Public Art. Amsterdam


Ontmoetingsplaats 21ste eeuw

Figuren en Vuur





Mensen op strand met parasol

Monument voor de Vrede



Blauwe Boog

Jongen met Haan

Papieren vliegtuigpijl


Senza Parole


Zonder moeite niets (Het Sieraad)

Herdenkingsmonument voor slachtoffers Tweede Wereldoorlog

De Wending 666/999



Het Molecularium


Zonder Titel (hekwerk poort)

Home is where the heart is: de potkachel


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


De Brug

De Brug


Het Zandkasteel en de Amsterdamse Poort

How to Kill a Tree, Edward Clydesdale Thomson

City Cells

Nelson Mandela

Monument tegen Apartheid en Racisme


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


Voor de Bijen

Industrieel Monument

The Black Archives


Corned Beef


Brace for Impact, Node #6

Untitled (You Don’t Have To Be Here)



Groot Landschap

De 7 poorten


De Kies

Black Waves

Tectona Grandis

Stapeling omlaag

Animaris Rhinoseros Transport

Tuinen van West

De Poort van Constant

Fietstunnel station Amsterdam CS




IJ boulevard

ADM monument

De Ceuvel



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


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


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


Art tour Amsterdam West

  • permanent
  • accessible

Art as the means to an end or an end in itself?

In 2014 journalist and researcher Roel Griffioen wrote an article for the Belgian magazine Rekto:versoabout ‘art as a lubricant’ in deprived neighbourhoods. He zoomed in on the Kolenkit neighbourhood, which was declared the Netherlands’s worst neighbourhood some ten years ago.

In the Kolenkit neighbourhood various initiatives can be found which aim to improve the quality of life in the relatively small neighbourhood by means of art and culture. WOW Amsterdam at Wiltzanghlaan is one of those initiatives, just like the former Bookstore Foundation. And then there is Cascoland, led by Roel Schoenmakers and Fiona de Bell.

Cascoland is a versatile project in which local residents often participate. This takes form as an urban garden, a guest house and a flexible workspace. In the past a number of pop-up projects were organised, like an ice rink, a barbeque island and a hen house.

The main question in Griffioen’s article was about the role of art in these neighbourhoods. Is it merely the means to an end or can it be an end in itself? Because as everybody knows, once a ‘broedplaats’ has done service project developers will be readily spending their millions and will promote the place as ‘the newest and trendiest Berlin neighbourhood’. The creatives will have to pack up and leave and give up their place to the yuppies.

Of course there are flaws in Cascoland’s projects. The urban farm may serve as a micro-level example. It is used by some residents as a way to support their own livelihood. The heaviest crops bring in more money so they are given priority. Looking at the bigger picture, the emerging Kolenkit neighbourhood is a threat to itself. Young people leaving home won’t be able to find affordable housing in the neighbourhood. The neighbourhood’s character seems to have fallen prey to gentrification.

In Cascoland’s ‘living room’ is a model of the Rhapsody building in Amsterdam-West. With the developer and the architect Cascoland accomplished that the apartments be sold for reasonable prices, so that young starters get the chance to stay in their own neighbourhood. Cascoland’s guest house is also art of this complex.

What makes Cascoland special is the self-awareness of its founders Roel Schoenmakers and Fiona de Bell and the group of researchers and volunteers who have committed themselves to the project. They know that they contribute to the regeneration of the city and that they are a link in the mechanism of gentrification, but they don’t simply resign themselves to that fact. Instead, they add another link to the chain, one that is crucial and even more effective, all for the sake of the neighbourhood.

More information EN Griffioen, Roel (2014) De creatieve klasse als vreemdelingenlegioen, URL bezocht op 25 mei 2018.