Kunst in der Stadt_EN

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Art <strong>in</strong> the City.<br />

Artworks <strong>in</strong> the public doma<strong>in</strong>.

3<br />

There is an art to<br />

hav<strong>in</strong>g so much art.<br />

When it comes to an enthusiasm for art, the citC of Basel can look<br />

back over a long tradition. The Amerbach Cab<strong>in</strong>et <strong>in</strong> Basel, for example,<br />

was one of the first art collections <strong>in</strong> Europe to be made accessible<br />

to the public. Later it became the <strong>Kunst</strong>museum Basel. In the 1960s<br />

the citizens agreed bC referen dum to use public funds to purchase<br />

two works bC Picasso, thus ensur<strong>in</strong>g that theC would rema<strong>in</strong> <strong>in</strong> the<br />

<strong>Kunst</strong>museum – quite a unique state of affairs. When the artist was<br />

<strong>in</strong>formed of this he donated four more works to the citC.<br />

When it comes to museum lovers, one th<strong>in</strong>g is quite clear: Basel is not<br />

a citC that can be discovered <strong>in</strong> a hurrC, the reason be<strong>in</strong>g about<br />

40 culturallC verC diverse museums. Quite a few of Basel’s museums<br />

are known well beCond the countrC’s bor<strong>der</strong>s for their important<br />

collections and their exquisite exhibitions. TheC have also re<strong>in</strong>forced<br />

Basel’s reputation as a unique art and museum landscape, with<br />

build<strong>in</strong>gs designed bC <strong>in</strong>ternationallC renowned architects. The magnets<br />

are the Fondation BeCeler, the Museum T<strong>in</strong>guelC, and the <strong>Kunst</strong>museum<br />

Basel with the adjo<strong>in</strong><strong>in</strong>g Museum für Gegenwartskunst. For<br />

almost 50 Cears now, Basel has also been home to the world’s lead<strong>in</strong>g<br />

<strong>in</strong>ter national art fair, Art Basel.<br />

Art can also be encountered <strong>in</strong> Basel dur<strong>in</strong>g a stroll around town:<br />

Richard Serra, Jonathan BorofskC, Jean T<strong>in</strong>guelC or Pablo Picasso are<br />

just a few of the artists whose works have enriched the image of the<br />

citC. In the meantime theC have become such a self-evident part of<br />

the everCdaC lives of its citizens that theC could no longer imag<strong>in</strong>e<br />

their citC without them. This brochure would like to accompanC Cou on<br />

a walk to the most <strong>in</strong>terest<strong>in</strong>g artworks <strong>in</strong> the citC. Whether Cou live<br />

here and pass them everC daC, or are visit<strong>in</strong>g Basel for the verC first time,<br />

Cou are sure to discover manC excit<strong>in</strong>g th<strong>in</strong>gs. We hope Cou enjoC<br />

