Salon 3: The Future Of The Past

Posted on November 29, 2011


Starting with a tour around some random public art works in the neighbourhood, we discussed the recent past of public art. Joining us were: Vincent de Boer (curator at Stroom Den Haag, NL), Hans Dickel (publisher of Kunst in der Stadt, Skulpturen in Berlin), Dominique Hurth (artist), Constanze von Marlin (art historian, researcher), Dieter Roelstraete (curator at MuHKA), Yorgos Sapountzis (artist) and Axel Wieder (curator, mediator for New Patrons). The tour aimed to show the reality of public art, the things you see in the streets when you walk about: privately commissioned sculptures, memorials, colourful abstract metal structures, percent-for-art reliefs and mosaics on GDR-buildings, corporate style logo sculptures. We even saw some bears but they were very much alive.

Meeting point for the group: Hausvogteiplatz

Looking at the first public art work: Denkzeichen Modezentrum, Rainer Görss (2000)

Also on Hausvogteiplatz: Die Tanzende Berolina, by Axel Anklam (2004). Yorgos remembered the call for proposals from when he was studying and many fellow students were sending them in. Axel Anklam apparantly was a student with Tony Cragg.

A typical GDR-Kunst-am-Bau mosaic

This one was about the twirly red and yellow metal structure accross the canal (far left in the distance), maker unknown

Spontaneous visual correspondances occurred. This sculpture is located at Wallstrasse, by the Märkisches Museum

There were even more sculptures than I had anticipated

This one I had anticipated: Differenzierte Berührung by Volkmar Haase (1990). Almost next to it:

Berthold Brecht by Igael Tumarkin (1991). Not included in the pictures are two more twirly metal structures near the water by the unknown artist and a white stone column with lions in front of the Chinese embassy. And the bears at the Märkisches Museum, the real ones.

A warm reception at the Dutch embassy, by Bart Hofstede and Loek ten Hagen, many thanks!

Where we continued with introductions and discussion. Vincent de Boer showed some examples of projects by Stroom and everyone talked about their professional experiences with producing or studying art in the public sphere.

Time went a bit too fast and listening to everyones stories and ideas was wonderful but left little for the discussion. We felt like we should come back the next day to then really get stuck into it. A report on all the good stuff we talked about will follow soon! (all pictures by Susanne Kriemann)

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