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| on_gardeners [2012-02-06 21:42] – cocky | on_gardeners [2012-02-06 21:43] – cocky |
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| Joseph Beuys, in: Richard Demarco, "Conversations with Artists", Studio International 195, No 996 September 1982, p.46 | Joseph Beuys, in: Richard Demarco, "Conversations with Artists", Studio International 195, No 996 September 1982, p.46 |
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| {{:340px_img_1997_sanctuarium-munster.jpg?200|}} {{:bw_01_h.jpg?200|}} | {{:340px_img_1997_sanctuarium-munster.jpg?300|}} {{:bw_01_h.jpg?300|}} |
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| Herman de Vries's sanctuarium, in Münster (northern Germany) in 1997, is a perfectly circular brick wall with no entrance to the inner sanctum, which is visible through four oval oculi, piercing the wall at eye-level at the cardinal points, the directions of the winds. Terrain vague is the future of cities; new worlds of experience, which guide our consciousness to a different order, away from the chaos of planning. the terrains vagues are the avant-garde of nature [cited in herman de vries, 'terrain vague (1999)', in exhibition catalogue No art - no city! Stadtutopien in der zeitgenössischen kunst = No art - no city! Urban utopias in contemporary art (Ostfildern 2003) 156-157] | Herman de Vries's sanctuarium, in Münster (northern Germany) in 1997, is a perfectly circular brick wall with no entrance to the inner sanctum, which is visible through four oval oculi, piercing the wall at eye-level at the cardinal points, the directions of the winds. Terrain vague is the future of cities; new worlds of experience, which guide our consciousness to a different order, away from the chaos of planning. the terrains vagues are the avant-garde of nature [cited in herman de vries, 'terrain vague (1999)', in exhibition catalogue No art - no city! Stadtutopien in der zeitgenössischen kunst = No art - no city! Urban utopias in contemporary art (Ostfildern 2003) 156-157] |
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