On September 7, artficial and its media partner convened a group of architects and designers at the Museo Whitaker in Mozia, the site of the ancient ruins of a Phoenician settlement, to cloni d’arte, an invitation-only event to share and discover new ways of experiencing the most significant sculptural works of our cultural heritage. The Lectio Magistralis was delivered by the eminent historian and archaelogist Paolo Matthiae, Professor Emeritus at Sapienza University of Rome and the Lincean Academy.
The most famous resident of Mozia is the Greek-style masterpiece in marble – a sculpture known as the Giovane di Mozia (the Young Man of Mozia) or the Auriga di Mozia (the Mozia Charioteer). Discovered on October 26, 1979 during an excavation led by the University of Palermo, the statue’s provenance is disputed. It clearly belongs within the Greek sculptural tradition, but Motya was a Punic settlement. The statue is thought to have been created during the 5th century BCE, a period when Greek culture had significant influence over the Mediterranean. Some scholars think it may represent a Carthaginian noble or an athlete.
The figure is typically interpreted as a young male dressed in a flowing garment, possibly a charioteer or a high-status individual. The figure stands in a contrapposto stance (weight shifted onto one leg), which is a hallmark of classical Greek sculpture. However, it is unusually detailed and fluid for its time, with intricate folds in the drapery.
Event attendees were treated to a lecture by Paolo Matthiae – the Italian archaeologist and art historian known for his contributions to the study of ancient art, particularly in relation to the cultures of the Near East.
Paolo Matthiae‘s work aligns with and provides insight into the statement regarding the differing values placed on copies across cultures and the relationship between original works and their replicas. Here are some key points of connection as he sees them – especially relevant in light of the artclone:
Cultural Value of Copies: Matthiae acknowledges that different cultures have varying perceptions of copies. In the West, there is often a hierarchy that places greater value on originals, while other cultures may see copies as valid expressions of artistry and continuity. This perspective is significant in understanding how ancient societies, such as those in Egypt and Greece, regarded their artistic heritage.
Understanding of Originality: In ancient cultures, including Egyptian and Greek, the idea of originality differs from contemporary Western notions. For instance, in Egypt, the purpose of sculpture often transcended individual artistic expression, focusing instead on religious or political functions. Matthiae’s exploration of these cultures highlights that copies can serve as significant cultural artifacts in their own right, possessing their own value and meaning.
Roman Adaptation of Greek Art: Matthiae often discusses how the Romans remade Greek sculptures, particularly in bronze, which reflects the Roman admiration for Greek art. The precision of these copies often served not only as a testament to the original but also as a means of integrating and reinterpreting Greek aesthetics within Roman culture. This practice illustrates how the value of the copy can be both an homage to the original and a new creation in its own context.
Architectural Context: The statement about Western architecture not aligning with Egyptian principles reflects a broader discussion of how architectural styles and values differ across cultures. Matthiae’s insights can be applied to understanding these distinctions, particularly in how different societies have approached form, function, and symbolism in their architectural and artistic endeavors.
The question then arises – raised by Luca Gibello, director of Il Giornale dell’Architettura – “What is the role of the artclone today since they were designed centuries ago?”
We think the artclone can bring sculpture back into the public consciousness, and serve as a powerful tool for cultural regeneration. What do you think?
Barbara Dal Corso works at the intersection of art and technology. She is the co-founder of ARTficial, the maker of the world’s first officially-licensed artclones.
Our next event >>
Saturday, October 26th 2024 | 11:00
Archeological Park of Ostia Antica
Lectio Magistralis by Prof. Alessandro D’Alessio
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