6th Swiss Scultpure Exhibition Biel

Maurice Ziegler

1975
Art in the Public Realm 

By "art in the public realm", we mean any kind of fine arts – sculpture, painting, relief, as well

as "environment" and outdoor design. The most important criterion for this type of art remains its public accessibility.

What is the difference between art in the public realm and works of art exhibited in a museum? The difference lies in the perception of this art; hence, it also concerns the viewer. It is a question of contact. The art-lover deliberately visits a museum to concentrate on works of art presented in a purpose-designed setting. The situation is very different in the public realm where the work of art becomes part of what may be a complex setting, one object among many to be sensed and vaguely perceived rather than seen and studied with deliberation. Let us consider an oft-observed occurrence which may illustrate this behaviour: if a work of art is placed and unveiled in the public realm, attention focuses on the new object which shines in its "moment of glory". But how long before people have become used to such a work of art, until they no longer notice it, until they forget it is even there? This tendency to become accustomed and to forget is accelerated if the work in question is located in an inadequate, hostile setting, in spaces and architectural structures for which it was not created. We must ask ourselves whether works of art might not be placed in such a way that they retain their impact, remaining active and effective contributions to our oft-mentioned quality of life. This is the kind of objective that art in the public realm should be associated with; only then would it find its actual meaning. And then it would also be able to penetrate into public consciousness, into people's everyday lives. Also, rather than being considered foreign bodies, rather than being taken for granted and forgotten, such works of art would acquire the function of something natural, self-evident, of something pleasant and beautiful that people would not want to miss.

In earlier times, works of art and sculptures had to play specific roles, both in architecture and in the built environment. The acceptance of such roles and our awareness of them has been lost. We must now step away from the notion of individual works of art which can be used, more or less accidentally, to "decorate" a building. Any artistic contribution should be an integral part of the architectural process so that it may produce a specific "atmosphere" in conjunction with the architecture. We need the artist to render the "civilised" world in which we live more inhabitable.

The artist's skills, his sense and understanding of form and colour, should be acknowledged and made to serve the public so that the artist would be part of the team of architects, engineers and other specialists. His function would be not only that of an expert for visual elements, but also that of a fermenting agent, of a supplier of ideas, of an impartial, free sparring partner. His methods mean that the artist usually has quite a different relationship and association with the materials, and the expressive potentials of form and colour, than the architect. His approach to problems is different from the architect's as well, as he is unencumbered by administration and organisation, or by the need for precise draughtsmanship (compass and T-square).

In order for the artist to be able to contribute his new perspectives on the design of the built environment, he needs a positive working atmosphere. The brief should be generous; those involved should be willing to benefit from their cooperation. It would be useful to invite an artist's design for a large, contiguous space; he would deal with floor coverings, planting, stairs, seating, soil movement, lighting, the layout of roads and footpaths, the design of public areas, etc. His activities would fall into the category of exterior design and landscaping; it would be that part of the budget which would provide the funds for such work.

The architectural freedom enjoyed by most artists can be a source of inspiration; it can lead to new, original solutions. But it can also create communication problems as it may disrupt the tacit understanding among a team of construction specialists. In such a team, the artist is the unknown factor. One would have to listen to his ideas, suggestions and criticism, and would have to try to benefit from them. What may be expected from most graphic or other designers, i.e. that they should more or less conform with the system, cannot necessarily be expected from a sculptor or a painter.

The construction team willing to welcome an artist in their midst would have to be prepared to grant him their fullest confidence; they would have to accept him as an equal partner. The work schedule would have to allow for stressful situations, for all manner of complications, for more time, The architect would have to be able to accept the fact that the artist would interfere in his work, demanding alterations. Likewise, the artist would have to be willing to trust the construction team, to accept them as equal partners, and to embrace stressful situations, an intense workload and all kinds of complications. Moreover, he would have to be able to accept that some of his ideas might not be realised for structural, functional, financial reasons, and that work on the project and, later, on site, would not be geared to his work rhythm alone.