Cour staC <strong>in</strong> Basel!<br />

Daniel Egloff,<br />

Director of Basel Tourism

Hammerstrasse<br />

Johanniterbrücke<br />

5<br />

Unterer Rhe<strong>in</strong>weg<br />

Claragraben<br />

Florastrasse<br />

Kl<strong>in</strong>gentalgraben<br />

Kl<strong>in</strong>gentalstrasse<br />

Drahtzugstrasse<br />

Index.<br />

Spitalstrasse<br />

St. Johanns-Vorstadt<br />

Kl<strong>in</strong>gental-Fähre<br />

Clarastrasse<br />

Claragraben<br />

Hebelstrasse<br />

Petersgraben<br />

12<br />

Universität<br />

11<br />

13<br />

Kornhausgasse<br />

Schützegraben<br />

Holbe<strong>in</strong>strasse<br />

Holbe<strong>in</strong>strasse<br />

Auberg<br />

Nadelberg<br />

Spalenberg<br />

Ste<strong>in</strong>engraben<br />

Petersgasse<br />

Heuberg<br />

Leonhardsgraben<br />

Auberg<br />

Schifflände<br />

Kanonengasse<br />

Eisengasse<br />

Marktplatz<br />

Gerbergasse<br />

Rhe<strong>in</strong>sprung<br />

Freie Strasse<br />

Leonhards-<br />

Kirchplatz<br />

9<br />

8<br />

Kohlenberggasse<br />

Ste<strong>in</strong>envorstadt<br />

Ste<strong>in</strong>enbachgässle<strong>in</strong><br />

6<br />

Heuwaage<br />

5<br />

10<br />

14<br />

17<br />

16<br />

Birsig-Parkplatz<br />

Mittlere Brücke<br />

Rhe<strong>in</strong><br />

Barfüsserplatz<br />

Ste<strong>in</strong>enberg<br />

Theaterstrasse<br />

Klosterberg<br />

Elisabethenstrasse<br />

15<br />

25<br />

Elisabethenanlage<br />

Oberer Rhe<strong>in</strong>weg<br />

Rhe<strong>in</strong>gasse<br />

Münster<br />

Schafgässle<strong>in</strong><br />

18<br />

Rittergasse<br />

1 Bankvere<strong>in</strong><br />

7 2<br />

3<br />

Theater 4<br />

Utengasse<br />

Münster-Fähre<br />

St. Alban-Graben<br />

Aeschenvorstadt<br />

Rebgasse<br />

<strong>Kunst</strong>museum<br />

19<br />

Aeschengraben<br />

20<br />

Dufourstrasse<br />

Brunngässle<strong>in</strong><br />

Wettste<strong>in</strong>brücke<br />

21<br />

Malzgasse<br />

24<br />

22<br />

23<br />

Aeschenplatz<br />

Gartenstrasse<br />

1 Jean T<strong>in</strong>guely 7 14<br />

Carnival Founta<strong>in</strong> 1977<br />

2<br />

3<br />

4<br />

5<br />

6<br />

7<br />

8<br />

9<br />

10<br />

11<br />

12<br />

13<br />

Richard Serra 7<br />

Intersection 1992<br />

René Küng 7<br />

Large Moon Lad<strong>der</strong> 1980<br />

Back wall of the 7<br />

<strong>Kunst</strong>halle Basel<br />

TemporarC <strong>in</strong>stallations<br />

Michael Grossert 8<br />

Lieudit 1976<br />

Paul Suter 8<br />

Untitled 1974<br />

Marc Covo 8<br />

Look-Listen-Go<br />

(Colours <strong>in</strong> the CitC) 1994<br />

Copa & Sordes 8<br />

Frieze (EmptC Aesthetic)<br />

2005<br />

Carl Burckhardt 11<br />

George the Knight 1923<br />

Peter Moilliet 11<br />

Dr. Rudolf Riggenbach 1971<br />

Guido Nussbaum 11<br />

Soot-Shadows 1998<br />

Hannes Vogel 11<br />

The Rosshof-CourtCard 1987<br />

Alexan<strong>der</strong> Zschokke 12<br />

Teacher and Pupil 1941<br />

15<br />

16<br />

17<br />

18<br />

19<br />

20<br />

21<br />

22<br />

23<br />

24<br />

25<br />

Carl Burckhardt 12<br />

Amazon lead<strong>in</strong>g a horse 1923<br />

Bett<strong>in</strong>a Eich<strong>in</strong> 12<br />

Helvetia on the JourneC 1980<br />

Samuel Buri 12<br />

Gänseliesl 1978<br />

Rémy Zaugg 15<br />

An accesswaC to the State<br />

Archives <strong>in</strong> a state of<br />

becom<strong>in</strong>g 1999<br />

Bett<strong>in</strong>a Eich<strong>in</strong> 15<br />

Marktplatz-Founta<strong>in</strong> for Basel,<br />

e.g. Nov. 1 1986, 00.19 am<br />

1986 –1991<br />

Alexan<strong>der</strong> Zschokke 15<br />

The Three Ages of Life 1941<br />

Pablo Picasso 15<br />

Man with spread Arms 2007<br />

Luciano Fabro 16<br />

Italian Garden 1994<br />

Jonathan Borofsky 16<br />

44’ Hammer<strong>in</strong>g Man 1989<br />

Louis Armand Petersen 16<br />

and Hans Eduard L<strong>in</strong><strong>der</strong><br />

Founta<strong>in</strong> with Crow 1925<br />

Paul Wilde 16<br />

Billsticker 1924<br />

Erik Ste<strong>in</strong>brecher 18<br />

Landler / Polka 2008<br />

Bahnhof SBB<br />

Peter-Merian-Strasse<br />


6<br />

Strik<strong>in</strong>g Signs at the Heart of Basel<br />

7<br />

1 The Carnival Founta<strong>in</strong>, mostlC referred to as T<strong>in</strong>guelC Founta<strong>in</strong>, is<br />

an homage to the Basel Carnival and was <strong>in</strong>augurated <strong>in</strong> 1977.<br />

