Public Art. Amsterdam


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

  • permanent
  • accessible

At the end of the nineteenth century Amsterdam changed into a modern city that could be reached by land. Railways were constructed and the docks were moved from the Oostelijke Eilanden, where they had been since the days of the Dutch East India Company (VOC), to the Rietlanden. The days of the windmills to the East of the former docks, which sawed timber for the ships and prevented the IJ from silting up, were numbered. They continued to operate until the end of the nineteenth century, but had now become obstacles to a new expansion of the city. That new urban expansion included a cattle market and an abattoir, a slaughter house, here around the Hildo Kropplein. This is where hides were tanned and where the meat came from that was sold to the butchers in Amsterdam. Before then slaughtering was done privately at a variety of points in the city, but from 1888 this industry was relocated on the outskirts of the city for reasons of hygiene and because of the improved transport by train and boat.

In 1988 the abattoir moved to West Amsterdam and the cattle market with its livestock disappeared completely from the city. The apartment buildings around the Hildo Kropplein were meticulously designed, paying considerable attention to repetition and regularity. The large brick work of art by Per Kirkeby on the square follows the proportions of the surrounding architecture. Kirkeby wanted to keep the memory of the abattoir alive. The architecture of the work recalls that of the large brick slaughter house, and with a bit of imagination you can see the head of a cow in it. Kirkeby particularly wanted to link his native city, Copenhagen, with Amsterdam. Both cities have a long tradition of brick architecture.

The harmony of the square was abruptly disrupted when a huge transformer house was placed there. Residents were seriously annoyed by the way it disturbed the visual axes of the square. In consultation with the neighbourhood council of the local authority, the solution was found in turning the transformer house into a work of art. In 1989 the conceptual artist Carolien Feldbrugge covered it completely with tiles and transformed it into a tin of Hereford corned beef, together with barcode and nett weight – another memory of the former abattoir, although in stark contrast to the sober work of Kirkeby. Feldbrugge must have known that her work was destined to stand there for a long time: she gave the contents an expiry date of 1995.

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