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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The location of what is now the Funenpark was a rail marshalling yard at the end of the nineteenth and the beginning of the twentieth centuries. In 2000 plans were made to turn the area into a family housing project. During inspection of the subsoil, the archaeological department of the local authority stumbled upon a unique find. Beneath the ground level the 26th bulwark of the 1663 defensive wall was still virtually intact. The ground adjacent to the outer face of this fall yielded many shards of plates and pitchers. In the past a canal ran past the city wall, in which every broken household item was dumped.

The Zeeburg bulwark, which still lies there, prompted Gabriel Lester’s Meantime, which he made as ‘an echo from the past’. The artist: ‘The commission for a sculpture in the Funenpark explicitly also asked for the history to be made visible and tangible. I immediately thought of those shards that I used to dig up when I was a child. I saw those fragments of the past as sculptures for me. The past and history are never a complete picture or story, but a collection of fragments like shards from a bygone era. So the series of sculptures is a series of time fragments. The shards symbolise a past that can be approximately reconstructed in broken pieces. That is how history inspired me: by thinking about how tradition reaches us and to what extent it is complete or fragmented.’

The work consists of four enormous shards that conjure up the past of the Funenpark area. The outer skin of the shards (as Gabriel Lester calls it) is made of Corten steel, which will become attractive as it weathers and rusts with the passing of time. The inner side of the shards is made of smoothly polished steel, recalling old-fashioned pots and plates with a beautiful inside and a rough outer one. Lester thereby brings two periods together: the changing outer face of the work from which it will be possible to read off the time in the future, and the inner face that will continue to serve as a reminder of the moment when the work was put in position.

The design agency Niessen + De Fries designed the outer face of the shards, showing maps of the environs. They collaborated with Lester to come up with a design in which the emphasis is on activity. The maps are enlargements of the moments on which construction or demolition work was carried out and canals were dug or filled in. The maps are a way of showing the transformation of the area, from shipping wharf to industrial zone and marshalling yard, before ending up as a residential area. At the same time they tried to find images that are abstract enough to be open to interpretation.

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