Saturday July the 2nd in Hydra, will be inaugurated the in-situ installation of the artwork concieved by Maria Tsagkari, the laureate of the first award for emerging artists from the Mediterranean, created specifically by the artist, commissioned and produced by HYam, and realiezd in collaboration with local craftmen. The project of the artis, mindful of the singularity of the island, will be linked to her researches about the New Green.
“The New Green part 2”, The expectation In-situ installation of Maria Tsagkari
The New Green company, established in 2015, has made the first discovery of a formula that converts the green color found in nature into blue. The company applies this formula to imaginary gardens all around the world by taking a plant-based blue pigment bringing it back to its natural habitat. Through its commercial campaign, the company presents a new trend of worldwide change that starts with the conversion of the natural landscape and promises that the embrace and acceptance of this transformation can make the impossible a reality.
Throughout history, the notion of the garden is a focus point for sharing, hospitality, gathering, as well as a model of demonstrating power, both economic and political, and as proof of imposition of this power and authority.
On the island of Hydra, where a visitor encounters dozens of busts of historical figures, the New Green presents a monument of an obscure hero who is dedicated to an unattainable fantasy: an anarchic, asymmetric blue garden, which concludes the unfinished novel Heinrich von Ofterdingen, by the German philosopher Novalis, about the myth of a young troubadour in the middle ages. The boy leaves everything behind and delves into the pursuit of a small blue flower, which had haunted his dreams and which mythically embodies the values of the ideal life and pure poetry.
The New Green presents a monument dedicated to the marginal, to the enchantment of a lie, to the hopes that are never confuted due to their very nature as fantasies that never touch the limits of reality. A garden, incorporated into Hydra’s landscape like a promise frozen in time, complements the novel’s ending, which establishes the blue color as the emblematic symbol of romanticism, which took place just before the color was appropriated in the political sphere as an expression of the values promoted by order and democracy. A blue color that encompasses a consensus that stems from its relationship with fluidity, desire, and dreaming, that reveals beyond doubt that literature and the imaginary are integral elements to social and political realities.