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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God created the earth, and the Dutch created the Netherlands. It is a common expression to show how much the Dutch landscape has been shaped by the human struggle against water. Here, to the East of the medieval city of Amsterdam, the ground was marshy and the sea posed a permanent threat. The district was regularly flooded when tempestuous storms blew. The city expanded rapidly on all sides in the sixteenth century, but this part was not urbanised until a little later. This was where the city ran up against its natural boundary. Still, Amsterdam was bursting at the seams and needed large docks and more housing. The Dutch East India Company (VOC) set up in the eastern district of what we now call the centre and stimulated an industry through its hunger for sources of energy, land and shipbuilding materials. New forms of making money were developed that are still with us today, such as the sale of shares and an overseas system of production that separated work, social security and purchase price from one another. These new financial devices, the development of technology, and an unending belief in the human capacity to shape its surroundings merged. Amsterdam was no longer afraid of nature; it subordinated nature to its interests.

Merlijn Bolink’s Man en Schaap (Man and Sheep) stand in the water up to his shoulders. It is one of the many works in East Amsterdam that refer to the history of the landscape. Once there was water here, once fish swam here. Now houses have been built on the spot. Jets of water spurt mercilessly from the man’s eyes into the eyes of the sheep. The man looks at the sheep that cannot see anything. Initially Bolink wanted a sculpture of a man and a woman, but from whose eyes was the water supposed to spurt, and who was supposed to be blinded by it? No, the act of looking and being looked at between men and women is a sensitive issue. A question of power. So we see a sheep instead.

The work is about communication. When a person and an animal look into one another’s eyes, they understand one another, Bolink claims. The work is also about lack of communication. We know how people think, but we know nothing about how a sheep experiences things, hence that one-directional gaze. Do we really want to know what the sheep thinks? Or should we then, just as if the work had represented a man and woman, ask ourselves what gives the man the right to blind the sheep?

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