Despite a maximum of mutual trust, the construction team and the artist will have different perspectives and points of view. Experience has shown that such projects may benefit from the services of an artistic consultant who knows the physical and psychological issues involved from both perspectives. His experience enables him to suggest to the architect various modes of presenting the brief and of selecting the artist. The consultant organises the cooperation of the various parties involved, and assures a continuously positive work atmosphere.

Plenty of time must be allowed at the planning stage. As for the budget, exterior design ideas should already be sketched out so that, later on, not too much funding earmarked for artistic design will have to be siphoned off for actual landscaping work. The early identification of sites for heavy objects may help avoid the late addition of extra foundations and alterations, which can save considerable sums.

Finally, I would like to mention the two examples of "art in the public realm" that have been or are being realised in Biel, which form an important part of the 6th Swiss Sculpture Exhibition.
Maurice Ziegler

© Translation from German, July 2008: Margret Powell-Joss
 




  • 1974, Kretz Walter, expo 1975
    1974
  • Widder-Frau, Benazzi Raffael, expo 1975
    Widder-Frau
  • Begehbares Figurenfeld, Hutter Schang, expo 1975
    Begehbares Figurenfeld
  • Monument der zukünftigen Vergangenheit, Meister Peter, expo 1975
    Monument der zukünftigen Vergangenheit
  • Kopfgruppe, Kunz Peter, expo 1975
    Kopfgruppe
  • Bronze-Beton-Scheibe III, Rehmann Erwin, expo 1975
    Bronze-Beton-Scheibe III
  • Nathan, Tschannen Jürg, expo 1975
    Nathan
  • Fragrant piece (men, Ducimetière Gérald, expo 1975
    Fragrant piece (men
  • Eisenplastik 1, Odermatt Josef Maria, expo 1975
    Eisenplastik 1
  • Durchbrochene Gestaltung, Fahrni Samuel, expo 1975
    Durchbrochene Gestaltung
  • bild3, Camesi Gianfredo, expo 1975
    bild3
  • Werk Nr. 1503, Benazzi Raffael, expo 1975
    Werk Nr. 1503
  • Figur V, Wimpheimer Willy, expo 1975
    Figur V
  • Rhythmus im Raum, Bill Max, expo 1975
    Rhythmus im Raum
  • Glasskulptur 75/6, Mauboulès Jean, expo 1975
    Glasskulptur 75/6
  • Objekt I, Villiger Hannah, expo 1975
    Objekt I
  • Urbanocoleopter, Moser Wilfried, expo 1975
    Urbanocoleopter
  • Fluidrose, Ponçet Antoine, expo 1975
    Fluidrose
  • Signaltor, Engler Jakob, expo 1975
    Signaltor
  • bild2, Vetter Konrad, expo 1975
    bild2
  • Findling I, Pösinger Franz, expo 1975
    Findling I
  • Projekt Spielplastik M 1:10, Megert Christian, expo 1975
    Projekt Spielplastik M 1:10
  • Croce, Rossi Remo, expo 1975
    Croce
  • Palais, Hefti Bernhard, expo 1975
    Palais
  • Toro, Rossi Remo, expo 1975
    Toro
  • Begehbare Raumplastik, Pedretti Gian, expo 1975
    Begehbare Raumplastik
  • Klappwürfel, Vetter Konrad, expo 1975
    Klappwürfel
  • Sculpture, Ischi Pierre, expo 1975
    Sculpture
  • Lieudit II, Grossert Michaël, expo 1975
    Lieudit II
