{"id":26866,"date":"2017-06-30T13:09:24","date_gmt":"2017-06-30T11:09:24","guid":{"rendered":"http:\/\/nrw-skulptur.net\/route\/radtour-vom-aasee-zum-haus-rueschhaus\/"},"modified":"2018-05-13T22:10:22","modified_gmt":"2018-05-13T20:10:22","slug":"radtour-vom-aasee-zum-haus-rueschhaus","status":"publish","type":"sculpture_maps","link":"https:\/\/nrw-skulptur.net\/en\/route\/radtour-vom-aasee-zum-haus-rueschhaus\/","title":{"rendered":"Bike Tour from Aasee to Haus R\u00fcschhaus"},"content":{"rendered":"

Haus R\u00fcschhaus is only a few kilometers away from M\u00fcnster by bike along the 100 Schl\u00f6sser Route \/ 100 Palaces Route. The same extensive cycling path may also be used to take a side trip to Havixbeck (Haus V\u00f6geding, Burg H\u00fclshoff, Haus Havixbeck). This bike tour begins at Aasee with Claes Oldenburg’s Giant Pool Balls<\/em>, the standout work of the first Skulptur Projekte in 1977. A nearby Henry Moore sculpture would be a good option for a somewhat historical detour, as it predates the Skulptur Projekte. Artists from all of the subsequent Skulptur Projekte have chosen locations at Aasee, making it a good place to see a cross section of their artistic approaches. This route leads past two central sites within the city on its way towards the outskirts of M\u00fcnster and Haus R\u00fcschhaus, where Richard Serra\u2019s sculpture entered into dialogue with baroque architect Johann Conrad Schlaun at the 1997 Skulptur Projekte. The bicycle tour continues through the areas surrounding M\u00fcnster, past various sites of the 1987-2007 Skulptur Projekte, and back to the Ludgerikreisel. <\/p>\n","protected":false},"featured_media":36211,"template":"","sculpture_maps_tempo":[15078],"sculpture_maps_region":[15071],"class_list":["post-26866","sculpture_maps","type-sculpture_maps","status-publish","has-post-thumbnail","hentry","sculpture_maps_tempo-fahrrad","sculpture_maps_region-muensterland"],"acf":{"sm_sculptures":[{"ID":26992,"post_author":"1","post_date":"2017-06-06 23:27:42","post_date_gmt":"2017-06-06 21:27:42","post_content":" \tAs part of the 1997 Skulptur Projekte, Ilya Kabakov erected a sculpture on the banks of Aasee that can be found near Donald Judd\u2019s work. Reminiscent of a broadcasting tower, Kabakov\u2019s sculpture represents a connection between heaven and earth, focusing primarily on the experience of the heavens.\r\n \tAtop a 15-meter tall mast, there is an equally wide horizontal structure made up of two parallel beams with 22 \u201cantennas\u201d lined up across them. Thin, 3mm wire has been used to form letters between these aluminum tubes. It requires intense concentration to make out the words and read the text, which is best done lying in the grass beneath.\r\n \tThe dimensions are deliberately calculated, so that the text is only legible when you carefully focus on it. Without looking closely, it appears as if the letters don't exist at all. However, if one engages with the work, the broadcasting tower appears to have received a message from heaven. It passes that message on to the viewer personally:\r\n\"My dear! You are lying in the grass, head back, not a soul in sight. You hear only the wind as you look up into the open sky \u2013 into the blue above, where the clouds drift by \u2013 it may be the most beautiful thing you have done and seen in your life.\"

\r\n \tAdditional information: www.skulptur-projekte.de
<\/span><\/span>","post_title":"Looking Up. Reading the Words...","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"blickst-du-hinauf-und-liest-die-worte","to_ping":"","pinged":"","post_modified":"2018-06-29 11:07:02","post_modified_gmt":"2018-06-29 09:07:02","post_content_filtered":"","post_parent":0,"guid":"http:\/\/nrw-skulptur.net\/skulptur\/blickst-du-hinauf-und-liest-die-worte\/","menu_order":1065,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27123,"post_author":"1","post_date":"2017-06-06 23:27:36","post_date_gmt":"2017-06-06 21:27:36","post_content":"Located on the grass between the institutes for organic and inorganic chemistry at the Universit\u00e4t M\u00fcnster, this ground relief attempts to organize the world and present it clearly through 35 square fields with stylized pictograms. The impossibility of this endeavor does not deter the artist. Just as science aims to do, he uses encyclopedic research to categorize, organize, and correlate his environment with individually tailored signs and symbols taken from history, as well as every day life. \r\nThe ground relief in M\u00fcnster makes reference to its proximity to the chemical institutes and can be read from left to right, starting with a circular model of cosmology that spreads over four plates. Arranged in pairs, the neighboring plates depict a definition of this cosmos, a combination of public and descriptive signs and symbols, human anatomy, a city map, a microscope and a distiller, a \"field of cities,\" an evolutionary diagram, a geological diagram, a steam engine, and the chemical elements. However, there is an empty plate at the center of the relief, which serves as a place of being and energy, opportunity and individual creation of meaning.