21 September 1999.

“Sarà aperto domani a Lecco il museo di Pablo Atchugarry.” Il Resegone (Lecco) (September 1999).

Pedrinelli, Andrea. “Lecco va ‘alla ricerca del sublime’ nella scultura.” La Gazetta di Lecco (September 1999).

“Pablo Atchugarry, professione scultore.”

L’artigianato lecchese (September 1999).

“Museo tra lago e monti.” La Provincia (Lecco), 28 September 1999.

Micault, Donatella. “Atchugarry la leggerezza delle forme.” La Provincia de Sondrio Settimanale (October 1999).

Brambilla, Francesca. “Mille guizzi di luce scagliati verso il cielo.” La Provincia (Lecco), October 1999.

Garavaglia, Barbara. “Non c’è bellezza senza verità.” Il Resegone (Lecco) (October 1999).

Redaelli, Massimo. “Atchugarry da forma alla luce.”

Il Punto Stampa (Lecco) (November 1999).

Redaelli, Claudio. “Pablo alla ricerca del sublime.”

Il Punto Stampa (Lecco) (November 1999).

Ripamonti, Serafino. “Dall’Uruguay alle sponde de Lario.” Giornale di Lecco, 15 November 1999.

“La ricerca del sublime di Pablo Atchugarry.”

Arteletta 3 (Bologna) (November 1999).

1998 Caprile, Luciano. Pablo Atchugarry. Kruishoutem: Veranneman Foundation, 1998.

Carabajal, Miguel. Uruguay–Lo mejor de la nuestro. Montevideo: Tomo I, 1999.

Elias, Willem. Pablo Atchugarry of wanneer marmer levend wordt. Kruishoutem: Veranneman Foundation, 1998.

Mossinelli, Elisabetta. Catalogue Scultura 98.

Sondrio: Notiziario de Comune di Sondrio, 1998.

Sartoris, Giusi. Scultura 98, un itinerario artistico nel cuore della città. Sondrio: Notiziario de Comune di Sondrio, 1998.

Segato, Georgio. La scultura e il corpo: il corpo della scultura. San Felice sul Panaro: Biennale di Aldo Roncaglia, 1998.

Trevisan, Maria Luisa. Gli elementi–acqua aria terra fuoco . . . tra arte e ambiente. Padua: Grafiche Turato, 1998.

D’Acquisto, Germano. “Un 98 con più arte.” La Provincia (Lecco), 2 June 1998.

De Jong, Hanneke. “Michelangelo in abstracto.”

Vernissage 2/3 (Amsterdam) (June 1998).

Vollmacher, André. “Badplaants krijgt nieuw kunstwerk.” De Thuiskrant (Oostende) (June 1998).

“La città sta per diventare una mostra sotto le stelle.” La Provincia (Sondrio), 2 September 1998.

“Sondrio. Sculture fra palazzi e cortili.” La Provincia (Sondrio), 12 September 1998.

Mola, Carlo. “In citta un’invasione di splendide sculture.” La Provincia (Sondrio), 13 September 1998.

Muffatti, Francesca. “Quindici scultori per Sondrio vecchia.” Giornale di Sondrio, September 1998.

Cotelli, Marina. “Sculture e suggestioni in centro storico.” La Provincia (Sondrio), 19 September 1998.

Grillo, Mariarosa. “Cortili, strade e piazze per l’arte.” Giornale di Sondrio, 20 September 1998.

“L’Avis regala il germoglio di vita agli amici della sezione di Civate.” Il Resegone (Lecco), 25 September 1998.

Cotelli, Marina. “‘Scultura 98’ senza parole.”

La Provincia (Sondrio), 17 October 1998.

“A San Giovanni Pablo coltiva l’arte de marmo.”

La Gazzetta di Lecco, November 1998.

1997 Demaria, Fernando. Pablo Atchugarry: all’Ascolto del marmo. Quarto d’Altino: Associazione Culturale San Marco, 1997.

Gambino, Francesca. “Il marmo ‘parlante’ di Atchugarry.” Il Gazzettino (Quarto d’Altino), 11 February 1997.

Z., A. “Uruguay fa tappa a quarto d’Altino.”

Gente Veneta, 15 February 1997.

63

Frasson, Paolo. Nel Giardina de Pomona, Pablo Atchugarry e la voce del marmo. Venice, 1997.

“Een man van marmer.” De Streekkrant (Oostduinkerke), 27 February 1997.

“Pablo Atchugarry.” De Streekkrant (Oostduinkerke), 6 March 1997.

