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Athina Schoina review about Manuel surrealist

Manuel surrealist
Manuel surrealist

里 里律痢里 裡律 By Ms ATHENA SCHOINA, Art Critic Ms Athena Schoina is Curator at the Goulandris Museum, Andros, Greece. [An English translation of the review follows below] by Costas Kalimeris http://www.manuelmykonos.com

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about Manuel R. surrealist 里 里律痢里 裡律 [An English translation of the review follows below] by Costas Kalimeris 劉亮竜 旅 竜亮竜溜 凌旅 慮竜侶旅虜凌溜 (竜僚凌虜旅旅虜凌溜), 留僚 凌 劉粒凌 略僚竜旅 侶僚 留溜慮凌留 侶 劉虜慮竜侶 竜旅竜竜旅 凌 隆旅虜 亮留 了粒凌 粒旅留溜 凌 劉粒凌 留粒粒溜龍竜旅 旅 隆旅虜劉 留 留旅慮流竜旅 虜留旅 凌僚 隆旅虜 留 凌留亮. 竜溜僚留旅 凌 龍侶凌亮竜僚凌 亮劉留 留 旅 竜溜竜僚竜 隆旅留ﾏ竜旅 留 劉粒留 凌 留 竜旅隆旅ﾎ採砧 凌 隆侶亮旅凌粒. 僚 略侶 竜旅ﾏ竜旅 僚流慮 竜亮竜溜 隆旅竜虜凌了僚凌亮竜 凌 僚留 溜凌亮竜 劉僚留僚 隆亮凌, 竜竜溜 亮凌竜溜竜 僚留 硫竜溜竜 虜留旅 凌 硫侶亮留旅亮凌 虜留旅 凌 凌 僚留 凌 凌竜粒粒溜竜竜 虜留旅 僚留 凌亮旅了流竜竜 亮留龍溜 凌, 亮竜 凌 旅了旅略隆竜 凌 凌 凌硫略了了竜旅 劉僚留 劉粒凌 劉僚侶. Manuel 竜溜僚留旅 劉僚留 虜留了了旅劉僚侶 隆竜両旅凌劉僚侶, 慮留 劉了竜粒留 亮略粒凌 凌 亮留亮略凌. 里凌 粒僚溜龍竜旅 凌 竜了略旅凌旅, 略了了留 隆竜僚 留流僚竜留旅 略僚 侶僚 竜劉竜旅留 凌 劉竜旅. 里凌 隆旅虜 凌 旅隆溜亮留 竜溜僚留旅 凌竜留了旅旅虜, 隆溜僚竜旅 亮竜 竜劉 留竜僚略 虜旅僚凌亮竜僚竜, 旅 竜旅竜了溜竜旅 留 略両凌僚竜 亮亮竜溜留 亮竜 劉僚留 了旅亮 虜留旅 亮竜 劉僚留 留虜留旅虜 僚凌, 亮竜 劉僚留 旅凌亮凌 虜留旅 亮竜 留粒亮留旅虜略 亮溜留 隆旅略慮竜侶 僚留 溜龍竜旅 侶僚 竜竜旅虜流 侶 僚 留粒亮略僚, 侶僚 anima rerum (侶僚 流 僚 留粒亮略僚) 劉了竜粒留僚 凌旅 留溜僚凌旅. 旅了劉粒竜旅 隆旅留凌竜旅虜劉 竜僚凌凌溜竜 亮留旅亮凌 虜留旅 留亮硫留留 了旅虜略. 僚留凌旅虜略, 旅虜略 竜ﾎ捨穎留 留 僚隆略龍竜旅 亮竜 凌 亮劉留了了凌, 粒留了溜 凌 僚隆略龍竜旅 亮竜 亮略亮留凌 流 亮留粒流 虜凌亮略旅留, 了旅虜略 亮劉留 留 留 凌凌溜留 凌 亮留亮留凌粒了侶 了竜旅凌粒竜溜 留僚 留了虜凌侶. 離略竜旅 亮旅留 亮竜粒略了侶 隆旅留凌略 亮竜留両 凌: 凌 亮留亮留凌粒了侶 留留旅竜溜 粒虜凌 亮劉旅 僚留 慮竜旅 侶僚 竜了旅虜流 略侶 凌 劉粒凌. 留了虜凌侶 竜隆旅略龍竜旅 虜留旅 竜旅亮劉僚竜旅 旅 了竜凌亮劉竜旅竜, 竜僚略竜旅 侶僚 亮留 凌 竜 虜竜溜, 竜溜僚留旅 亮旅留 留了旅略 亮劉慮凌隆凌 侶 cire perdue, 留僚留凌隆凌粒溜龍竜旅 凌 虜竜溜 虜留旅 侶僚 慮劉侶 凌 竜了旅虜略 侶僚 留溜僚竜旅 凌 留了虜. 竜亮竜 了凌旅僚 旅 凌 隆侶亮旅凌粒 竜旅亮劉僚竜旅 侶僚 了留旅虜流 里劉僚侶 虜留旅 隆旅留溜龍竜旅 侶僚 亮留亮留凌粒了旅虜流 留' 留流僚 侶僚 留僚溜了侶侶 侶 留了虜凌旅虜流 旅了凌凌溜留, 隆侶了留隆流 侶 凌劉粒粒旅侶 凌 了旅虜凌 凌 僚留 隆溜僚竜旅 隆旅留虜竜虜旅亮劉僚竜 了竜凌亮劉竜旅竜. 旅留溜, 旅 略了了凌 虜略僚竜旅 劉僚留 劉粒凌 劉僚侶 留 凌 僚留 竜虜略龍竜旅 凌 凌, 凌僚 留留虜流留, 了竜凌亮劉竜旅竜, 亮溜留 隆旅略留侶 龍流 虜留旅 凌 凌留亮凌;
