{"id":30438,"date":"2018-10-23T12:22:58","date_gmt":"2018-10-23T10:22:58","guid":{"rendered":"https:\/\/nrw-skulptur.net\/route\/skulpturen-in-herford\/"},"modified":"2019-07-11T11:43:53","modified_gmt":"2019-07-11T09:43:53","slug":"skulpturen-in-herford","status":"publish","type":"sculpture_maps","link":"https:\/\/nrw-skulptur.net\/en\/route\/skulpturen-in-herford\/","title":{"rendered":"Sculptures in Herford"},"content":{"rendered":"

In the city of Herford, the MARTa museum is the place to go for contemporary art and there are a number of public sculptures by important contemporary artists concentrated in the area around Goebenstra\u00dfe. As part of his sculpture, Luciano Fabro wrote the text of Rilke’s poem “The Ball”<\/a> along the street, which also starts here and then loops back around the traffic circle at Schillerplatz. The project F\u00fcnf Tore \/ F\u00fcnf Orte, initiated by former museum director Jan Hoet, currently features two sculptures in the city: Denis Oppenheim’s “Safety Cones”<\/a> (2010) and Fernando S\u00e1nchez Castillo’s Melilla Mauerspringer (2014)\/ A comprehensive list of all of the artworks in Herford, including those created before 1945, can be found here: List of Public Monuments and Artworks in Herford<\/a>.<\/p>\n","protected":false},"featured_media":35543,"template":"","sculpture_maps_tempo":[15078,15079],"sculpture_maps_region":[15073],"class_list":["post-30438","sculpture_maps","type-sculpture_maps","status-publish","has-post-thumbnail","hentry","sculpture_maps_tempo-fahrrad","sculpture_maps_tempo-zu-fuss","sculpture_maps_region-ostwestfalen-lippe"],"acf":{"sm_sculptures":[{"ID":27528,"post_author":"1","post_date":"2017-06-06 23:21:35","post_date_gmt":"2017-06-06 21:21:35","post_content":"Nick Hullegie's sculptures are poetic, precise, and often surreal. This surreal character is less a result of the surprising combination of completely different objects, as it is a product of the gradual metamorphosis that seems to emerge logically through the strange relationship that is formed between them. This is also the case with his sculpture Grow Up<\/em>, which is located on the banks of the Aa and depicts a swimming pool ladder transforming into a tree. Initially, the predominant features appear to be the differences in form and subject matter, which may represent the differences between nature and culture; however, the uniform white color turns the sculpture into a single entity that an imagined creature can use to climb out of the Aa on one side and climb down a tree on the other.","post_title":"Grow up","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"grow-up","to_ping":"","pinged":"","post_modified":"2018-09-27 09:19:06","post_modified_gmt":"2018-09-27 07:19:06","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/grow-up\/","menu_order":1311,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27561,"post_author":"1","post_date":"2017-06-06 23:21:37","post_date_gmt":"2017-06-06 21:21:37","post_content":"Through the artistic transformation of every day objects and situations, Michael Sailstorfer creates works that exist in a space between sculpture and installation. Absurdity and humor play equally important roles in his work as the question of what role or position an artwork can occupy. His sculpture High Ranking Visitor <\/em>depicts a helicopter with mirrored windows. The rotor blades rotate in the morning and evening in connection with the museum\u2019s opening times, as well as when exhibitions are opened.\r\nIt is installed in a location that is more appropriate as a base for a sculpture than a helipad; nonetheless, viewers will still jokingly wonder what important person has been flown in for the opening, while being denied an answer. The work stimulates the imagination, while the helicopter is perceived as a sculptural entity.\r\n","post_title":"Hoher Besuch \/ High Ranking Visitor","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hoher-besuch","to_ping":"","pinged":"","post_modified":"2018-09-30 10:48:37","post_modified_gmt":"2018-09-30 08:48:37","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/hoher-besuch\/","menu_order":1309,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27657,"post_author":"1","post_date":"2017-06-06 23:21:29","post_date_gmt":"2017-06-06 21:21:29","post_content":" \tThis multipart work by Italian Arte Povera artist Luciano Fabro can be seen as an homage to the playful and poetic nature of art. Rilke's poem \"The Ball\" can be read in two directions on the ground leading from the entrance of the museum complex to the traffic circle on Schillerplatz. In the middle of the square, there is a highly polished shiny stainless steel ball that reflects the surroundings and marks the turning point where the text loops back around. Simultaneously, it is a monumental sculptural representation of the poem -- not an actual ball, but a monument to everything a ball symbolizes.\r\n\r\n \r\nThe Ball\r\n\r\nFrom two cupped hands, you take the warmth away,\r\nround thing, releasing it in free, high flight\r\nas if it were your own. What cannot stay\r\nin things because unburdened and too light \u2014\r\ntoo small as thing, yet thing enough that all\r\nthe far arrays will never let it glide\r\nsuddenly into us, unseen inside \u2014\r\nhas slipped inside of you. Between your fall\r\nand flight still undecided, you, in rising \u2014\r\nas if you'd brought that throw aloft with you \u2014\r\ncapture and set it free in realizing\r\nan arc. Then pausing high up in the blue,\r\nas if to make a dance of your devising,\r\nyou show the players a sudden new location.