It was also <strong>in</strong>tended as a gesture of conciliation towards the Basel<br />

public, who had opposed the demolition of the old theatre, whose<br />

stage had been located at that spot. For this reason the founta<strong>in</strong><br />

figures were constructed from parts of the demolished theatre.<br />

TheC appear particularlC impressive <strong>in</strong> w<strong>in</strong>ter, when the frozen<br />

spraC covers them <strong>in</strong> sculptures of ice. (Theaterplatz)<br />

Carnival Founta<strong>in</strong><br />

1<br />

2 Intersection bC American artist Richard Serra enters <strong>in</strong>to an elective<br />

aff<strong>in</strong>itC with Basel. There is a vague correspondence between these<br />

huge steel sails and the gable of the theatre. The work was orig<strong>in</strong>allC<br />

placed here <strong>in</strong> 1992 as a temporarC contribution to an exhibition.<br />

A private <strong>in</strong>itiative then presented it to the public. The sculpture has<br />

been on Theaterplatz ever s<strong>in</strong>ce, enabl<strong>in</strong>g anCone with an <strong>in</strong>terest<br />

to enter it, correspond<strong>in</strong>g to the artist's orig<strong>in</strong>al idea. (Theaterplatz)<br />

Intersection<br />

2<br />

3 One could th<strong>in</strong>k that the Large Moon Lad<strong>der</strong> bC local artist René<br />

Küng, from Allschwil, would have a hard time assert<strong>in</strong>g its presence<br />

between Richard Serra’s sculpture and the theatre’s ris<strong>in</strong>g roof.<br />

Yet it certa<strong>in</strong>lC occupies its own space, while its curves, manC of which<br />

con sist of branches, del<strong>in</strong>eate a pathwaC to the skC: an archaic sign<br />

<strong>in</strong> front of a band of digital letter<strong>in</strong>g runn<strong>in</strong>g horizon tallC beh<strong>in</strong>d<br />

it and brieflC announc<strong>in</strong>g the dailC programme at the opera house<br />

and the theatre. (Theaterplatz)<br />

Large Moon Lad<strong>der</strong><br />

3<br />

4 There are no w<strong>in</strong>dows <strong>in</strong> the wall opposite the neo-gothic Elisabethenkirche.<br />

This back wall of the <strong>Kunst</strong>halle Basel proffers space for large<br />

artistic <strong>in</strong>terventions. At CearlC <strong>in</strong>tervals, local and <strong>in</strong>ternational<br />

artists take up the challenge offered bC this platform and thus throw<br />

up a bridge from the exhibition venue to the public doma<strong>in</strong>. Here we<br />

see its highlC diverse functions come together: an area to be crossed,<br />

a public transportation traffic, a place for rest<strong>in</strong>g <strong>in</strong>, and not least,<br />

a site for art. (Back wall of the <strong>Kunst</strong>halle Basel)<br />

TemporarC <strong>in</strong>stallations<br />


PlaCful Reversal<br />

9<br />

5 Heuwaage is where a number of streets converge and depart <strong>in</strong> all<br />

directions. Lieudit bC the Basel artist Michael Grossert is a strik<strong>in</strong>glC<br />

colourful sign that creates a verC special place. Here, pa<strong>in</strong>t<strong>in</strong>g and<br />

sculpture, tectonics and organic shapes form an alliance. In 1976 this<br />

was someth<strong>in</strong>g verC new, <strong>in</strong>deed pro vocative for Basel: onlC a few<br />

weeks after it had been unveiled, the work was vanda lised, so friends<br />

of the artist’s got together and pa<strong>in</strong>ted the opulent form anew.<br />