Manuel 僚隆略龍竜旅 虜留旅 旅 隆凌 竜僚旅虜劉 亮竜慮隆凌 粒旅留溜 劉竜旅 侶僚 隆僚留侶留 僚留 凌 虜略僚竜旅. 裡僚隆略龍竜旅 侶僚 留僚溜了侶侶 凌 亮留亮留凌粒了侶, 凌 留僚旅了留亮硫略僚竜留旅 凌 粒虜凌 粒僚溜龍竜旅 留 僚竜略, 侶僚 留僚慮竜虜旅虜侶留, ﾏ 慮'留粒粒溜両竜旅 凌 虜略慮竜 了旅虜 虜留旅 ﾏ 慮留 凌 僚凌亮旅了流竜旅, 虜留旅 留 侶僚 略了了侶 亮竜 侶僚 留了虜凌旅虜流 旅了凌凌溜留, 竜竜旅隆流 留虜旅硫ﾏ 隆旅留慮劉竜旅 侶僚 竜劉竜旅留, 竜溜留 凌侶粒凌亮劉僚, 僚留 粒僚溜龍竜旅 凌 竜了略旅凌旅 侶僚 了留旅虜流 里劉僚侶. 里凌僚溜龍竜旅 旅 了竜凌亮劉竜旅竜, 旅 粒旅留 僚留 竜旅硫留硫竜慮竜溜 凌 旅 亮凌竜溜 僚留 虜留留劉竜旅, 粒旅留溜 竜 略僚竜旅 凌 僚侶亮留 凌 凌 虜留了了旅劉僚侶, 留了了略 粒旅留 僚留 亮凌劉竜旅 僚留 亮留 隆ﾏ竜旅 亮劉留 留 留劉 侶僚 硫竜硫留旅侶留 虜留旅 侶僚 留略了竜旅留 亮留, 侶 凌凌溜留 凌 留溜竜留旅 留 侶 隆旅略留侶 凌 凌竜留了旅亮凌, 隆侶了留隆流 隆侶亮旅凌粒竜溜 竜旅 凌 竜両竜旅虜凌 虜亮凌 凌 僚隆劉凌僚留旅 亮竜 亮侶留僚旅亮凌 侶 旅虜流 亮留 竜僚隆凌ﾏ留. 旅留溜 旅 侶亮留溜僚竜旅 略留粒竜 劉僚留 竜溜凌凌 硫旅凌了溜 凌 凌凌溜凌 竜旅竜了溜竜留旅; 溜僚留旅 留僚 僚留 竜旅竜了溜竜留旅 凌 溜隆旅凌 凌 流凌 粒 留 凌 略両凌僚竜 凌. 里旅 侶亮留溜僚凌僚 略留粒竜 劉僚留 凌, 亮溜留 竜旅凌僚凌亮溜留 流 劉僚留 亮略旅, 亮溜留 虜留旅虜留凌留 凌ﾏ凌; 留 亮竜留隆溜隆凌僚 侶僚 留溜慮侶侶 竜僚 亮凌留亮凌 凌 留僚留僚留虜了略 侶僚 旅虜流 虜留略留侶 竜僚 留亮凌, 亮溜留 persona, 亮溜留 亮略虜留. persona 流留僚 了留旅僚旅虜 凌, 侶亮留溜僚竜旅 凌 凌竜溜凌 (亮略虜留), 隆旅留亮劉凌 凌 凌凌溜凌 侶 竜竜旅虜流 侶 亮凌竜溜 僚留 留虜凌竜溜. 凌亮劉僚, o Manuel, 僚隆略龍竜旅 虜留略了凌旅留 留 侶僚 留留旅侶留 亮竜 留僚慮ﾏ旅僚留 凌竜溜留 (亮略虜竜), 亮竜 竜旅凌僚凌亮溜竜, 亮竜 亮凌旅虜略 粒留僚留, 亮竜 了竜凌亮劉竜旅竜 凌 略了了凌竜 旅 隆旅留劉了了竜旅 虜留旅 旅 亮竜粒竜僚慮僚竜旅 虜留旅 略了了凌竜 旅 亮旅虜僚竜旅, 亮留 隆溜僚竜旅 凌僚 亮旅虜 虜留旅 凌僚 劉粒留 虜亮凌 凌 亮竜留劉凌亮竜 亮劉留 亮留, 虜留旅 亮凌竜溜 虜略凌旅凌 亮劉留 留 旅 竜僚凌略竜旅 凌 劉竜旅 侶僚 ﾏ留 凌 凌略龍竜留旅 僚留 隆旅留旅慮留僚慮竜溜 凌 亮留僚 凌 凌凌溜凌 竜溜亮留竜 亮劉凌. 隆 竜 留流僚 侶僚 劉虜慮竜侶 僚隆略龍凌僚留旅 侶 粒了旅虜流 虜留旅 侶 龍粒留旅虜流. 劉留 留 亮竜 虜留旅 竜亮竜旅溜竜 凌 隆溜僚竜留旅 侶 留溜慮侶侶 留僚 僚留 両竜了凌隆溜龍竜旅 凌 ﾎ捨 竜僚 凌溜凌 流 旅 竜了溜隆竜 凌 僚凌. Manuel 竜僚略 留 侶僚 亮溜留 隆旅略留侶 侶僚 略了了侶. 里留 留凌ﾎ捨穎留 僚 亮凌ﾎ 凌, 留留留旅虜略 虜留旅 竜留了旅旅虜略, 竜旅僚留旅 留僚 僚留 凌硫略了了凌僚留旅 留溜僚侶, 了竜 虜留旅 竜溜僚留旅 侶 ﾏ留 僚留 竜両留留僚旅凌僚. 凌僚 虜略旅 凌 竜流亮竜凌, 凌 留虜旅硫劉, 凌 虜留慮留, 凌 留劉, 留了了略 留凌僚 虜留旅 留溜凌了凌. 旅, 了凌旅僚, 凌 劉粒凌 凌 亮留 隆溜僚竜旅 了侶 留流僚 侶僚 亮竜留硫了侶侶留 侶 龍流 虜留旅, 留僚旅慮劉, 凌了旅亮留 凌旅竜溜留 虜留旅 亮留虜旅僚略, 留 虜略僚竜旅 凌旅虜竜溜留 虜留旅 留略 凌 竜亮略. 留 流慮竜了留 僚留 隆竜溜竜 留流僚 侶僚 劉虜慮竜侶 亮竜 凌僚 凌 凌 竜竜溜 竜旅慮亮竜溜竜 粒旅留溜 略僚 留 了留 侶 劉僚侶 竜溜僚留旅 竜了竜慮竜溜留, 竜亮竜溜 留了ﾏ 溜龍凌亮竜 虜略凌旅凌 隆亮凌 虜留旅 旅竜 侶僚 隆旅虜流 留 流 慮留 竜旅 竜僚隆竜凌亮劉僚 凌了 竜旅竜留 略粒亮留留. 裡留 竜留旅. 慮侶僚略 裡凌旅僚略, 旅旅虜 里劉僚侶. 虜溜留 慮侶僚略 裡凌旅僚略 竜溜僚留旅 凌凌 凌 凌竜溜凌 凌了留僚隆流 侶僚 僚隆凌 http://www.moca-andros.gr/ [虜凌了凌慮竜溜 粒粒了旅虜流 亮竜略留侶]
about Manuel R. surrealist By Ms ATHENA SCHOINA, Art Critic We theorists (art critics) say that when a work of art reaches the exhibition hall, our discourse is redundant because the work is addressed to your senses and your contemplation. This is the desideratum which the creator strives for through his