– A Sculpture Gallery with P. Struycken
The Grote Markstreet is almost finished! Complete with luxury pavement and the Visual Gallery by P. Struycken. In late September, all forty bases will be occupied for the first time.
Visual artist P. Struycken coined the gallery in 1990. In the Great Marktstreet and Spui he placed an oval base after every 25 meters. Forty in total. Over the years there should be sculptures on the pedestals wich originated from leading Dutch sculptors. This creates a tight and rhythmic ribbon of sculptures that forms a link between architecture, urban design and visual arts. Nowhere in the world is such an open-air gallery of contemporary sculpture.
In the future, this Sculpture Gallery continues to grow. So it retains its topicality. With the movable pedestal scupltures, several setups are possible. The local sculptor André Kruysen is the curator of the gallery. The bases are designed by ceramist Geert Lap and the text plates with images of graphic designer Rudo Hartman.
Initiative: Stroom Den Haag, www.stroom.nll / Design exhibition: André Kruysen / Graphic design: Vruchtvlees
Design publication: Studio Renate Boere / Text and organization: Sandra Spijkerman / Thanks to: Atrium City Hall, municipality The Hague
The presented text information is transcripted to English by Mbitproducer, in the context of increasing mobile accessibility, sustaining the absence of mobile barriers. Photos by Mbitproducer.
If you look quickly there seems an unreal and pristine landscape in the heart of The Hague. A moment later, do these high spiers reminiscent of the teeth of a dinosaur. Not so surprising, because the sculptor Adam Colton (1957) appears fascinated by everything from nature. Bones, skulls, mountains and also own arms and legs. Colton does’t gives nature a very precise shape. By outlining he changes the shape of its subject.
All sculptures from Gert Germeraad (1959) are about the portrait. He makes heads, busts and torsos of living people. Which he often relies on self-portraits by other artists. For this portrait he chose a nude self-portrait of the Viennese artist to it, Egon Schiele (1890-1918). Even though Schiele fragile and easy to recognize boyish body, Germeraars version is vulnerable and more thoughtful, as opposed to the challenging and confrontational original.
Take a closer look, but this is really only a head. One that is made up of bronze branches and thereby completely transparent. The sculptures of the sculptor, born in Iceland Sigurdur Gudmundsson (1941) are easily recognizable. The basicly chosses archetypes as a house, boat, tower or a head.That gives his sculptures a timeless and universal dimension. By carrying out those forms in special materials or to build them in an unusual way, they get something personal and poetic.
Jan Klaasen and Katrijn, the super-Dutch puppets, for Rob Birza (1962) as valuable as deities from India or Zadkine Rotterdam famous monument “The Destroyed City”. Therefore, he melts them into a picture. The gold of the metal and the vividly colored car paint with which the puppets are painted, evoke memories of Tibetan images. Obviously your eye glides along from one into the other culture. From one to the other style and meaning.
They seem to come of underground. Stumpy and as insignificant as vulnerable. Does are key features in sculptures of Christien Rijnsdorp (1951). Sometimes they have a slurs or suction cup. Arms and head are often missing. Although we do not know these tuberous archetypes, it is immediately clear that these are living beings. Rijnsdorp images arise from amazement about life or a situation. Balance is an important theme. This is evident from this humorous, wobbly tower of three figures together.
The biggest obstacle for participation in the Image Gallery for Maria Roosen (1957) was the mandatory base. Rightly inform the question: Did sculptor use a another classic pedestal before the world famous Brancusi (1876-1957) in the early twentieth century made sculptures that are an art piece of the base? Her solution: a standard of birch trunks. Which forms the base for a huge decanter. The shiny polished carafe is in contrast with the silver birch trunks. Together, they refer to the contrary to nature – culture.