\r\n\r\nFurther reading: Skulptur-Projekte 1987 in M\u00fcnster<\/em>, eds. Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 195\u2013202.\r\n","post_title":"Ground Relief for the Chemical Institutes","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"bodenrelief-fuer-die-chemischen-institute","to_ping":"","pinged":"","post_modified":"2018-07-23 14:40:28","post_modified_gmt":"2018-07-23 12:40:28","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/bodenrelief-fuer-die-chemischen-institute\/","menu_order":1069,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27215,"post_author":"1","post_date":"2017-06-06 23:27:05","post_date_gmt":"2017-06-06 21:27:05","post_content":"With her 1987 installation at the Zwinger municipal tower, Rebecca Horn drew attention to a building that had been long forgotten, but was actually one of the most historically interesting structures in Munster. The defensive tower was built between 1528-1536, replacing another building as part of the city fortifications. In the 17th century, it served as a horse-driven mill and a powder store. In 1732, the building was reconstructed based on plans by Johann Conrad Schlaun, becoming a prison with the cells surrounding a circular court.\r\nAt the end of the 19th century, the prison was shut down. The building had already been given landmark status when the city acquired it again in 1911 and put it to use for emergency housing. It was handed over to the Hitler Youth in 1938 and changed hands once more when the Gestapo moved in during the later years of the war and executed Polish and Russian prisoners in the small courtyard. Towards the end of the war, bombs destroyed the roof and courtyard, and the building was shut down by the city after losing all useful function. However, the interior remained exposed to the elements and plants began to grow inside.\r\nRebecca horn rediscovered the location and opened it up to the public, creating an atmospherically dense installation that reflects its long and varied history. After entering the damp, dark interior \u2013 which is dimly lit by flickering lights \u2013 visitors hear knocking sounds in staggered rhythms. This knocking is produced by small steel hammers that are mounted on the walls and ceilings of the cells and corridors. From upstairs, there is a clear view of the overgrown courtyard. A large glass funnel hangs between the trees, dripping water into a metal basin below at twenty-second intervals. This creates a second, opposing rhythm. The scene is supplemented by a pair of snakes in a glass terrarium and a goose egg balanced on two bars.\r\nThe entire installation allows for numerous associations that are enhanced by an awareness of the history of the place. Above all, the artist has created an atmosphere that makes the ambiguities of horror and fascination, life and death, art and nature, history and present immediately emotionally tangible. The installation was created for the 1987 Skulptur Projekte and reinstalled with some changes for the following show in 1997 on behalf of the city of Munster. \r\nAfter the Zwinger's restoration and updates to the artwork, the ruins were turned into a memorial for the victims of violence in 1997. The Zwinger has been open to the public as a branch of the Stadtmuseum M\u00fcnster since 1998. \r\nNote: It can only be visited with advance registration at the Stadtmuseum M\u00fcnster or as part of a tour.\r\n\r\nFurther reading:\r\n \tRebecca Horn: Der Zwinger in M\u00fcnster<\/em>, Cologne 2003.\r\n \tSkulptur-Projekte 1987 in M\u00fcnster<\/em>, eds. Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 133\u2013136.\r\n \tSkulptur-Projekte in M\u00fcnster 1997<\/em>, eds. Klaus Bu\u00dfmann, Kasper K\u00f6nig and Florian Matzner, Ostfildern 1997, pp. 218\u2013221.\r\n \tBarbara Romm\u00e9 (ed.): Der Zwinger: Bollwerk, Kunstwerk, Mahnmal.<\/em> Aschendorff, M\u00fcnster 2007.