elaborate formulations in his works. In any case, we critics usually facilitate things by lighting a path; you can find your own walk on that path and your own way to approach and converse with that work of art, out of the thousands which a work of art propounds. Manuel is a virtuoso artist, a wizard of marble, I would say. He knows marble like very few people do, but does not surrender himself to his facility with it. His idiolect is surrealistic, it yields fluid forms which are eternally in motion. He coils his forms around axes of symmetry with a lyricism and a sarcastic tone, with humour and, indeed, with a disposition towards illuminating the inner aspect of things, the anima rerum (the soul of things), like the Romans used to say. He chooses different coloring styles and materials which are incompatible with each other: he combines natural rocks with metal; he combines glass with marble or solid pieces, materials through which the sculptor acts as a copper caster. There is a great difference between the two: the sculptor extracts volume until he gets to the final phase of the work; the copper caster designs and insists upon details, he passes his form on to wax (cire perdue is a very old method), he turns the wax upside-down, the waxs place eventually being taken by copper. We say, then, that this creator insisits upon the Plastic Art and disociates marble sculpture from the philosophy of coper casting, that is, from approaching the material in order to give prominent details. Because, what else, if anything, does a work of art do other than express the style, the character, details, a dimension of life and ways of thinking? Manuel combines both these technical methods because he has the ability to do so. He combines the perception of the marble sculptor (who perceives volume, knows the materials grain, its