Unlike the dark bronze suggests, this is about light. The topsy-turvy stacked pieces determinee the sunlight and the shade. With his sculptures and installations André Kruysen (1967) makes light almost tangible. For this artwork, he had a large, oval tubing cut into pieces and rebuilt. With the famous Pietà of in the Michelangelo in his mind. Weather Maria or Christ keep themselves stamding is unclear. Despite the chaos, there is light. And rest.
First you see a tower with an openwork design. Only then you will discover the word. “Visual” it says. In sleek, monumental letters stacked. Rien Monshouwer (1974) is interested in the effect of words, shapes, colors and meanings to their preserved site. Many of his sculptures and installations keep the middle between wordpictures and image characters. He turns words into images and gives the concept of “visual language” literal form. This word picture looks like architecture, but is a monument for language.
Berry Holslag (1974) makes monumental and colorful figures of ceramic. They are directly accessible to everyone. Through her characters by making them larger than life, and special topics alonggiven or highly placing them on a pedestal, Holslag gives the scupltures something extra. Then you suddenly look better. This also applies to this man in a gray suit. Timeless and incorruptible, he stands on his base in the Hague city center. We see him. But he also observes us.
At the outbreak of the Balkan war Joost Van der Toorn (1954) was in Istanbul. On television he saw a missile was fired at a minaret, which then exploded. The Turkish channel spoke of genocide of Muslims. This sculpture concerns that bulletin. The title refers to the eponymous book by Ernest Hemingway about the Spanish Civil War. This famous American writer describes just like Van der Toorn from another country and a different perspective a war.
Would these forty bulbs haphazardly stacked on each other? Of course not! Leo Vroegindeweij (1955) placed it in such a way that the centers form a mathematical figure. It is also known as a structure that is very common in our nature. Despite the abstract form you can also discover a classic pose in with a stand-and-play-leg. Repetition of shapes, dimensioning and contrasts as shape and contra shape, positive and negative, are essential to Vroegindeweij.
Limply bent dangles a mannequin on a stick above a plinth. Hands and feet are missing, like a face. Tom Claasen (1964), the figure made up of six bronze tree trunks. The solid bolts holding the arms and legs are attached to the fuselage, giving the impression that he’s moving despite the weight. With this kind of contrasts in material, form and subject sows confusion. It makes the sackboy simultaneously funny and sad.
Morgenstond is one of those neighborhoods in The Hague wich Arjanne van der Spek (1958) crossed in her search to ordinary everyday objects for the sculpture. To the center to draw attention to the suburbs, they had to have something ‘characteristic. And so arose a piece that together made up of a pile of sand, a pile of stones and typical 70th year lamppost. Actually Van der Spek tries with all normal means to make something that you’ve never seen.
This piece by Peter Otto image (1955) is a response to the many monuments that highlighted an important event, or in honor of a person. The inspiration here are the so-called “Talking Sculptures” from Rome. Since the 16th century residents paste critical texts and poems about politics and society on sculptures in their city. Also Otto’s object invites to mock it, make a wish by it or to place a flower at the sculpture.
For Famke van Wijk (1969), her faith is a great source of inspiration. The beam light rays in its object symbolizes the light of Christ. The crown around it consists of people full of joy, that by honor and worship awaits at His return to earth. How different is the crown of thorns that Van Wijk engraved on the pedestal. The crown that Christ wore for his crucifixion, was the response to his act of love. You see him between the rays.
This is a real craftsmen sculpture. All the focus is on relationships, surface area, material and space. Jos Kruit (1945) seeks in her many sculptures for movement and balance. So she puts a semi-cylinder at a slight angle on the base. The steering wheel above skewed. This way it looks like the interior is turning on the base. The overall effect isn’t immediately recognizable, despite the associations with steering wheels, poles, hoods and airplanes.
In Switzerland he had once seen snow on a spruce tree. Therefrom Carel Visser (1928) had this sculpture constructed. The scupture is only the snow, because he left the tree latem. With styrofoam Visser stacks the snow-covered spruce up. The channels to cast in bronze are just as visible as the structure of the foam. This piece shows the doyen of Dutch sculpture, how structured nature can be.
