The photo of the sculpture won the Polonica Institute's 'Heritage without borders' competition in 2024.

Modernity, especially in the digital age, emphasises the fragmented nature of human identity. On social media, on online portals, in virtual reality - our identity is often divided into different parts, which can be shown or hidden depending on the context. The modern human being is no longer seen as a homogeneous, stable entity, but as a complex, multi-layered being whose identity changes and transforms according to circumstances. We are divided between many responsibilities, social roles and demands. Fragments of our attention, time and energy are split between work, family, leisure, online activity - and this in the course of short messages - tic-tac videos, tweets or Instagram rolls resists the fragmentation of the narrative. It is becoming not only a feature of contemporary culture, but also a response to the chaotic nature, information overload and complexity of the modern world. It allows us to cope with this reality, enabling us to select and focus on those fragments that catch our attention most strongly.

Igor Mitoraj's sculptures such as 'The Fall of Icarus' may seem to be an attempt to combine classical proportions - that which is permanent and timeless with a focus on fragmentation. The artist's works often depict figures with ancient features, but damaged, as if they were relics of antiquity, brought out of oblivion. These sculptural fragments have both beauty and an undeniable tragedy, which can evoke the collapse of great civilisations, but also human ambition.

Ambition and the limits of human possibility

"The Fall of Icarus" is not just a tribute to an ancient myth, but a reflection on the human condition. Using the symbolism of the mythical Icarus, Mitoraj conveys a universal message about human aspirations, ambitions and the inevitable limitations that every human being has to face. The figure of Icarus, symbolising both courage and pride, becomes in this context a metaphor for the human condition, which constantly balances between dreams of pushing the limits and the awareness of one's own limitations.

The story of Icarus, who in his ambition soared too high, becomes a story about the human desire to reach beyond what is possible, to transcend limits, both physical and mental. This is a fundamental characteristic of human nature - the drive towards the unknown, the desire to explore new horizons, both literally and metaphorically. Icarus in mythology represents not only youthful idealism, but also carelessness and a lack of understanding of his own limitations, leading to his tragic downfall.

The sculpture from Agrigento depicts a fragmented, partially damaged human figure. This fragmentary nature blends in with both the ancient heritage and the fragility of human destiny, much like the ruins of the ancient temples among which it is situated. This juxtaposition of harmony and decay - beauty and destruction - in a certain perspective gives Mitoraj's work a metaphysical dimension; the figure, stripped of its original context, aspires to become a fragment of something larger that no longer exists.

Pride and Punishment

Mitoraj's sculpture alludes to the concept of hybris, or hubris, which in ancient Greece often led to doom. Icarus, ignoring the warnings of his father, Daedalus, soared too high, where the hot rays of the sun melted the wax of his wings. It is a story that teaches about the consequences of disobedience to natural laws and how hubris can lead to tragic consequences.

In the context of the human condition, hubris is not only about excessive ambition, but also about the desire to control the world around us. Modern man, armed with technology and science, is increasingly faced with challenges that are beyond his capabilities. However, it is Mitoraj's question of whether man, like Icarus, is sometimes overconfident, trying to soar too high, disregarding the natural limits and consequences of his actions.

The sculpture in the Valley of the Temples - controversy

The location of the sculpture in the Valley of the Temples in Agrigento is no coincidence. It is one of the most impressive archaeological sites in the world, a UNESCO World Heritage Site. It houses the monumental remains of ancient Greek temples that were dedicated to various gods. Situated there in 2011, on the occasion of an exhibition of works by Igor Mitoraj, and subsequently donated to the city, it has permanently (?) inscribed its location, but decontextualising it visually. This change, which could have been explained by the temporary exhibition - as we can read in critical statements - becoming permanent, raises a certain concern as to its legitimacy. Hence the voices that have been appearing for years indicating that it should be moved to another location.

"The Fall of Icarus" can be read as a reminder of the fall of great civilisations, just like the ancient ruins in the midst of which the sculpture is placed. Like ancient Greece and, in part, Rome, whose temples and statues survive only as fragments of their former glory, Icarus becomes a symbol of what passes with time. However, there is also no shortage of voices saying that this monumentality, especially in this place, is overwhelming, reversing the order of the place, making the ancient ruins merely a background for the present. Critics of Mitoraj's sculptures emphasise that, although they cannot be denied artistic craftsmanship, beauty, or perhaps just showy prettiness, they are geared primarily towards the spectacular. Particularly in the world of ancient ruins, they become 'garden gnomes', however, stripped of their - in their own way charming - immediacy. They are accused of becoming more of an escape "into meaning", a reflection on humanity that is somehow comfortable in its generality, rather than addressing issues that are much more relevant to the present day.