durability, how to touch each material, how he will converse with it) with the philosophy of the copper caster, precisely because, as I said earlier, he has the facility to know the Plastic Art like few people do. He accentuates details, not to cause one to say Goodness, how much he can achieve! (because then the artist loses his meaning), but in order to give through these details a precision which creates in us a sense of certainty and security, while, at the same time, raising that sense through the dimension of surrealism; that is, he creates aspects of the outside world which are connected to mechanisms of our psychic hinterland. Because what, I wonder, does a conspicuous violin that twines mean? It is as if sound itself twines around its own axes. What, I wonder, do a face, a gesture, an eye or a facial caricature mean? They convey to us the sensation of a grimace that reflects the emotional state of an individual, of a persona, of a mask. (persona was a Latin term, denoting a facial mask through which inner reverberation can be heard.) Therefore, Manuel, combining remnants from antiquity with human facial masks, with gestures, with musical instruments, with details which he enlarges and magnifies or which, at other times, he diminishes, gives us the microcosm and the Macrocosm which we carry around within us, the universe which, through the insights we have during our ruminations, we can sense we are a part of. Here at this exhibition, sculpture and painting are combined. Through forms and experiences, a sensation of peeling is given, as if the colour peels off a wall, or off the pages of Time. Manuel passes from one dimension to the other. The imprints of his forms, vivid and realistic they are suddenly projected as if only to vanish a little later. There is something transient about them, something precise, clear, definite, but, at the same time, agile. Thus, his work conveys the entire mutability of life and, at the same time, renders valuable and remote elements familiar and tangible to us. I would like you to see this exhibition in the way you personally wish, because, above everything, art is freedom. We simply light some paths. It is my belief that this exhibition will speak to your soul many more things. Thank you. Athena Schoina, Art Critic. Ms Athena Schoina is Curator at the Goulandris Museum, Andros, Greece. http://www.moca-andros.gr/