(Heuwaage)<br />

Lieudit<br />

5<br />

6 Catch<strong>in</strong>g sight of art is not just the prerogative of car-drivers circl<strong>in</strong>g<br />

the old citC centre on the viaduct. Paul Suter’s large, three-part<br />

metal sculpture, Untitled, also makes an impact from down below,<br />

as it leans, dar<strong>in</strong>glC large, over the balustrade, tak<strong>in</strong>g up the dCnamism<br />

of the motorised traffic and outl<strong>in</strong><strong>in</strong>g other traffic lanes <strong>in</strong> the air.<br />

(Heuwaage, Viaduct)<br />

Untitled<br />

6<br />

7 One would reallC have to shun gravitC and walk on the ceil<strong>in</strong>g, as onlC<br />

then would the pedestrian-cross<strong>in</strong>g stripes <strong>in</strong> the passage between<br />

Theaterstrasse and Birsig-Parkplatz be <strong>in</strong> the right place and<br />

the posters left and right of it at the right height. Look-Listen-Go<br />

("Luege, Lose, Laufe") – these are the <strong>in</strong>structions given to children<br />

for cross<strong>in</strong>g the street <strong>in</strong> Switzer land. This artistic <strong>in</strong>tervention<br />

questions the direction th<strong>in</strong>gs are read <strong>in</strong> while also revers<strong>in</strong>g above<br />

and below. (Passage Theaterstrasse /Birsig-Parkplatz)<br />

Look-Listen-Go<br />

7<br />

8 Not onlC <strong>in</strong> Basel do shadC alleCwaCs provide scope for murals, especiallC<br />

the ones not officiallC commissioned. Ste<strong>in</strong>enbachgässle<strong>in</strong> has alreadC<br />

seen a number of such unauthorised graffiti. The artists Copa & Sordes<br />

took advantage of this circumstance. Their ironic citation of Baroque<br />

reliefs is called Frieze (EmptC Aesthetic) and uses motifs borrowed<br />

from Couth and street culture. Thus the back wall of the Berufsfachschule<br />

(full-time vocational school) is washable and still makes contact with<br />

the unpredictable creative drive that maC be lurk<strong>in</strong>g <strong>in</strong> its surround<strong>in</strong>gs.<br />

(Ste<strong>in</strong>enbachgässle<strong>in</strong>)<br />

Frieze (EmptC Aesthetic)<br />


Monuments tell Stories<br />

11<br />

9 High on a pl<strong>in</strong>th at the top of the steps up to Kohlenberg, George the<br />

Knight sits on horseback, naked, upright and relaxed. Although not<br />

even life-size, the silhouette of the elegant bronze figure bC Carl<br />

Burckhardt is still strik<strong>in</strong>g from a distance. The S-shaped bodC of<br />

the dragon corresponds to the horse’s three arched legs. All the<br />

bodies are elongated, which gives the work a certa<strong>in</strong> lightness.<br />

(The steps at Kohlenberg)<br />

George the Knight 9<br />

10 " That’s him to a T" Cou might saC, were he still walk<strong>in</strong>g the streets<br />

of Basel: Dr. Rudolf Riggenbach (1882 –1961) was a lover of the<br />

arts, a researcher and a publicist, as well as a regular at the nearbC<br />

"Braunen Mutz" on Barfüsserplatz. The stockC man with his coat<br />

usuallC hang<strong>in</strong>g open, and his cigar lit, was official curator of monuments<br />

for Canton Basel-<strong>Stadt</strong> from 1932 to 1952. Peter Moilliet<br />

raised a monument to him – <strong>in</strong> the hope that this orig<strong>in</strong>al character<br />

might cont<strong>in</strong>ue to stand up for the cultural heritage of Basel.<br />

(Leonhardskirchplatz)<br />

Dr. Rudolf Riggenbach<br />

10<br />

11 S<strong>in</strong>ce when do emergencC lights cast black Soot-Shadows, and how<br />

come there are traces of fire on the large l<strong>in</strong>tel at the exit of the fire<br />

station, of all places? Art often has some trickC claims at the readC,<br />

and once Cou have discovered Guido Nussbaum’s devious draw<strong>in</strong>g,<br />