  • Chaos I, Tinguely Jean, expo 1975
    Chaos I
  • 1974, Kretz Walter, expo 1975
    1974
  • La Siciliana, Weiss Max, expo 1975
    La Siciliana
  • Figure XIIa, Presset Henri, expo 1975
    Figure XIIa
  • Die Plattform Noah’s, Gerber Hans, expo 1975
    Die Plattform Noah’s
  • Kampf, Flückiger Carlo, expo 1975
    Kampf
  • Grosser Boss, Luginbühl Bernhard, expo 1975
    Grosser Boss
  • bild3, Kathariner Alois, expo 1975
    bild3
  • Eber, Probst Jacob, expo 1975
    Eber
  • Findling II, Pösinger Franz, expo 1975
    Findling II
  • Zak, Staub Josef, expo 1975
    Zak
  • Refuge, Müller Robert, expo 1975
    Refuge
  • Hermes-Brunnen, Oppenheim Meret, expo 1975
    Hermes-Brunnen
  • Metallplastik, Mattioli Silvio, expo 1975
    Metallplastik
  • « Dimensionn unique » (Transmutation forme de terre) Unité II, Camesi Gianfredo, expo 1975
    « Dimensionn unique » (Transmutation forme de terre) Unité II
  • Aldebaran, Ramseyer André, expo 1975
    Aldebaran
  • „High-Time“ Kapelle, Siegenthaler Albert, expo 1975
    „High-Time“ Kapelle
  • Athéna, Berthoud Francis, expo 1975
    Athéna
  • 1975, Brand Heinz, expo 1975
    1975
  • Ago con Pelliccia, Paolucci Flavio, expo 1975
    Ago con Pelliccia
  • Sculpture II, Brunner Gottfried, expo 1975
    Sculpture II
  • En Cuentro Horizontal, Torres Manuel, expo 1975
    En Cuentro Horizontal
  • 1974, Kretz Walter, expo 1975
    1974
  • Torse d’adolescente, Schwarz Heinz, expo 1975
    Torse d’adolescente
  • Knochenkiste, Iseli Rolf, expo 1975
    Knochenkiste
  • Grosse Stehende, Steiger-Crawford Flora, expo 1975
    Grosse Stehende
  • Figur IV, Aeschbacher Hans, expo 1975
    Figur IV
  • „Bitte kommen Sie doch …“, Brand Heinz, expo 1975
    „Bitte kommen Sie doch …“
  • Fanfare, Müller Robert, expo 1975
    Fanfare
  • Nostalgie (Kuh), Pedretti Giuliano, expo 1975
    Nostalgie (Kuh)
  • Drei Figuren, Storrer Peter, expo 1975
    Drei Figuren
  • Windharfe, Küng René, expo 1975
    Windharfe
  • Element 100, Luginbühl Bernhard, expo 1975
    Element 100
  • Fläche – Raum – Ecke – Fläche (5 Platten), Stäuble Jürg, expo 1975
    Fläche – Raum – Ecke – Fläche (5 Platten)
  • Findling III, Pösinger Franz, expo 1975
    Findling III
  • Grosser Klappwürfel, Vetter Konrad, expo 1975
    Grosser Klappwürfel
  • En Cuentro Volcado, Torres Manuel, expo 1975
    En Cuentro Volcado
  • Marbre rouge de Vérone, Müller Manuel, expo 1975
    Marbre rouge de Vérone
  • Objekt III, Villiger Hannah, expo 1975
    Objekt III
  • Stilleben – nature morte, Egloff Anton, expo 1975
    Stilleben – nature morte
  • Janus-Mütter, D'Altri Arnold, expo 1975
    Janus-Mütter
  • bild1, Armleder John Michael, expo 1975
    bild1
  • Maternité, Rehmann Erwin, expo 1975
    Maternité
  • Cuscino con Agio, Paolucci Flavio, expo 1975
    Cuscino con Agio
  • 1975, Brand Heinz, expo 1975
    1975
  • Kreuzfrau, Eggenschwiler Franz, expo 1975
    Kreuzfrau
  • Drahtplastik, Bodmer Walter, expo 1975
    Drahtplastik
  • Buluu, Huser Theodor, expo 1975
    Buluu