\r\n\r\n \tAdditional information: www.muenster.de\/stadt\/skulpturen\/zr_flash.html<\/a> \r\n \tViewings\/tours: www.muenster.de\/stadt\/museum\/zwinger.html<\/a>\r\n\r\n","post_title":"Das gegenl\u00e4ufige Konzert \/ Concert in Reverse","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"das-gegenlaeufige-konzert","to_ping":"","pinged":"","post_modified":"2018-08-19 16:53:48","post_modified_gmt":"2018-08-19 14:53:48","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/das-gegenlaeufige-konzert\/","menu_order":1087,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27224,"post_author":"1","post_date":"2017-06-06 23:27:56","post_date_gmt":"2017-06-06 21:27:56","post_content":"Maria Nordman's works are not sculptures in the traditional sense; instead, she constructs situations that provide viewers with a sensory experience of abstract themes. For her work in Wienburgpark, she planted three types of trees in geometric formations \u2013 redwoods (Metasequoia glyptostroboides), white cedars (Thuja occidentales), and ginkgos (Ginkgo biloba).\r\nThese species are not only among the oldest trees in terms of evolution, but are also native to the continents of America, Europe, and Asia. The three groups of trees are carefully arranged into rows and specific formations. The U-shapes that emerge when seen from above open up in opposite directions and are dedicated to the sunlight and moonlight. Cosmic and earthly events, the seasons, the natural cycle of growth and decay, the order defined by man, and the order found within nature can be understood here in this abstract arrangement.\r\n\r\nAdditional information: www.skulptur-projekte.de
<\/span><\/span>","post_title":"De Civitate","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"de-civitate","to_ping":"","pinged":"","post_modified":"2018-08-21 19:21:29","post_modified_gmt":"2018-08-21 17:21:29","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/de-civitate\/","menu_order":1055,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27267,"post_author":"1","post_date":"2017-06-06 23:27:25","post_date_gmt":"2017-06-06 21:27:25","post_content":" \tArchitect Johann Conrad Schlaun built R\u00fcschhaus for himself between 1745-1748 as a mixture between a manor house and farmhouse. Today the property has become a popular destination for day trips in M\u00fcnsterland. The architecture of the estate was conceived symmetrically on a central axis that forms a tree-lined path leading up to the main house. Richard Serra's work can be found roughly 300 meters away from the building on this path around. The artist erected this sculpture in December 1996 on the occasion of Schlaun's 300th birthday (1695\u20131773), placing it in dialogue with the baroque master's work. \r\nThe sculpture is a massive 40-ton steel block with dimensions that correspond to the lower entryway of the building. The front of the block is sunken about 7\u00b0 into the ground, creating an impression of leaning or even bowing towards the house. Through its positioning, this sculpture marks an important location on the property that creates an exciting dialogue between the eras.\r\n\r\nFurther reading:\r\nSkulptur-Projekte in M\u00fcnster 1997<\/em>, eds.: Klaus Bu\u00dfmann, Kasper K\u00f6nig and Florian Matzner, Ostfildern 1997, pp.384\u2013389.\r\nAdditional informaion about the location:\r\nhttp:\/\/haus-rueschhaus.de\r\n","post_title":"Dialogue with Jonathan Conrad Schlaun","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"dialogue-with-jonathan-conrad-schlaun","to_ping":"","pinged":"","post_modified":"2018-09-12 15:04:56","post_modified_gmt":"2018-09-12 13:04:56","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/dialogue-with-jonathan-conrad-schlaun\/","menu_order":1075,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27436,"post_author":"1","post_date":"2017-06-06 23:26:38","post_date_gmt":"2017-06-06 21:26:38","post_content":" \tOne of the most succinct quotations on the subject of art in public spaces comes from Claes Oldenburg's 1961 \"Ode to Possibilities\": \"I am for an art that does something other than sit on its ass in a museum.\" This is precisely what he achieved with his contribution to the first Skulptur Projekte in M\u00fcnster in 1977. His Giant Pool Balls<\/em> went from being one of the most controversial works to one of the city's most iconic landmarks.\r\nThey interact with the city\u2019s history, which is shaped by numerous armed conflicts. Not far away, a historic cannonball can still be seen in the city wall today. At the same time, the flat grassy areas around Aasee allow the space to be interpreted as a large billiard table. There, you can find three balls arranged to correspond to an actual game that the artist played.