Cou are not likelC to forget the signs he has placed high above Cour<br />

field of vision. (Kornhausgasse 18)<br />

Soot-Shadows<br />

11<br />

12 ARION, OMAR, SCHWARZER TEUFEL, SILBERPFEIL: resonant names guide<br />

pedestrians across The Rosshof-CourtCard, the site of a former liverC<br />

Card or stable. The horses Hannes Vogel summons <strong>in</strong>to the arena<br />

are from the world of literature. Here their names are written <strong>in</strong><br />

capital letters on marble bands form<strong>in</strong>g con cen tric arcs between<br />

the old re siden tial and the new universitC build<strong>in</strong>gs. Protagonists<br />

from works bC Nikolai Gogol, Tania Blixen, HenrC Miller or Karl MaC,<br />

theC con jure up temporal, cultural and l<strong>in</strong>guistic spaces far beCond<br />

this particular district. (Rosshof, Auf <strong>der</strong> LCss)<br />

The Rosshof-CourtCard<br />


Cultures on the Move<br />

13<br />

13 For more than 40 Cears, the Basel sculptor and pa<strong>in</strong>ter Alexan<strong>der</strong><br />

Zschokke participated <strong>in</strong> compe titions organised bC the <strong>Kunst</strong>kredit.<br />

His trulC noble view of humank<strong>in</strong>d is visiblC <strong>in</strong>fluenced bC ancient<br />

classical models and bC the sacred sculpture of the Middle Ages.<br />

It was predest<strong>in</strong>ed, therefore, for the new universitC build<strong>in</strong>g on<br />

Petersgraben: the larger-than-life stone work Teacher and Pupil<br />

(1941) expresses humi litC, discipl<strong>in</strong>e and a dignified will<strong>in</strong>gness to<br />

accept the legacC of the sciences. (Ma<strong>in</strong> build<strong>in</strong>g of the UniversitC<br />

of Basel, Petersplatz 1)<br />

Teacher and Pupil<br />

13<br />

14 The Amazon lead<strong>in</strong>g a horse is another work bC Carl Burckhardt<br />

(cf. no. 9). The strid<strong>in</strong>g Amazon created between 1921 and 1923 is<br />

the artist’s last work. If it is <strong>in</strong>spected closelC, traces can be found<br />

of the work on the plaster model, which was onlC cast <strong>in</strong> bronze <strong>in</strong><br />

1926, after Burckhardt’s death. In addition to the sculptures alreadC<br />

mentioned, Basel has another two bC this artist. (Schifflände)<br />

Amazon lead<strong>in</strong>g a horse<br />

14<br />

15 It is certa<strong>in</strong>lC conceivable, and Basel even has an image for it: the<br />

steadfast sCmbol of the Swiss Nation takes to the road. Bett<strong>in</strong>a<br />

Eich<strong>in</strong> has taken Helvetia and placed her on the projection of a wall<br />

on the Kle<strong>in</strong>basel side of the Rh<strong>in</strong>e. Helvetia on the JourneC has<br />

set down her suitcase and shield <strong>in</strong> the middle of town so as to gaze<br />

pensivelC downstream. This pose, both restful and melancholic,<br />

conta<strong>in</strong>s a criticism of the heroic self-image of the nation state –<br />

and an image of woman on which op<strong>in</strong>ions still differ. (Terrace on<br />

the Kle<strong>in</strong>basel side of the Mittlere Brücke)<br />

Helvetia on the JourneC<br />

15<br />

16 Gänseliesl (Goose Girl) bC the Basel artist Samuel Buri, located<br />

along the steep path called the Rhe<strong>in</strong>sprung, is a work <strong>in</strong> progress:<br />

the artist has left his black-and-white model and his tools on the<br />

narrow plank of the scaffold. What ever the weather, the scaffold<strong>in</strong>g<br />

rods cast their shadow on the wall and speak merrilC of the miracle<br />

of pa<strong>in</strong>t<strong>in</strong>g. The pa<strong>in</strong>t<strong>in</strong>g opens up the wall, like a w<strong>in</strong>dow, and<br />

gathers the past <strong>in</strong>to the present, capti vat <strong>in</strong>g us through the illusion<br />

it so candidlC represents. (Rhe<strong>in</strong>sprung 7)<br />

Gänseliesl<br />


14<br />

Culture of Commemoration<br />

15<br />

17 The CitC Archives necessarilC <strong>in</strong>volve the process of becom<strong>in</strong>g,<br />

especiallC as archives have changed from be<strong>in</strong>g static historicalanti<br />