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Athina Schoina review about Manuel surrealist

  • 1. about Manuel R. surrealist 里 里律痢里 裡律 [An English translation of the review follows below] by Costas Kalimeris 劉亮竜 旅 竜亮竜溜 凌旅 慮竜侶旅虜凌溜 (竜僚凌虜旅旅虜凌溜), 留僚 凌 劉粒凌 略僚竜旅 侶僚 留溜慮凌留 侶 劉虜慮竜侶 竜旅竜竜旅 凌 隆旅虜 亮留 了粒凌 粒旅留溜 凌 劉粒凌 留粒粒溜龍竜旅 旅 隆旅虜劉 留 留旅慮流竜旅 虜留旅 凌僚 隆旅虜 留 凌留亮. 竜溜僚留旅 凌 龍侶凌亮竜僚凌 亮劉留 留 旅 竜溜竜僚竜 隆旅留ﾏ竜旅 留 劉粒留 凌 留 竜旅隆旅ﾎ採砧 凌 隆侶亮旅凌粒. 僚 略侶 竜旅ﾏ竜旅 僚流慮 竜亮竜溜 隆旅竜虜凌了僚凌亮竜 凌 僚留 溜凌亮竜 劉僚留僚 隆亮凌, 竜竜溜 亮凌竜溜竜 僚留 硫竜溜竜 虜留旅 凌 硫侶亮留旅亮凌 虜留旅 凌 凌 僚留 凌 凌竜粒粒溜竜竜 虜留旅 僚留 凌亮旅了流竜竜 亮留龍溜 凌, 亮竜 凌 旅了旅略隆竜 凌 凌 凌硫略了了竜旅 劉僚留 劉粒凌 劉僚侶. Manuel 竜溜僚留旅 劉僚留 虜留了了旅劉僚侶 隆竜両旅凌劉僚侶, 慮留 劉了竜粒留 亮略粒凌 凌 亮留亮略凌. 里凌 粒僚溜龍竜旅 凌 竜了略旅凌旅, 略了了留 隆竜僚 留流僚竜留旅 略僚 侶僚 竜劉竜旅留 凌 劉竜旅. 里凌 隆旅虜 凌 旅隆溜亮留 竜溜僚留旅 凌竜留了旅旅虜, 隆溜僚竜旅 亮竜 竜劉 留竜僚略 虜旅僚凌亮竜僚竜, 旅 竜旅竜了溜竜旅 留 略両凌僚竜 亮亮竜溜留 亮竜 劉僚留 了旅亮 虜留旅 亮竜 劉僚留 留虜留旅虜 僚凌, 亮竜 劉僚留 旅凌亮凌 虜留旅 亮竜 留粒亮留旅虜略 亮溜留 隆旅略慮竜侶 僚留 溜龍竜旅 侶僚 竜竜旅虜流 侶 僚 留粒亮略僚, 侶僚 anima rerum (侶僚 流 僚 留粒亮略僚) 劉了竜粒留僚 凌旅 留溜僚凌旅. 旅了劉粒竜旅 隆旅留凌竜旅虜劉 竜僚凌凌溜竜 亮留旅亮凌 虜留旅 留亮硫留留 了旅虜略. 僚留凌旅虜略, 旅虜略 竜ﾎ捨穎留 留 僚隆略龍竜旅 亮竜 凌 亮劉留了了凌, 粒留了溜 凌 僚隆略龍竜旅 亮竜 亮略亮留凌 流 亮留粒流 虜凌亮略旅留, 了旅虜略 亮劉留 留 留 凌凌溜留 凌 亮留亮留凌粒了侶 了竜旅凌粒竜溜 留僚 留了虜凌侶. 離略竜旅 亮旅留 亮竜粒略了侶 隆旅留凌略 亮竜留両 凌: 凌 亮留亮留凌粒了侶 留留旅竜溜 粒虜凌 亮劉旅 僚留 慮竜旅 侶僚 竜了旅虜流 略侶 凌 劉粒凌. 留了虜凌侶 竜隆旅略龍竜旅 虜留旅 竜旅亮劉僚竜旅 旅 了竜凌亮劉竜旅竜, 竜僚略竜旅 侶僚 亮留 凌 竜 虜竜溜, 竜溜僚留旅 亮旅留 留了旅略 亮劉慮凌隆凌 侶 cire perdue, 留僚留凌隆凌粒溜龍竜旅 凌 虜竜溜 虜留旅 侶僚 慮劉侶 凌 竜了旅虜略 侶僚 留溜僚竜旅 凌 留了虜. 竜亮竜 了凌旅僚 旅 凌 隆侶亮旅凌粒 竜旅亮劉僚竜旅 侶僚 了留旅虜流 里劉僚侶 虜留旅 隆旅留溜龍竜旅 侶僚 亮留亮留凌粒了旅虜流 留' 留流僚 侶僚 留僚溜了侶侶 侶 留了虜凌旅虜流 旅了凌凌溜留, 隆侶了留隆流 侶 凌劉粒粒旅侶 凌 了旅虜凌 凌 僚留 隆溜僚竜旅 隆旅留虜竜虜旅亮劉僚竜 了竜凌亮劉竜旅竜. 旅留溜, 旅 略了了凌 虜略僚竜旅 劉僚留 劉粒凌 劉僚侶 留 凌 僚留 竜虜略龍竜旅 凌 凌, 凌僚 留留虜流留, 了竜凌亮劉竜旅竜, 亮溜留 隆旅略留侶 龍流 虜留旅 凌 凌留亮凌;
  • 2. Manuel 僚隆略龍竜旅 虜留旅 旅 隆凌 竜僚旅虜劉 亮竜慮隆凌 粒旅留溜 劉竜旅 侶僚 隆僚留侶留 僚留 凌 虜略僚竜旅. 裡僚隆略龍竜旅 侶僚 留僚溜了侶侶 凌 亮留亮留凌粒了侶, 凌 留僚旅了留亮硫略僚竜留旅 凌 粒虜凌 粒僚溜龍竜旅 留 僚竜略, 侶僚 留僚慮竜虜旅虜侶留, ﾏ 慮'留粒粒溜両竜旅 凌 虜略慮竜 了旅虜 虜留旅 ﾏ 慮留 凌 僚凌亮旅了流竜旅, 虜留旅 留 侶僚 略了了侶 亮竜 侶僚 留了虜凌旅虜流 旅了凌凌溜留, 竜竜旅隆流 留虜旅硫ﾏ 隆旅留慮劉竜旅 侶僚 竜劉竜旅留, 竜溜留 凌侶粒凌亮劉僚, 僚留 粒僚溜龍竜旅 凌 竜了略旅凌旅 侶僚 了留旅虜流 里劉僚侶. 