\r\nAlthough monumental and static, they create the impression of a game in motion and have already enticed many critics to attempt to roll them into the lake in vain. They remain on the grass along the Aasee as a constant reference to the notion that one's own personal standards are always relative and as a playful and graceful call for a change in perspective.\r\n\r\n \tAdditional information:\/\/oldenburgvanbruggen.com\/largescaleprojects\/poolballs.htm\" target=\"_blank\">http:\/\/oldenburgvanbruggen.com\/largescaleprojects\/poolballs.htm<\/a>","post_title":"Giant Pool Balls","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"giant-pool-balls","to_ping":"","pinged":"","post_modified":"2018-09-24 12:20:01","post_modified_gmt":"2018-09-24 10:20:01","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/giant-pool-balls\/","menu_order":1107,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27662,"post_author":"1","post_date":"2017-06-06 23:26:41","post_date_gmt":"2017-06-06 21:26:41","post_content":"While visiting M\u00fcnster, Henry Moore selected a location for a sculpture that the LBS had already been interested in acquiring years earlier. The work's specific position -- surrounded by nature on the grass along the Aasee -- as well as the lighting conditions, time of year, and landscape are directly related to its appearance.\r\nMoore's abstract sculptures are typically inspired by organic forms, especially elements of human bodies; accordingly, this work is based on vertebrae. It is made up of three similar elements that are arranged close together, but not connected. They look as if they were formed directly in nature. There is no apparent main view, and visitors are instead encouraged to move around the three elements and see their changing relationships, exploring the different overlaps, interactions, open spaces, reflections of light, and shadows.\r\n","post_title":"Large Vertebrae","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"large-vertebrae","to_ping":"","pinged":"","post_modified":"2018-10-13 15:09:39","post_modified_gmt":"2018-10-13 13:09:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/large-vertebrae\/","menu_order":1105,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27672,"post_author":"1","post_date":"2017-06-06 23:27:59","post_date_gmt":"2017-06-06 21:27:59","post_content":"Less Sauvage Than Others<\/em>, or Less Wild than Others<\/em>, was Rosemarie Trockel's entry to the 2007 Skulptur-Projekten. What \"others\" are being compared remains unclear: is the work less wild than the artist's other works, tamer than the works of her co-exhibitors, or are the yews that form the sculpture being subdued through their careful grooming? In any case, the work focuses on the relationship between art and nature \u2013 the yews here have been pruned into two blocks. Between them, a narrow gap provides a view of the lake and the skyscraper on the other side -- another example of art and nature.\r\n\r\nAdditional information: www.skulptur-projekte.de
<\/span><\/span>","post_title":"Less Sauvage Than Others","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"less-sauvage-than-others","to_ping":"","pinged":"","post_modified":"2018-10-13 16:47:01","post_modified_gmt":"2018-10-13 14:47:01","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/less-sauvage-than-others\/","menu_order":1053,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27981,"post_author":"1","post_date":"2017-06-06 23:26:48","post_date_gmt":"2017-06-06 21:26:48","post_content":"Donald Judd is considered one of the most important artists of American minimalism. For the first Skulptur-Projekte in 1977, he designed a sculpture out of two concentric concrete rings on one of the gently sloping meadows around the Aasee. The outer ring is aligned with the slope of the ground, while the inner ring is horizontally aligned with the horizon and the water. \r\nIn its reduced formal language, the sculpture creates a \"topographical regulator in the shape of two concrete circles\u201d (Donald Judd). Regarding public art, the artist remarked: \"The categories of \"public\" and \"private\" have no meaning to me. The quality of a work can not be changed by the conditions under which it is exhibited, nor the number of people looking at it.