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STATUS QUO - SITE SPECIFIC SCULPTURES, PUBLIC SCULPTURE & LAND ART REVISITED
my site specific sculptures revisited | the status quo of my site specific
sculpture and land art
Site specific sculpture and land art as public sculpture
Sometimes site specific sculpture and land art can be located in remote areas. These works have a longer life expectancy because the chance is slim that human damage - physical as well as political - will deteriorate these sculptures and land works. One would argue that the public can't see the artworks, so what is the sense of it then? Well - first of all there will always be interested people who will travel to see the work and identify with it. Sometimes these works depend on their isolated environment. But let's not forget another argument: through photography and video it is now possible to make these works accessible for a much greater public than the numbers of people that actually visit these works of land art, site specific sculpture or whatever classification that art historians have contrived or will create in the future.
In the densest populated part of Europe, where I made many works in the public space, the great challenge is always the appreciation by the public and possible reactions which result from that sensitive balance. Usually it is only minority of the general public, which can take irresponsible actions; but even more threatening is the (lack of) sense of responsibility of the owners themselves - local governments or other public bodies. When they don't maintain the public space, we can't expect the public to respect the status quo of their surroundings.
This is why it is always a big step to undertake when I revisit site specific works in the public domain - especially my own sculpture. You never know what you will encounter. On these pages I shall give my personal account of my works revisited - the status quo of public art.