  • Colonne BTG, Candolfi Serge, expo 1975
    Colonne BTG
  • Sunrise, Fontana Annemie, expo 1975
    Sunrise
  • Hast noch der Berge ja…., Gerber Hans, expo 1975
    Hast noch der Berge ja….
  • Torso der Aphrodite, Hubacher Hermann, expo 1975
    Torso der Aphrodite
  • Véronique, Schwarz Heinz, expo 1975
    Véronique
  • Der Menschenbaum, Fischer Franz, expo 1975
    Der Menschenbaum
  • Danielle, Schwarz Heinz, expo 1975
    Danielle
  • Saul und David, Zschokke Alex, expo 1975
    Saul und David
  • Komposition (Gegensätze), Teucher Otto, expo 1975
    Komposition (Gegensätze)
  • Enlacé, Torres Manuel, expo 1975
    Enlacé
  • Eisenplastik 5, Odermatt Josef Maria, expo 1975
    Eisenplastik 5
  • PH-PH, Berger Ueli, expo 1975
    PH-PH
  • Projet Bienne, Huber Hans Rudolf, expo 1975
    Projet Bienne
  • Säulenweib, Meister Peter, expo 1975
    Säulenweib
  • Figure Xa, Presset Henri, expo 1975
    Figure Xa
  • Holzsäule farbig, Kaufmann Walter, expo 1975
    Holzsäule farbig
  • bild1, Nussbaumer Lorenz, expo 1975
    bild1
  • „Ist das wieder eine fatale Sommernacht…“, Weber Willy, expo 1975
    „Ist das wieder eine fatale Sommernacht…“
  • Mémorial pour une Indienne d’Amazonie, Gisiger Hansjörg, expo 1975
    Mémorial pour une Indienne d’Amazonie
  • Rythme, Emile Angéloz, expo 1975
    Rythme
  • Rückhalt (Relief), Schaub Mischa, expo 1975
    Rückhalt (Relief)
  • Figur II, Aeschbacher Hans, expo 1975
    Figur II
  • Grosses Rad, Küng René, expo 1975
    Grosses Rad
  • Steinflügel, Sigrist Kurt, expo 1975
    Steinflügel
  • Katharsis, D'Altri Arnold, expo 1975
    Katharsis
  • bild2, Kathariner Alois, expo 1975
    bild2
  • Isolquart, Granwehr Florin, expo 1975
    Isolquart
  • Holy Gost, Kohlbrenner Beat, expo 1975
    Holy Gost
  • Gartenobjekt, Roth Dieter, expo 1975
    Gartenobjekt
  • Stele (4-teilig), Grunder Mariann, expo 1975
    Stele (4-teilig)
  • Piano rhythmique, Linck Walter, expo 1975
    Piano rhythmique
  • Eisenplastik II, Wiggli Oskar, expo 1975
    Eisenplastik II
  • Barke, Egloff Anton, expo 1975
    Barke
  • 2-er Gruppe, Grunder Mariann, expo 1975
    2-er Gruppe
  • Figur I, Aeschbacher Hans, expo 1975
    Figur I
  • Es ist nie zu spät für e Gartezwärg, Kunz Peter, expo 1975
    Es ist nie zu spät für e Gartezwärg
  • „In Tuchfühlung treten…“, Buchwalder Ernst, expo 1975
    „In Tuchfühlung treten…“
  • Mère et enfant, Gisiger Hansjörg, expo 1975
    Mère et enfant
  • Vorprojekt künstlerische Gestaltung Kinderspital Bern, Megert Christian, expo 1975
    Vorprojekt künstlerische Gestaltung Kinderspital Bern
  • Begehbare Platten, Lüchinger Thomas, expo 1975
    Begehbare Platten
  • MAL 3-teilig, Fischli Hans, expo 1975
    MAL 3-teilig
  • Lichtplastik, Metzler Kurt Laurenz, expo 1975
    Lichtplastik
  • 1975, Brand Heinz, expo 1975
    1975
  • Lozziwurm, Pestalozzi Ivan, expo 1975
    Lozziwurm
  • Segelflächen-Skulptur Nr. 3, Pfenninger Kaspar, expo 1975
    Segelflächen-Skulptur Nr. 3
  • In sich verhalten, Demut Trudi, expo 1975
    In sich verhalten