里凌僚溜龍竜旅 旅 了竜凌亮劉竜旅竜, 旅 粒旅留 僚留 竜旅硫留硫竜慮竜溜 凌 旅 亮凌竜溜 僚留 虜留留劉竜旅, 粒旅留溜 竜 略僚竜旅 凌 僚侶亮留 凌 凌 虜留了了旅劉僚侶, 留了了略 粒旅留 僚留 亮凌劉竜旅 僚留 亮留 隆ﾏ竜旅 亮劉留 留 留劉 侶僚 硫竜硫留旅侶留 虜留旅 侶僚 留略了竜旅留 亮留, 侶 凌凌溜留 凌 留溜竜留旅 留 侶 隆旅略留侶 凌 凌竜留了旅亮凌, 隆侶了留隆流 隆侶亮旅凌粒竜溜 竜旅 凌 竜両竜旅虜凌 虜亮凌 凌 僚隆劉凌僚留旅 亮竜 亮侶留僚旅亮凌 侶 旅虜流 亮留 竜僚隆凌ﾏ留. 旅留溜 旅 侶亮留溜僚竜旅 略留粒竜 劉僚留 竜溜凌凌 硫旅凌了溜 凌 凌凌溜凌 竜旅竜了溜竜留旅; 溜僚留旅 留僚 僚留 竜旅竜了溜竜留旅 凌 溜隆旅凌 凌 流凌 粒 留 凌 略両凌僚竜 凌. 里旅 侶亮留溜僚凌僚 略留粒竜 劉僚留 凌, 亮溜留 竜旅凌僚凌亮溜留 流 劉僚留 亮略旅, 亮溜留 虜留旅虜留凌留 凌ﾏ凌; 留 亮竜留隆溜隆凌僚 侶僚 留溜慮侶侶 竜僚 亮凌留亮凌 凌 留僚留僚留虜了略 侶僚 旅虜流 虜留略留侶 竜僚 留亮凌, 亮溜留 persona, 亮溜留 亮略虜留. persona 流留僚 了留旅僚旅虜 凌, 侶亮留溜僚竜旅 凌 凌竜溜凌 (亮略虜留), 隆旅留亮劉凌 凌 凌凌溜凌 侶 竜竜旅虜流 侶 亮凌竜溜 僚留 留虜凌竜溜. 凌亮劉僚, o Manuel, 僚隆略龍竜旅 虜留略了凌旅留 留 侶僚 留留旅侶留 亮竜 留僚慮ﾏ旅僚留 凌竜溜留 (亮略虜竜), 亮竜 竜旅凌僚凌亮溜竜, 亮竜 亮凌旅虜略 粒留僚留, 亮竜 了竜凌亮劉竜旅竜 凌 略了了凌竜 旅 隆旅留劉了了竜旅 虜留旅 旅 亮竜粒竜僚慮僚竜旅 虜留旅 略了了凌竜 旅 亮旅虜僚竜旅, 亮留 隆溜僚竜旅 凌僚 亮旅虜 虜留旅 凌僚 劉粒留 虜亮凌 凌 亮竜留劉凌亮竜 亮劉留 亮留, 虜留旅 亮凌竜溜 虜略凌旅凌 亮劉留 留 旅 竜僚凌略竜旅 凌 劉竜旅 侶僚 ﾏ留 凌 凌略龍竜留旅 僚留 隆旅留旅慮留僚慮竜溜 凌 亮留僚 凌 凌凌溜凌 竜溜亮留竜 亮劉凌. 隆 竜 留流僚 侶僚 劉虜慮竜侶 僚隆略龍凌僚留旅 侶 粒了旅虜流 虜留旅 侶 龍粒留旅虜流. 劉留 留 亮竜 虜留旅 竜亮竜旅溜竜 凌 隆溜僚竜留旅 侶 留溜慮侶侶 留僚 僚留 両竜了凌隆溜龍竜旅 凌 ﾎ捨 竜僚 凌溜凌 流 旅 竜了溜隆竜 凌 僚凌. Manuel 竜僚略 留 侶僚 亮溜留 隆旅略留侶 侶僚 略了了侶. 里留 留凌ﾎ捨穎留 僚 亮凌ﾎ 凌, 留留留旅虜略 虜留旅 竜留了旅旅虜略, 竜旅僚留旅 留僚 僚留 凌硫略了了凌僚留旅 留溜僚侶, 了竜 虜留旅 竜溜僚留旅 侶 ﾏ留 僚留 竜両留留僚旅凌僚. 凌僚 虜略旅 凌 竜流亮竜凌, 凌 留虜旅硫劉, 凌 虜留慮留, 凌 留劉, 留了了略 留凌僚 虜留旅 留溜凌了凌. 旅, 了凌旅僚, 凌 劉粒凌 凌 亮留 隆溜僚竜旅 了侶 留流僚 侶僚 亮竜留硫了侶侶留 侶 龍流 虜留旅, 留僚旅慮劉, 凌了旅亮留 凌旅竜溜留 虜留旅 亮留虜旅僚略, 留 虜略僚竜旅 凌旅虜竜溜留 虜留旅 留略 凌 竜亮略. 留 流慮竜了留 僚留 隆竜溜竜 留流僚 侶僚 劉虜慮竜侶 亮竜 凌僚 凌 凌 竜竜溜 竜旅慮亮竜溜竜 粒旅留溜 略僚 留 了留 侶 劉僚侶 竜溜僚留旅 竜了竜慮竜溜留, 竜亮竜溜 留了ﾏ 溜龍凌亮竜 虜略凌旅凌 隆亮凌 虜留旅 旅竜 侶僚 隆旅虜流 留 流 慮留 竜旅 竜僚隆竜凌亮劉僚 凌了 竜旅竜留 略粒亮留留. 裡留 竜留旅. 慮侶僚略 裡凌旅僚略, 旅旅虜 里劉僚侶. 虜溜留 慮侶僚略 裡凌旅僚略 竜溜僚留旅 凌凌 凌 凌竜溜凌 凌了留僚隆流 侶僚 僚隆凌 http://www.moca-andros.gr/ [虜凌了凌慮竜溜 粒粒了旅虜流 亮竜略留侶]
  • 3. about Manuel R. surrealist By Ms ATHENA SCHOINA, Art Critic We theorists (art critics) say that when a work of art reaches the exhibition hall, our discourse is redundant because the work is addressed to your senses and your contemplation. This is the desideratum which the creator strives for through his elaborate formulations in his works. In any case, we critics usually facilitate things by lighting a path; you can find your own walk on that path