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

Until the seventeenth century the Rietlanden were a barely inaccessible natural area outside the city where thatching was gathered for Amsterdam roofs. The physical and economic growth of the city and the location’s scarcity of buildings made it possible to transform it into an industrial zone: first came the windmills for the shipping industry, followed from the end of the nineteenth century by the construction of the railway line that turned the area into a modern industrial one. These filthy and noisy factories were the first to lead to a separation between residential and industrial zones. There were many metal factories in the Cruquius area that manufactured locomotives, material for the railway and other items. These heavy materials were transported over a network of narrow-gauge rails built to carry goods wagons. The Second World War spelled disaster for the industrial zones. The docks could no longer accommodate large vessels and shipping companies went out of business at the end of the colonial era. The firms in the Cruquius area suffered from the wartime economic crisis and industry disappeared more and more from the city.

When the district was converted into a residential area it was decided to leave as much as possible of the industrial architecture intact. Former warehouses were transformed into apartments, studios and offices. There was still a stretch of track with a goods wagon in the middle of the site. Joep van Lieshout left it there as an ode to the industrial era. Trees were planted nearby and the old foreman’s house was restored. Van Lieshout has a reputation for his expressive, big and colourful work, but this time he turned history itself into a work of art, the monument of a changing city. Since 2013 the tiny foreman’s cabin has been turned into Museum Perron Oost, where exhibitions and events are organised connected with stories about the neighbourhood that are inspired by a history of coming and going in the Cruquius area.

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