“Pablo Atchugarry.” De Streekkrant (Oostduinkerke), 10 April 1997.

Bellati, Anna Caterina. “La leggerrezza de dolore.”

Elleci Magazine (May 1997).

“Pablo Atchugarry e i ‘suoi’ marmi.” Il Diario di Lecco-Brianza (Valmadrera), 7 May 1997.

Bonfanti, Aloisio. “Pablo, una storia di marmo.”

La Provincia (Lecco), 9 May 1997.

“Al ‘Fatebenefratelli’ in mostra le sculture di Pablo Atchugarry.” Il Giornale di Lecco, 12 May 1997.

“A Valmadrera le sculture di Atchugarry.” La Gazzetta di Lecco, 16 May 1997.

Magni, Marco. “Pablo Atchugarry, una mostra d’artista.” Il Resegone (Lecco), 16 May 1997.

Ikegami, Hidehiro. “Pablo Atchugarry.” Nikkei Art (July 1997).

1996 Vescovo, Marisa. Atchugarry. Finale Ligure: Valente Arte Contemporánea, 1996.

“Kunst en antiek in Knokke.” De Standaard (Knokke), 7 August 1996.

Sanguinetti, Julio Marìa. Un parque para el arte.

Montevideo: Government Scultpure Park, 1996.

Kalenberg, Angel. Esculturas al aire libre.

Montevideo: Government Sculpture Park, 1996.

“Pablo Atchugarry.” Kunstwerk 5 (Gilze) (November 1996).

1995 Piro Mander, Carla. “Un mondo rigorosa di splendidi marmi.” Corriere di Torino, 3 June 1995.

Chales, J. L. “Pablo l’homme de marbre.” Semaine des spectacles (Nice), October 1995.

Gérard, S. “Atchugarry.” Semaine des spectacles (Nice), 17 October 1995.

Fiacre, Camille. “Atchugarry à la Galerie Quadrige: le marbe dans toute sa splendeur.” Arts (Nice), 1995.

Hucher, Yves. “La porte des rêves.” Nice Matin, 11 October 1995.

1994 Levi, Paolo. Pablo Atchugarry. Lecco: Museo Pablo Atchugarry, 1994.

Falessi, Mario. “I quadri e le sculture della Faber Flaminia.” L’Azione (Fabbriano), 12 February 1994.

“De redactie, editorial.” De Gazet van Willebroek (1994).

Faggeti, Livia. “Piccola è bella la scultura oggi.”

Arte (Milan) (April 1994).

“Buitenlandse kunstenaars in art Gallery den Heeck.” Ons klein Brabant vaartland (April 1994).

“Internationale kunstenaars in Hingene.”

Reklaamblad Willebroek, 8 April 1994.

64

“Nederlandse kleur en marmeren Uruguayaanse perfectie in den Heeck.” Ons klein Brabant vaartland, 15 April 1994.

“Tijdloze Pablo Atchugarry en evoluerende Thea Selen,” Wegwijs Zuid, 28 April 1994.

“De Beelden van Pablo.” Vernissage (Amsterdam) (January 1994).

1993 Miceli, Nicola. “Pablo Atchugarry, il costruttore di cattedrali.” Art Leader (1993).

Paloscia, Tommaso. “La dolce violenza di Pablo Atchugarry.” Contemporart (Nonantola) (February 1993).

Vitello, Maurizio. “In margine ad ‘Art First’ di Bologna.” Politica meridionalista (March 1993).

Danieli, Graziella. “Pablo Atchugarry: dalle Ande al Resegone.” Giornale di Lecco, 1 March 1993.

Cavazzini, Gianni. “I marmi misteriosi di Pablo Atchugarry.” La Gazzetta (Parma), 11 May 1993.

Ardissone, Gabriella. “Presenze,” “Esigenze,” Informazioni d’arte (June 1993).

“Innerlijke warmte.” De Streekkrant (Oostduinkerke), 30 October 1993.

“Atchugarry.” Arts antiques e auctions (Oostduinkerke) (November 1993).

1992 De Grada, Raffaele. Il lineare percorso dello scultore Pablo Atchugarry. Verona: Edizioni d’arte Ghelfi, 1992.

Bellati, Anna Caterina. “Gridi di pietra.“ Il Punto Stampa (Lecco) (June 1992).

Masetta, Paolo. “Arte e amicizia.” Corriere di Torino, 25 April 1992.

