Eric Von Robertson | C.A.R.L., ‘Gentle Load’
Tag Archives: public space
Stefaan Dheedene
Stefaan Dheedene, ‘A.U.B. RAAK NIET AAN WAT U NIET BEGRIJPT’
(’PLEASE DO NOT TOUCH WHAT YOU DON’T UNDERSTAND’) (2005)
Stefaan Dheedene is one of the ten artists taking part in the exhibition ‘WHAT’S THE POINT OF GIVING YOU ANY MORE ARTWORKS?’, curated by Pietmondriaan.com, taking place at Stichting KOP.
‘WHAT’S THE POINT OF GIVING YOU ANY MORE ARTWORKS?’ opens Friday the 12th of March, 20.ooh @ stichting KOP, Breda.
‘Beard – Model K. Leo II’ (2005)
(Cardboard beards to take away)
Marjolijn Dijkman / Wouter Osterholt
‘Tunnel’ (2004) by Marjolijn Dijkman and Wouter Osterholt.
Installed at Sign, Groningen (NL).
The intervention consisted of a tunnel built through the gallery space that transformed the non-public space of the gallery into a public space. Removing one of the windows at the front and a garage door at the back allowed twenty-four hour access through the tunnel.
Tercerunquinto
Tercerunquinto, ‘Escultura publica en la periferia urbana de Monterrey’ (2006)
Tercerunquinto (meaning in English something like ‘a third of a fifth’) is the collective project of Mexican artists Julio Castro Carreón, Gabriel Cázares Salas and Rolando Flores Tovar. Formed in 1996, the collective is responsible for dozens of actions designed, in their words, ‘to question the boundaries between private and public space, examining the organized frontiers around the constitution of such definitions’.
‘Escultura publica en la periferia urbana de Monterrey’ is a public sculpture on the periphery of the city of Monterrey. It consisted of a concrete foundation that was free to use by the people of Monterrey. Apart from being used as a platform for a political rally, it was transformed among others into a marketplace, a hangout, until eventually becoming claimed by a man who built his house on it. The house remains there to this day.
Seen a while ago in the Stedelijk Museum Schiedam, as part of the exhibition ‘Mexico: Expected/Unexpected. Collection Isabel and Agustín Coppel’.
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