and your own way to approach and converse with that work of art, out of the thousands which a work of art propounds. Manuel is a virtuoso artist, a wizard of marble, I would say. He knows marble like very few people do, but does not surrender himself to his facility with it. His idiolect is surrealistic, it yields fluid forms which are eternally in motion. He coils his forms around axes of symmetry with a lyricism and a sarcastic tone, with humour and, indeed, with a disposition towards illuminating the inner aspect of things, the anima rerum (the soul of things), like the Romans used to say. He chooses different coloring styles and materials which are incompatible with each other: he combines natural rocks with metal; he combines glass with marble or solid pieces, materials through which the sculptor acts as a copper caster. There is a great difference between the two: the sculptor extracts volume until he gets to the final phase of the work; the copper caster designs and insists upon details, he passes his form on to wax (cire perdue is a very old method), he turns the wax upside-down, the waxs place eventually being taken by copper. We say, then, that this creator insisits upon the Plastic Art and disociates marble sculpture from the philosophy of coper casting, that is, from approaching the material in order to give prominent details. Because, what else, if anything, does a work of art do other than express the style, the character, details, a dimension of life and ways of thinking? Manuel combines both these technical methods because he has the ability to do so. He combines the perception of the marble sculptor (who perceives volume, knows the materials grain, its
  • 4. durability, how to touch each material, how he will converse with it) with the philosophy of the copper caster, precisely because, as I said earlier, he has the facility to know the Plastic Art like few people do. He accentuates details, not to cause one to say Goodness, how much he can achieve! (because then the artist loses his meaning), but