\r\nThen, waited for; that thing that each demands;\r\nswift, artless, plain, and wholly nature;\r\nyou fall into their cup of upraised hands.\r\n\r\n\r\n\r\nRainer Maria Rilke, 31.7.1907, Paris\r\nTranslation: Translated by Len Krisak, Cambridge University Press\r\n","post_title":"La Palla \/ The Ball","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"la-palla-der-ball","to_ping":"","pinged":"","post_modified":"2018-10-12 16:36:18","post_modified_gmt":"2018-10-12 14:36:18","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/la-palla-der-ball\/","menu_order":1315,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":27970,"post_author":"1","post_date":"2017-06-06 23:21:31","post_date_gmt":"2017-06-06 21:21:31","post_content":"This two-part work by Wilfried Hageb\u00f6lling examines the relationship between positive and negative forms. Both parts are made out of different materials and clearly make reference to each other in their design, while not being identical. Resting on the ground, the positive form is an architectural structure made of concrete; the negative form is made of steel and embedded in the ground. Both elements feature steps, which serve as an architectural representation of a connection between different levels. Viewing the sculpture, the artist\u2019s occupation with how spaces are defined, the interior and exterior, and the divisive and connective becomes clear.\r\nAnother work by Wilfried Hageb\u00f6lling can be found inside the Daniel P\u00f6ppelmann-Haus.\r\n","post_title":"Untitled","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ohne-titel-6","to_ping":"","pinged":"","post_modified":"2018-11-02 09:27:07","post_modified_gmt":"2018-11-02 08:27:07","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/ohne-titel-6\/","menu_order":1313,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":28182,"post_author":"1","post_date":"2017-06-06 23:22:06","post_date_gmt":"2017-06-06 21:22:06","post_content":"The Safety Cones<\/em> at the Bergertor serve as the starting point to F\u00fcnf Tore \/ F\u00fcnf Orte<\/em>, an art project designed to raise awareness of Herford's neglected historic city gates. The historic gates have always served as points of departure and arrival, connecting the city to the rest of the world. As such, five international artists were invited to participate in the project, each representing a country with close economic ties to Herford.\r\n\r\nAlready considered a pioneer of land and body\/performance art, Dennis Oppenheim began producing public sculptures in the 1990s. The Safety Cones (for Herford)<\/em> represent conventional traffic cones that have been enlarged, making them look like sculptures or even architectural structures. This building-like appearance is underscored by blue windows that are lit at night, suggesting that the conical forms are dwellings. However, the intense orange color also signals danger, alerting viewers to keep their distance. As such, the work sparks questions about living in a city defined by transport and mobility.","post_title":"Safety Cones (for Herford)","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"safety-cones-for-herford","to_ping":"","pinged":"","post_modified":"2019-01-07 23:52:50","post_modified_gmt":"2019-01-07 22:52:50","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/safety-cones-for-herford\/","menu_order":1285,"post_type":"sculpture","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":30575,"post_author":"1","post_date":"2017-06-06 23:21:42","post_date_gmt":"2017-06-06 21:21:42","post_content":"Paolo Chiasera's \"www.tupacproject.it\" (2002) commemorates African-American rapper Tupac Amaru Shakur, who was killed by unknown shooters in 1996. While the hip-hop legend had been convicted of various crimes, he was also socially active and admired by young people. By erecting a statue of him, Chiasera created the only monument to a black man in Germany.\r\n\r\nAt the same time, he examines the function of public monuments and questions the social consensus behind their construction. By highlighting the idol of a youth subculture, he raises the question of the selection, meaning and function of such role models for contemporary and historical (youth) cultures.","post_title":"www.tupacproject.it","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"www-tupacproject-it","to_ping":"","pinged":"","post_modified":"2019-08-04 12:27:50","post_modified_gmt":"2019-08-04 10:27:50","post_content_filtered":"","post_parent":0,"guid":"https:\/\/nrw-skulptur.net\/skulptur\/www-tupacproject-it\/","menu_order":1305,"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\/30438","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\/35543"}],"wp:attachment":[{"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/media?parent=30438"}],"wp:term":[{"taxonomy":"sculpture_maps_tempo","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_tempo?post=30438"},{"taxonomy":"sculpture_maps_region","embeddable":true,"href":"https:\/\/nrw-skulptur.net\/en\/wp-json\/wp\/v2\/sculpture_maps_region?post=30438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}