quarian <strong>in</strong>stitutions to be<strong>in</strong>g public agencies relevant to the<br />

present. The artwork An accesswaC to the State Archives <strong>in</strong> a state<br />

of becom<strong>in</strong>g aims to acknowledge this self-image bC confront<strong>in</strong>g<br />

the historistic archive build<strong>in</strong>g with a contemporarC idiom. Thanks<br />

to RémC Zaugg, everCth<strong>in</strong>g belong<strong>in</strong>g to the build<strong>in</strong>g, the landscape,<br />

the citC, the bodC or the universe, is "becom<strong>in</strong>g". (Staatsarchiv<br />

Basel-<strong>Stadt</strong>, Mart<strong>in</strong>sgasse 2)<br />

An accesswaC to the State Archives <strong>in</strong> a state of becom<strong>in</strong>g<br />

17<br />

Marktplatz-Founta<strong>in</strong> for Basel, e.g. Nov. 1 1986, 00.19 am<br />

18<br />

18 This opulent vegetable and flower stall was <strong>in</strong>itiallC <strong>in</strong>tended for the<br />

Marktplatz. And the Marktplatz founta<strong>in</strong> for Basel was orig<strong>in</strong>allC a<br />

work commissioned bC the Sandoz companC. The fire catastrophe of<br />

1 November 1986 <strong>in</strong> Basel, however, put an end to that. The artist<br />

Bett<strong>in</strong>a Eich<strong>in</strong> then made a new design <strong>in</strong> which she referred to the<br />

accident, whereupon the companC withdrew. In the meantime the<br />

work was enriched bC Johann Peter Hebel’s poem "Die Vergänglichkeit"<br />

and it took Cears until the work – which is an homage to life’s<br />

profileration and at the same time a memento of death – found its<br />

f<strong>in</strong>al location <strong>in</strong> the little Cloister. (Cloister of Basel Cathedral)<br />

19 Water spraCs <strong>in</strong> f<strong>in</strong>e jets from the edge <strong>in</strong>to the centre of the large<br />

bas<strong>in</strong> and spills over the lower rim of the bronze cCl<strong>in</strong><strong>der</strong> – the<br />

founta<strong>in</strong> re calls the Rh<strong>in</strong>e, which can be crossed from here <strong>in</strong> no<br />

time at all. Push<strong>in</strong>g their waC along <strong>in</strong> a dubious parade are goats,<br />

children, masks, cCclists, bathers and dogs. All Cear long theC<br />

recall the Basel carnival, spew<strong>in</strong>g water from their mouths, eCes<br />

and noses as theC do so. Above all this rag, The Three Ages of<br />

Life represent the seriousness of life – and the artist’s expectation<br />

of his sculpture. (St. Alban-Graben / Dufourstrasse)<br />

The Three Ages of Life<br />

19<br />

20 Basel and Picasso – an unusual liaison. Thanks to a referendum held<br />

<strong>in</strong> 1967, two of the artist’s keC pa<strong>in</strong>t<strong>in</strong>gs, Les deux frères (1906)<br />

and Arlequ<strong>in</strong> assis (1923), are part of the public art collection. The<br />

"Yes" given to the public loan motivated Picasso himself to donate<br />

another four works. Reason enough to call the square beh<strong>in</strong>d the<br />

<strong>Kunst</strong>museum after that master of mo<strong>der</strong>nism. His Man with spread<br />

Arms is an enlarged, weatherresistant version of an orig<strong>in</strong>al work<br />

dated 1962. (Picassoplatz)<br />

Man with spread Arms<br />


Kulturen des Aufbruchs.<br />

Our Image of Man is our Image of the World<br />

17<br />

21 Is it a garden? A square? Some <strong>in</strong>terim space? A fragment of a southern<br />

landscape which found its waC to Basel? The trees could be sculptures,<br />

and the ground cover with the <strong>in</strong>tegrated lights could be an image<br />

of the skC. And <strong>in</strong> that skC, the new offices built between 1990 and<br />

1993 bC the architects Diener & Diener look like a boat on un dulat<strong>in</strong>g<br />

waves. Luciano Fabro lets the raw material <strong>in</strong> his Italian Garden have<br />

its saC; the design of this space seeks its model <strong>in</strong> the phenomena<br />

of nature, but also <strong>in</strong> the Italian pergola. (Dufourstrasse / Brunngässle<strong>in</strong>)<br />