C., F. “Due pittori ed uno scultore nei loggiati della Crepadona.” Gazzettino (Belluno), 20 June 1992.

Morales, Mario. “La scultura di Atchugarry pitture di Corpora e Scatizzi.” Settegi Dolomiti (Belluno), 26 June 1992.

Morales, Mario. “Tre artisti di chiara fama in mostra.” La Gazzetta (Belluno), 2 July 1992.

De Grada, Raffaele. “Il marmo come liberazione.”

Arte (Milan) (September 1992).

Fuoco, Michele. “Cenacolo d’artisti in casa Pavarotti.”

La Gazzetta (Modena), 5 September 1992.

Veronesi, Ferruccio. “Poesia del bianco.” Il Resto del Carlino, 17 September 1992.

Busnelli, Susanna. “Come nasce una scultura.”

Disegnare e dipingere (December 1992).

“Künstler ist dem Marmor verfallen.” Borkener Zeitung (December 1992).

1991 Colombo, Nicoletta. Il mondo rigoroso e monumentale dello scultore Atchugarry. Milan: Galleria Carini, 1991.

“Pablo Atchugarry busca el alma de la piedra.”

La Republica (Montevideo), 13 January 1991.

Colombo, Nicoletta. Gli ideali mistici di Atchugarry. Milan: Arte, 1991.

Martucci, Teo. “Atchugarry, Galleria Carini.”

Artecultura (Milan), 5 May 1991.

Bottino, Vittorio. “Nel marmo di Atchugarry suggestioni senza tempo.” Corriere di Torino, 7 June 1991.

Mistrangelo, Angelo. “Sculture scavate dal vento.”

Stampa Sera (Turin), 19 June 1991.

“Il mondo-monumento dello scultore Atchugarry.”

La Gazzetta (Turin), 25 June 1991.

1989 Seveso, Giorgio. “Quando la forma è sintesi poetica.” Milano, 5 May 1989.

Boscagli, Giulio. “Dieci anni di attività artistica in Italia.” Il Punto Stampa (Lecco) (May 1989). “‘Liberazione e ascensione’ firmato Atchugarry.”

Il Resegone (Lecco), 13 October 1989.

Carbè, Antonio. “Pablo Atchugarry.” Leadership (Milan) (December 1989)

Colombo, Marino. “Pablo Atchugarry inaugura il suo studio d’arte.” Il Resegone (Lecco) (December 1989).

1988 De Grada, Raffaele. Un documento del nostro tempo: la scultura di Pablo Atchugarry. Milan: Galleria Carini, 1988.

Martucci, Giuseppe. “La dinamica della material artistica.” Artecultura (Milan) (December 1998).

1987 De Grada, Raffaele. Pablo Atchugarry. Lecco: Cripta del Bramantino à SS. Apostoli e Nazaro, 1987.

1986 Colombo, Marino. “Un dialogo con la material.”

Il Punto Stampa (Lecco) (May 1986).

1985 Dugnani, Ferruccio, Mons. “La Pietà” in Basilica.

Lecco: Basilica San Nicolò, 1985.

“In Basilica la Pieta di Atchugarry ‘Madre e figlio soli nella pietra.’” Il Resegone (Lecco), 13 September 1985.

S., A. “Collocata in Basilica la Pietà di Atchugarry.”

Il Resegone (Lecco), 20 September 1985.

1983 Colombo, Marino. Come è nata la “Pietà” di Pablo. Lecco: Villa Manzoni Museo Civico, 1983.

“La ‘Pietà’ di Pablo Atchugarry.” Il Resegone (Lecco), 8 April 1983.

Ferrario, Mario. “‘La Pietà’ di Atchugarry, lirismo statuario.” Il Resegone (Lecco), 22 April 1983.

Giujusa, Salvatore. “Madre e figlio soli nella pietra.” Il Punto Stampa (Lecco) (May 1983).

Martucci, Giuseppe. “La “Pietà” di Pablo Atchugarry,” Artecultura (Milan) 7 July 1983.

1982 Fumagalli, Carlo. “La plastica pittura di Pablo Atchugarry.” Monza, 20 May 1982.

1981 Colombo, Marino. Pablo Atchugarry e pensieri sull’arte. Lecco, 1981.

Marquez, Alberto Christian. Un pintor del ser humano. Montevideo, 1981.

1978 Radice, Mario. “Alla ‘Colonna,’ ottime ‘chine’ del pittore scultore uruguaiano Atchugarry.”

La Provincia (Como), 25 November 1978.

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