Public Art. Amsterdam

BOLD TOREN BOUWMATERIALEN

Strike a Pose – Wafae Ahalouch

Amsterdam, the magic center, art and counterculture 1967-1970

Schip van Slebos

De Appel

Het Bankje

Het Raam

De Oude Kerk

Het Stoepje

Licht

De Brug

De Brug

Ruimtestructuur

Het Zandkasteel en de Amsterdamse Poort

How to Kill a Tree, Edward Clydesdale Thomson

City Cells

Nelson Mandela

Monument tegen Apartheid en Racisme

DOE IETS / DO SOMETHING

Spanje Monument

De Muur

Gedenkteken Steven van Dorpel

De Grote Glijbaan

Yellow Wings

Dolle Mina

Man en Schaap

Hortus Botanicus

Portrait of Jan Pieterszoon Coen, J.L. Vreugde

Anton de Kom

Now, Speak!

Tayouken Piss

Monument Bijlmerramp

Sequin Monument

Mama Aisa

Zonder titel (Twee Schuine Naalden)

Nationaal Monument Slavernijverleden

Monument for Martin Luther King

Gloei!

Voor de Bijen

Industrieel Monument

The Black Archives

Tussentijd

Corned Beef

Sami

Brace for Impact, Node #6

Untitled (You Don’t Have To Be Here)

Staalmanplein

Wegwerphuisje

Groot Landschap

De 7 poorten

Klimmuur

De Kies

Black Waves

Tectona Grandis

Stapeling omlaag

Animaris Rhinoseros Transport

Tuinen van West

De Poort van Constant

Fietstunnel station Amsterdam CS

Noordbeeld

NDSM-Werf

Ontmoetingsplaats

IJ boulevard

ADM monument

De Ceuvel

NDSM-Werf

Observatorium

De Ceuvel

Gedenkteken Ataturk

Twee Beelden

Sunday Seminar Pay Attention Please! curating the city

Official Opening Pay Attention Please!

De Kost en de Baat

Van Eesteren Museum and Aldo van Eyck’s climbing frames

Constructie met I-balken, André Volten

Mirage, Tamás Kaszás

Rembo, Bastienne Kramer

Untitled, Margot Zanstra

Horse Chestnut, Amok Island

2 U’s naar buiten / 2 U’s naar binnen, Carel Visser

Opstandingskerk, Marius Duintjer

Cascoland

WOW Amsterdam

Leonard van Munster, Under Heaven 02

Lex Horn, Concrete relief Hendrik de Keyser

Het Wiel, Jeroen Henneman

Herbert Nouwens, Brettensuite

White Noise

De Wachter

Feestelijke Beelden (festive sculptures)

Your Life is Calling

Untitled

Primum movens ultimum moriens

11 Rue Simon Crubellier

Lady Solid

Opgelichte Stoeptegels

Ode to Mungus, Menhir Tower and Spire

Untitled (Hildo)

The First Turk Immigrant or The Nameless Heroes of The Revolution – Framer Framed

Amsterdam, the Magic Center Art and counterculture 1967-1970, Stedelijk Museum Amsterdam

Monument for the White Cube – P/////AKT

Monuments to the Unsung – Framer Framed

wild care, tame neglect – Frankendael Foundation

GET LOST – art route, several artists

Ode to the Bijlmer – CBK Zuidoost

Untitled (You Don’t Have To Be Here) – De Appel

We should have a conversation (2018) – De Appel

Fiep van Bodegom

Roos van Rijswijk

Alma Mathijsen

Massih Hutak

Chris Keulemans

Rashid Novaire

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Since a couple of years six colourful sculptures can be seen around Europaplein in front of the enormous RAI Amsterdam. High up on their pedestals, staring off into the distance they rise above the incoming crowd. The three entrances of the square are guarded by two artworks each, among which are two illusionists, two large theatre puppets (and their puppeteers) and two girls on the shoulders of men on stilts. These Feestelijke Beelden(festive sculptures) are the result of a commission by the Dienst Zuidas for a work which would ‘add something special’ to the wall surrounding the RAI area: an artistic solution was sought after for the ornaments on the corners of the entrances. One end of the wall leads to a bridge designed by Piet Kramer, architect and representative of the Amsterdam School. The sculptures needed to reflect the Amsterdam School ideals.

On the pedestals the name of the Belgian artist Guillaume Bijl can be read. About the artworks he says the following: “I was mainly influenced by the rather bare, quite industrial surroundings of the RAI, the stock exchange buildings and the traffic. I wanted to freshen up the area a bit.” The figures are inspired by Flemish folk and street culture. The human figures are life-size and placed on a high pedestal as if on a stage.  This creates a monumental image, a ‘carnivalesque’ welcome to the RAI’s visitors.

For the interpretation of an artwork in public space the immediate environment is of great significance. For people swiftly passing by the Feestelijk Beeldenmay be welcome patches of colour, a sigh of relief within the stark contours of the RAI and the Zuidas. For people pausing there is more to see: the longer you look, the more peculiar the figures appear. Especially the theatre puppets: their proud puppeteers look just like the daily spectators from the neighbouring offices. Both puppeteers are neatly dressed but without their jackets they look like they were plucked straight from their work spaces. Here we see the hint of irony that’s so typical for Bijl’s work. It simultaneously reaffirms the ambiguity of public space: although it may be presented as such, it is never neutral.

Something seemingly marginal such as ‘adding something special’ to a wall in public space becomes the subject of discussion. The wall separates the Zuidas from the residential area. For many visitors of the RAI the sculptures are an introduction to the building, while for the residents they may serve as signposts in a busy street. Although one can always question the intentions of a work of art in public space, the Feestelijke Beeldenindisputably add some necessary colour to the greyness of the RAI suits.

More information

Officiële website Guillaume Bijl: http://www.guillaumebijl.be/indexpop.html

Agenda

April