In dimpled shape, a wooden ball without gravity, thin black bars with an arrow, not to mention a hefty base: therefrom Auke de Vries (1937) assembled this object together. Despite the recognizable elements its totally abstract object. De Vries not the aiming for the recognizable parts. For him a sculpture is in the beauty of form and the tension they bring along with abstract figures. It’s a refined and intuitive game with space.
Thom Puckey (19848) assigned by the initiator of the Picture Gallery, P. Stuycken, commissioned to portray a Hague hero. He chose Eline Verne, the tragic main character of the novel from a famous Hague writer Louis Couperus (1863-1923). Puckey depicts the death scene in which the beautiful Eline in a fit of madness takes too many sleeping pills. As a nineteenth-century sculptor, he proceeded: to reality, with an eye for classic poses and a perfect finish.
Gijs Assmann – THE HE AND THE SHE AND THE IS OF IT (2005)
They look like clowns these colorful characters wich are half upside down, cross-linked and intertwined their pedestal stand. Their attitude is very uncomfortable. They form an absolute unity, or they fight correctly with each other? This way Gijs Assmann imagines (1966) our human shortcomings. He’s taking a good look at monstrous gargoyles from the Middle Ages to contemporary comics and adult content. A seductive, grotesque shows his vision that we do strive for happiness, but we don’t achieve that.
Steel bridges, industrial buildings, it looks favourable to Michael Jacklin (1956). In this object he seems to have combined different bridge components into a three dimensional collage. Six rectangular and two oval frames leaning against each other. This iron construction is about the balance between various parts and the space between that arises. Even though they seem industrially produced, Jacklin makes his sculptures by hand. This gives the human scale and intuition a chance.
Candy Cane Pink. In that color Andre the Wijdeven (1964) has painted his sculpture when it came back from the moldimg shop. As if there is a thick layer of sugar over the gun was casted back, shiny and sweet. The top of the barrel of the gun shapes the letters I Love Jr. This text refers to the protagonist of the famous American saopserie “Dallas” from the eighties. Because JR were the bad guy, it was impossible to embrace his character. Because of that is this contrast in shape and color.
No head, no arms and no legs. This incomplete body lends itself to the depiction of emotions and tensions. It was the outcome of the search of Eja Siepman van den Berg (1943) for the essence of the human body. This sculpture shows the torso of a sensual young woman. She stands perfectly still. The perfect finish enlights the purity of a young and self-conscious being. Invincible, just like the Greek goddess Nike.
The worm is the simplest form you can makef clay. It’s an archetype that what Jan Snoekc (1927) concerns simultaneously points towards humans and the godly. His sculptures are about the essence of human existence. Just like how people are lying, standing, sitting and walking is the nature of worms. In this object the worm sits comfortably on a chair. The poetic title “The Nostalgia of light” comes from a poem by a French writer/poet Paul Eluard.
Only when you get closer, between the gleaming stainless steel pipes you discover a black bird. The tubes around it, reminiscent of a cabbage. But even so, they would be the flight pattern of a sparrow hawk. Emo Verkerk (1955) has this bird, like his portrait collages, composed of pieces from waste material, such as wood, a doorknob or a float. In this illustration a cap serves as beak. Verkerk’s birds are much freer than his portraits and made “by heart” to be casted in bronze.
An Amazon Indian in its traditional clothes embraces a western tourist. This example of Anno Dijkstra (1970) appears to be a random holiday snap. But it’s one with a sharp edge. After all, why is Indian’s arm missing and has the other person hardly a face? It is a reference to the fact that the ancient Indian culture only survives by means of tourists that likes to consume authentic cultures. In the busy shopping street a question arises: who is actually dependent on whom?