\"\r\n\r\nAdditional information: www.skulptur-projekte.de","post_title":"Untitled","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ohne-titel-14","to_ping":"","pinged":"","post_modified":"2018-11-02 12:56:01","post_modified_gmt":"2018-11-02 11:56:01","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/ohne-titel-14\/","menu_order":1101,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28070,"post_author":"1","post_date":"2017-06-06 23:26:44","post_date_gmt":"2017-06-06 21:26:44","post_content":"Cuban-American artist Jorge Pardo works at the intersection between art, design, and architecture. For the third Skulptur-Projekte in 1997, he designed a roughly 40-meter-long pier that leads out onto the Aasee and ends at a hexagonal platform with a\u00a0 hexagonal pavilion.\r\n\r\nThe structure is made out of wood and designed in a modern formal language, offering visitors a natural haven and unusual meeting place with views of the city and the lake.","post_title":"Pier","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"pier","to_ping":"","pinged":"","post_modified":"2018-11-16 12:49:08","post_modified_gmt":"2018-11-16 11:49:08","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/pier\/","menu_order":1103,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28088,"post_author":"1","post_date":"2017-06-06 23:27:53","post_date_gmt":"2017-06-06 21:27:53","post_content":"A broken branch appears to have been left lying on the manicured park lawn at the old H\u00f6rster Friedhof. This branch is actually Italian Arte Povera artist Giuseppe Penone's Fountain Project for M\u00fcnster<\/em>. The seven-meter-long bronze casting rests on a stone. A cast of the artist's hand sticks out of one end, with well water flowing out of the forearm and into a circular grating surrounded by paving stones. A pump directs the water back through the branch, creating a closed circuit.\r\n\r\nNature \u2013 along with the natural processes of growth and decay \u2013 is a central theme in Giuseppe Penone's work. In 1968 he had already created an early work featuring his own hand in nature. The sculpture It Will Continue to Grow Except at That Point <\/em>is a bronze casting of his hand in a grabbing position, which was attached to the trunk of a (real) young tree. This forced nature to change its course and grow around it.\r\n\r\nFurther reading:\r\nSkulptur-Projekte 1987 in M\u00fcnster<\/em>, ed. by Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 217\u2013220.","post_title":"Progetto Pozzo di M\u00fcnster","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"progetto-pozzo-di-muenster","to_ping":"","pinged":"","post_modified":"2018-11-22 12:49:07","post_modified_gmt":"2018-11-22 11:49:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/progetto-pozzo-di-muenster\/","menu_order":1057,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28188,"post_author":"1","post_date":"2017-06-06 23:27:19","post_date_gmt":"2017-06-06 21:27:19","post_content":"Ludger Gerdes's contribution to the 1987 Skulptur Projekte in M\u00fcnster is both a ship and an island. Surrounded by meadows, the long, narrow island was constructed with a sandstone wall around the perimeter and a moat surrounding it. There are two poplars and a small wooden temple-shaped pavilion on the island, making it look like a ship traveling towards the city center.\r\n\r\nAs a work of garden art, land art, and a physically accessible entity, Gerdes's work brings together multiple themes: The overall installation is reminiscent of a typical Westphalian style of moated farmyard, but also brings to mind well-known paintings such as Arnold B\u00f6cklin's Isle of the Dead<\/em> (1880). At the intersection between art and nature, the Ship for M\u00fcnster<\/em> sets the stage for numerous metaphors about life as a boat journey, and serves as a concrete anchoring point for desires and daydreams.\r\n\r\nFurther reading:\r\nSkulptur-Projekte 1987 in M\u00fcnster<\/em>, eds. Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 97\u2013104.","post_title":"Schiff f\u00fcr M\u00fcnster \/ Ship for M\u00fcnster","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"schiff-fuer-muenster","to_ping":"","pinged":"","post_modified":"2019-01-09 00:19:57","post_modified_gmt":"2019-01-08 23:19:57","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/schiff-fuer-muenster\/","menu_order":1079,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28260,"post_author":"1","post_date":"2017-06-06 23:27:31","post_date_gmt":"2017-06-06 21:27:31","post_content":"Whether it\u2019s video installations, sculptures, or architectural projects, most of Bruce Nauman's works focus on physical and psychological experiences, as well as the relationship of individuals to their environment. This is also the case in Square Depression<\/em>, a work that exists in the space between sculpture and architecture. It was first designed in 1976 for the Skulptur Projekte in the following year, but couldn\u2019t be realized until 2007.