in order to give through these details a precision which creates in us a sense of certainty and security, while, at the same time, raising that sense through the dimension of surrealism; that is, he creates aspects of the outside world which are connected to mechanisms of our psychic hinterland. Because what, I wonder, does a conspicuous violin that twines mean? It is as if sound itself twines around its own axes. What, I wonder, do a face, a gesture, an eye or a facial caricature mean? They convey to us the sensation of a grimace that reflects the emotional state of an individual, of a persona, of a mask. (persona was a Latin term, denoting a facial mask through which inner reverberation can be heard.) Therefore, Manuel, combining remnants from antiquity with human facial masks, with gestures, with musical instruments, with details which he enlarges and magnifies or which, at other times, he diminishes, gives us the microcosm and the Macrocosm which we carry around within us, the universe which, through the insights we have during our ruminations, we can sense we are a part of. Here at this exhibition, sculpture and painting are combined. Through forms and experiences, a sensation of peeling is given, as if the colour peels off a wall, or off the pages of Time. Manuel passes from one dimension to the other. The imprints of his forms, vivid and realistic they are suddenly projected as if only to vanish a little later. There is something transient about them, something precise, clear, definite, but, at the same time, agile. Thus, his work conveys the entire mutability of life and, at the same time, renders valuable and remote elements familiar and tangible to us. I would like you to see this exhibition in the way you personally wish, because, above everything, art is freedom. We simply light some paths. It is my belief that this exhibition will speak to your soul many more things. Thank you. Athena Schoina, Art Critic. Ms Athena Schoina is Curator at the Goulandris Museum, Andros, Greece. http://www.moca-andros.gr/