No matter how shaky this pile of tree trunks appears, its not overturning. This is because of the “phyllotaxis” principle. Around 1980 Sjoerd Buisman got (1948) fascinated by this particular shape in nature. It is a word from phytology regarding the method from a group of leaves around a trunk or handle or anchored. Buisman displays with his Hague “stalk” that each new spring from the center wants to leave to the summit above. And that nature always seeks its own balance.
Language and character: these are the building blocks for the sculptures by Marc Ruygrok (1953). He made enigmatic, short poems along. For “AND / OR” he places two words back to back, a slash as a plate is upright between. This gives the object a solid and compact form, and it serves as a haven in the midst of all this chaotic store logos. At the same time it refers to the many choices we have to make as human, in daily life.
This abstract image was originally a cylinder. A neat cylinder of thick steel. There’s were sculptor Ernst Hazenbroek (1954) deployed the “knife”. It has the shape diagonally cut, and then folded up against all the rules of gravity and materials. This way a vertical still life occured. The resistance in the thickness of the steal is clear to see. Even though it pinches and fights on all sides, the sculptor managed to frame the material into his hand.
With her Bellevue Tower Sonja Oudendijk covers (1958) the history and culture of the city of The Hague, all in one object together. The stylized stork was taken directly from the coat of arms of the city, the lozenge-shapes are reminiscent of a jester and the pointy golden top resembles a crown and indirectly refers to the royal family. Oudendijk uses expensive-looking materials like stainless steel, brass and enamel. As a result, this object has the same appearance as the royal residence: chic and grotesque.
Polyester painted in bold colors ranging from bright orange to brown mud. Then you recognize the objects and furniture that Joep van Lieshout (1963) invents and whose company “Atelier van Lieshout” manufactures the objects. Often his sculptures and installations are about the consequences of our ever becoming efficient society. If not, this sculpture. About the meaning Van Lieshout isn’t completely clear. It seems he stacked various associations together: skull, potato eater and halloween mask.
For Lon Pennock (1945) sculpture art is about shapes gesigned by humans. Without the intension that objects are framed as art. Take basalt blocks of a pier for example, a bridge construction, or a monumental shape of an airplane. For the Beelden gallery, he placed two L-shapes on each other, slightly rotated and shifted relative to each other. This sculpture looks like a smaller version of his monumental objects. With the pedestal underneath he finally agreed. Normally Pennock creates sculptures which you could “stumble” over.
As a sculptor Alfred Eikelboom (1926-2014) worked all his life to a new visual language as an alternative to the monotonous “building with blocks” as it usually happens. He did that with his “utopian models.” This sculpture is an example. Where in architecture particularly squares and cubes are stated, Eikelenboom focused his work into circles and cylinders in nature. Therefromhe assembled his “utopian models” together.
In the evening after closing time when the stores are closed and the streets deserted, the center of The Hague comes to life again. Then the downtown gods wander around here. So the story goes thatIngrid Mol (1970), invited elementary school student to shape a sculpture of the twelve gods from the inner city. She translated different features of the city (fashion, money, food, transport) into one god. Each child made a drawing of their favorite god. Therefrom Mol assembled her sculpture all together.
As ordinary as in the streets, it isn’t often that Islamic women appear in a sculpture. The objects of Tony van der Vorst (1946) are just about the beauty and power of women originated from several cultures. Almost forty years ago, she made an sculpture of “two friends from the world” of the famous nineteenth-century Dutch painter called Breitner. That old imagery is the inspiration for this sculpture. Vorst depicts women from trending cities . Fine, willful and strong.
This exemplary work by Karel Appel (1921-2006) was a gift. The foundation “750 years The Hague” donated the object in 2001 to the court capital. There the sucplture was designated to a honorable place by the intersection of the “Visual gallery”. For the occasion it is conducted in a larger format and placed on an extra large oval base. Sculptor André Kruysen did the finishing of the surface and P. Struycken did the painting. It’s a large version of the wooden sculpture “Frog with umbrella”.