Italian Garden<br />

21<br />

22 Jonathan BorofskC’s 44’ Hammer<strong>in</strong>g Man is an outsized image of the<br />

frenzC of activitC <strong>in</strong> our world. The huge black giant, seen ma<strong>in</strong>lC<br />

<strong>in</strong> silhouette, manages three to four slow-motion hammer blows per<br />

m<strong>in</strong>ute. He developed from a draw<strong>in</strong>g to a monumental outdoor<br />

sculpture made of Corten steel and alum<strong>in</strong>ium. This full-time worker<br />

has brothers: one stands <strong>in</strong> front of the grounds of the fair <strong>in</strong><br />

Frankfurt am Ma<strong>in</strong>, and us<strong>in</strong>g this same sCmbol BorofskC has also<br />

left his mark on other centres of economic activitC like Seattle,<br />

Seoul and Wash<strong>in</strong>gton. (Aeschenplatz 6)<br />

44’ Hammer<strong>in</strong>g Man<br />

22<br />

23 The transformer house, the square <strong>in</strong> front of it, the tram stop simplC<br />

would not be the same without that black crow on the acorn at the<br />

top of the founta<strong>in</strong> shaft, keep<strong>in</strong>g watch over the pipe and the trough.<br />

With w<strong>in</strong>gs half spread, it observes everCone who dr<strong>in</strong>ks or washes<br />

their hands here. And it is <strong>in</strong> good companC: the <strong>Kunst</strong>kredit, a<br />

cantonal promotional agencC, together with the Water Suppliers have<br />

been deco rat<strong>in</strong>g Basel’s founta<strong>in</strong>s with likeable animal figures for<br />

decades. (Aeschenplatz; corner of Aeschenvorstadt / Aeschengraben)<br />

Founta<strong>in</strong> with Crow<br />

23<br />

24 Once aga<strong>in</strong>, albeit on a smaller scale, a work on Aeschenplatz po<strong>in</strong>ts<br />

to the significance of work. Paul Wilde has placed a Billsticker on<br />

the advertis<strong>in</strong>g pillar. After all, how would the <strong>in</strong>terested citizen<br />

know what was go<strong>in</strong>g on <strong>in</strong> the worlds of politics, art and culture, if<br />

that m<strong>in</strong>or emploCee did not update the posters regularlC? He himself<br />

seems to know the answer, and, with his large brush <strong>in</strong> his hand,<br />

strides along proudlC, an identification figure for the work<strong>in</strong>g class.<br />

(Aeschenplatz; corner of Aeschenvorstadt / Aeschengraben)<br />

Billsticker<br />


Keep out?<br />

19<br />

Landler / Polka<br />

25<br />

25<br />

At first sight, the circular fences don’t look like artistic <strong>in</strong>terventions,<br />

or do theC? Landler / Polka revolve around wil<strong>der</strong>ness and exclusion.<br />

Erik Ste<strong>in</strong>brecher protects a stand of trees that screen the park from<br />

the heavC traffic on Nauenstrasse. However, whereas a fence usuallC<br />

separates one’s own piece of tended ground from the uncontrolled<br />

wil<strong>der</strong>ness of the neighbour<strong>in</strong>g area, here the fence around a small<br />

rise with wild shrubberC and grass keeps out the well-mowed lawn.<br />

(Elisabethenpark)<br />

ManC of the works <strong>in</strong> the<br />

public doma<strong>in</strong> <strong>in</strong> Basel are<br />

the fruit of competitions<br />

organised and publiclC funded<br />

bC <strong>Kunst</strong>kredit Basel-<strong>Stadt</strong><br />

and are the propertC of the<br />

canton. Private <strong>in</strong>itiatives<br />

and companies have also<br />

enabled donations to be made<br />

that constitute further<br />

strik<strong>in</strong>g signs throughout<br />

the citC.

Basel Tourism<br />

Aeschenvorstadt 36<br />

CH-4010 Basel<br />

Phone +41 (0)61 268 68 68<br />

Fax +41 (0)61 268 68 70<br />

<strong>in</strong>fo@basel.com<br />


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