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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Public space is contested. Sometimes art has to make way for daily life. For a long time, this work by Rob Elderenbos stood alongside the Transitorium, but it has been removed.

Urban space can be understood in two ways: on the one hand there are the urban planners, architects, contractors and the city council who are in charge of the buildings, roads, green spaces, etc. On the other hand there are people who use the space, who fill the city with social activity. That activity is influenced by the space in which it takes place, but at the same time a city is shaped by its users. This last aspect is reflected in what could be called ‘the significance of an open space’.

Opgelichte Stoeptegels(uplifted paving stones) by Rob Elderenbos was originally situated at the intersection of Van Der Boechorstraat and De Boelenlaan, on a narrow sidewalk along a busy street.  Large steel plates break through the pavement. They resemble the kind of steel plates often used on construction sites as temporary walkways. As such, the work can be seen as a charming interruption of daily life: a seemingly banal sidewalk is turned into an aesthetic object to be observed. However, the work was not meant to evoke contemplation. It was part of a movement in the 1970’s called ‘omgevingsvormgeving’ (which means as much environmental design).  Affiliated artists thought art was not meant to decorate public space or fill it with extra layers of meaning. Instead they thought art should stimulate the insipid setting of modern urban development. Opgelichte Stoeptegels is a great example of the kind of work that makes people aware of the space they move around in, but it does so in a disrupting way. Because, well, it is ín the way: you can barely go around it. Obviously, this may irritate pedestrians. The work was part of public space until 2013, but was then removed. The removal proves the power of the user: urban planners really need to take into account the people in the city and their demands for the public domain. The contemporary citizen is quite irritable.

At Kleinpolderplein in Rotterdam is the Museum voor Verweesde Beelden (museum for orphaned sculptures) which accommodates artworks that no longer function in their original location. Perhaps they have room for Opgelichte Stoeptegels too.

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April