  • Cheops-Pyramide, Signer Roman, expo 1975
    Cheops-Pyramide
  • Metabolicium, Seibt Dieter, expo 1975
    Metabolicium
  • Animus und Anima, D'Altri Arnold, expo 1975
    Animus und Anima
  • bild1, Vetter Konrad, expo 1975
    bild1
  • Hakencat, Travaglini Peter, expo 1975
    Hakencat
  • Tubs C, Huber Hans Rudolf, expo 1975
    Tubs C
  • Baumstrunk, Huser Theodor, expo 1975
    Baumstrunk
  • Die Verschwörung, Hotz Roland, expo 1975
    Die Verschwörung
  • Forme confiante, Ponçet Antoine, expo 1975
    Forme confiante
  • Sitzende, Steiger-Crawford Flora, expo 1975
    Sitzende
  • Einhorn, Müller Erich, expo 1975
    Einhorn
  • E.5.G., Duarte Angel, expo 1975
    E.5.G.
  • Pavillonskulptur II, Bill Max, expo 1975
    Pavillonskulptur II
  • Colonne BTS, Candolfi Serge, expo 1975
    Colonne BTS
  • bild2, Armleder John Michael, expo 1975
    bild2
  • 3 Elemente (Reliefs), Imfeld Karl, expo 1975
    3 Elemente (Reliefs)
  • Karyathide, Brütsch Friedrich, expo 1975
    Karyathide
  • Selbstbildnis, Keller Gottfried, expo 1975
    Selbstbildnis
  • Tinguely, Hofkunst Alfred, expo 1975
    Tinguely
  • Schyterbeige, Eggenschwiler Franz, expo 1975
    Schyterbeige
  • Die Frau und die Schlange, Wyss Josef, expo 1975
    Die Frau und die Schlange
  • Elément, Emile Angéloz, expo 1975
    Elément
  • Eisenplastik I, Wiggli Oskar, expo 1975
    Eisenplastik I
  • Säule mit Kreuz, Balmer Lorenz, expo 1975
    Säule mit Kreuz
  • Hardsoftly – S 30, Bucher Carl, expo 1975
    Hardsoftly – S 30
  • bild2, Nussbaumer Lorenz, expo 1975
    bild2
  • „Monsieur X“, Berthoud Francis, expo 1975
    „Monsieur X“
  • Löwenturm, Roth Dieter, expo 1975
    Löwenturm
  • Objet Soleure, Müller Robert, expo 1975
    Objet Soleure
  • Don Quichotte, Richier Germaine, expo 1975
    Don Quichotte
  • Gruppe mit zwei Figuren, Aeppli Eva, expo 1975
    Gruppe mit zwei Figuren
  • Karyatide II, Stocker Ludwig, expo 1975
    Karyatide II
  • Neugierig, Demut Trudi, expo 1975
    Neugierig
  • Le Dix, Hächler Peter, expo 1975
    Le Dix
  • Wind – Pendelrad, Witschi Werner, expo 1975
    Wind – Pendelrad
  • Plastik auf rundem Sockel, Suter Paul, expo 1975
    Plastik auf rundem Sockel
  • Figur I, Engel Michel, expo 1975
    Figur I
  • Findlingskopf, Kunz Peter, expo 1975
    Findlingskopf
  • « Wo sich die Winde zum Spiele finden… », Hanselmann-Erne Adelheid, expo 1975
    « Wo sich die Winde zum Spiele finden… »
  • bild2, Camesi Gianfredo, expo 1975
    bild2
  • Modell zu Figur I (Mst 1:6), Aeschbacher Hans, expo 1975
    Modell zu Figur I (Mst 1:6)
  • La Spirale, Oppenheim Meret, expo 1975
    La Spirale
  • Wasserorgel, Werro Roland, expo 1975
    Wasserorgel
  • bild1, Kathariner Alois, expo 1975
    bild1
  • Sculpture I, Brunner Gottfried, expo 1975
    Sculpture I
  • Torse, Schwarz Heinz, expo 1975
    Torse
  • bild1, Camesi Gianfredo, expo 1975
    bild1
  • Spiralen-Frau, Benazzi Raffael, expo 1975
    Spiralen-Frau
  • Etagère, Spoerri Daniel, expo 1975
    Etagère
  • Redner, Fischer Franz, expo 1975
    Redner