\r\n\r\nThe edges of this inverted concrete pyramid are 25 meters long. The depression is deep enough that a person standing in the middle will be approximately at eye level with the outer edge. Anyone who goes into the center of the gleaming white surface will have a very individual experience, perceiving the outside world from this unusual low vantage point.\r\n\r\nAt the same time, any visitor on the empty white surface is vulnerable, exposed, and easily observed by viewers outside of the square. As such, the artistic-architectural field enables a \"confrontation of private experience and public display\" (Bruce Naumann 1977).\r\n\r\n \r\n\r\nAdditional information: www.skulptur-projekte.de\r\n<\/span>","post_title":"Square Depression","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"square-depression","to_ping":"","pinged":"","post_modified":"2021-09-16 15:58:30","post_modified_gmt":"2021-09-16 13:58:30","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/square-depression\/","menu_order":1071,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30512,"post_author":"1","post_date":"2017-06-06 23:26:55","post_date_gmt":"2017-06-06 21:26:55","post_content":"R\u00e9my Zaugg explored contemporary art in a variety of ways. He collaborated with the architects Jacques Herzog and Pierre de Meuron, wrote publications, and curated exhibitions, but he did not create any sculptures in the traditional sense: \"The state of my search, my reflections, and my consciousness forbid me to create any objects or to erect a monument in a city. That would mean once again following arbitrary artistic or individual whims and imposing a private phantasm on people,\" he explained in the catalog for the 1987 Skulptur Projekte (pp. 262-263).\r\n\r\nInstead, he suggested that a group of sculptures from 1912 be reassembled in a way that most closely corresponded to their original intention. The larger-than-life bronze Magd mit Stier \/ Maid with Bull<\/em> and Knecht mit Pferd \/ Farmhand with Horse<\/em> were originally positioned to greet the rural population at the entrance road to the city, but in the 1960s they were taken off their pedestals and moved to a less trafficked location in front of the Stadthaus.\r\n\r\nIn 1986, when R\u00e9my Zaugg visited the city for the planning of the Skulptur Projekte, the statues were standing unloved and unnoticed in the middle of a construction site \u2013 a situation that Zaugg found paradoxical: they were commissioning new sculptures from artists, while the existing objects were left to decay.\r\n\r\nHe therefore proposed that his contribution to the Skulptur Projekte be to return the bull and horse to their pedestals and reposition them according to their original placement. Of course, as the circumstances, society, and even traffic conditions changed over time, the sculptures also saw shift in meaning.\r\n\r\nFurther reading:\r\nSkulptur-Projekte 1987 in M\u00fcnster<\/em>, ed. by Klaus Bu\u00dfmann and Kasper K\u00f6nig, Cologne 1987, pp. 261\u2013270.","post_title":"Relocation of the Sculptures Knecht mit Pferd \/ Farmhand with Horse and Magd mit Stier \/ Maid with Bull","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"versetzung-der-skulpturen-knecht-mit-pferd-und-magd-mit-stier","to_ping":"","pinged":"","post_modified":"2019-08-01 10:06:37","post_modified_gmt":"2019-08-01 08:06:37","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/versetzung-der-skulpturen-knecht-mit-pferd-und-magd-mit-stier\/","menu_order":1095,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"}]},"_links":{"self":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps\/26866","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps"}],"about":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/types\/sculpture_maps"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/media\/36211"}],"wp:attachment":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/media?parent=26866"}],"wp:term":[{"taxonomy":"sculpture_maps_tempo","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_tempo?post=26866"},{"taxonomy":"sculpture_maps_region","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_region?post=26866"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}