Dusseldorf (Germany). At Midday of Sunday November 2nd, Angel Orensanz entered the Cathedral of Cologne all the way up to the transept, pushing his transparent and ethereal sphere. More than a hundred friends from Dusseldorf and a large mass from Cologne joined the artist at the docks in his way to the most important temple in Northern Europe. During the four hours voyage up the river Rhine, Orensanz spoke with passengers and the German media about his sculpture, his personal peace campaign since the days of the Balkans wars and his links to the Rhineland.
The sphere that Orensanz is moving now through Germany has acquired a mythical, al most metaphysical significance. The national daily Suddeutsche Zeitung (22/10/02) opened an illustrated interview with the Spanish American artist with a quote from Aristotetle: “All things perfect move in circles”. Düsseldorf and Cologne are very important points in the life and work of Orensanz. Heinrich Heine, the romantic poet and utopian socialist born there (1800) was one of the inspirers of the German immigrants that erected (1849) the building that houses now the Angel Orensanz Foundation in Manhattan; and the cathedral of Cologne served all the aesthetic elements for the neogothic temple where Angel Orensanz designs all his work in New York.
This voyage over the Rhine is part of his retrospective exhibition in downtown Dusseldorf, that presents his bronzes, large canvasses, engravings, drawings and terracottas. The Black Box cinema near the gallery has presented Orensanz’s videos and films to specialized audiences. The exhibition comes accompanied by a 90 page, full color catalogue with texts of German and American art critics. Britta Nitsch, an art critic of the Rheinische
This voyage over the Rhin is part of his retrospective exhibition in downtown Dusseldorf, that presents his bronzes, large canvasses, engravings, drawings and terracottas.
The Black Box cinema near the gallery has presented Orensanz’s videos and films to specialized audiences. The exhibition comes accompanied by a 90 page, full color catalogue with texts of German and American art critics. Britta Nitsch, an art critic of the Rheinische Post remarked (12/10/02) the deep breath of Goya that underlies in all the work of Angel Orensanz.
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