Public Art. Amsterdam

Agenda

Ontmoetingsplaats 21ste eeuw

Figuren en Vuur

Ladders

Krijger

Vruchtbaarheid

Totempaal

Mensen op strand met parasol

Monument voor de Vrede

Aardewerk

Zwerm

Blauwe Boog

Jongen met Haan

Papieren vliegtuigpijl

Schaapjes

Senza Parole

Vleugelvormen

Zonder moeite niets (Het Sieraad)

Herdenkingsmonument voor slachtoffers Tweede Wereldoorlog

De Wending 666/999

Boegbeeld

Ankh

Het Molecularium

Vierwindstrekenbrug

Zonder Titel (hekwerk poort)

Home is where the heart is: de potkachel

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

NDSM-wharf

Art tour Amsterdam West

  • permanent
  • accessible

“What were they talking about? About art, yes, but it was as if their hearts did not have say”.

This is something you could say about any artwork outdoors: what does it do here? It’s what Lex Horn wrote in his diary after he was appointed advisor of the government committee on art commissions at the University of Technology. What is art doing here on this campus, “in between these intimidating buildings towering over me? Where sculptures, clearly not meant for this, stand awkwardly and afraid, next to cars, metal against metal, an aesthetic joke, cultural curls”.

Lex Horn was a multi-faceted artist. He made drawings, paintings, sgraffitos (concrete reliefs), glass appliqués and tapestries. His diaries show he was very critical of himself and of others. But he also wrote about the reason for and justification of his own work.

In 1951, during the reconstruction of the Netherlands after World War Two, the government introduced the so-called Percent-for-Art principle, which required that one or one and a half percent of a development project’s budget be spent on ‘decoration’. In a relatively short period of time new buildings were furnished with monumental art like stained-glass windows, sgraffitos, mosaics and other decoration.

The question ‘what is the purpose of art here?’ clashes with the principle of ‘art because it is required’. After his first consultation with the university in Eindhoven he made the following note in his diary: “What were these people talking about? About art, yes, and perhaps not entirely uncritical. But it was as if their hearts, their feelings, did not have a say”. After this phase of despair, Lex Horn did in the end supply the university with two tapestries.

He made a work for the Hendrick de Keyser building too, a monumental concrete wall relief. The building, once a school for engineers, now accommodates artists and creative entrepreneurs. If Lex Horn were alive, he would be happy to find that in this building all hearts have a say.

More information

Redactie (2002) ‘Doorsnede man’ en ‘Doorsnede vrouw’, in: Cursor 26, Eindhoven: TUe.

Agenda

Oktober