7th Swiss Sculpture Exhibition Biel

Andreas Meier

What Can a Sculpture Exhibition Do for Children?

The question may evoke memories of the previous Sculpture Exhibition: for three months, the "Grosser Boss" (Big Boss) by Bernhard Luginbühl was a great children's attraction; as was Ivan Pestalozzi's "Lozziwurm" (Lozzi Dragon), now to be admired in the Stadtpark(Municipal Park).

Admirers of traditional "plinth art" will consider these playful, hands and feet-on sculptures with some scepticism, their best reaction likely, "I suppose one should probably do something for children." If all goes well, such works may even satisfy traditional adult expectations and in the art world, the category of "walk-in sculptures" has been created for them.

However, this is not the full answer to the initial question. Consider this simple fact: half of all the sculptures that the city of Biel, for example, has acquired over the past thirty years is located in schools and school grounds. A good part of each Sculpture Exhibition should therefore be dedicated to children and young people, who could take this opportunity to discuss their ideas and wishes with the artists, placing commissions and making new acquisitions. However, children should not be made to merely copy adults.

1950s figurative sculpture was largely about the endeavour to create a link between art and children/school; art committees and architects were motivated by the same intention to select sculptures such as "Werdegang des Lebens" (Evolution of Life), "La ronde" (Roundabout), "Der Zirkus" (The Circus), the head of a girl, the portrait of a boy, animals of all kinds – a goat, a little bear, a turkey, a cockerel and a hen. I would not like to pretend that this kind of art is particularly well suited for children; nor is my list a plea for the renaissance of figurative sculpture. It does seem, however, that abstract art has become even more of an expert subject, with works selected by adults to suit their adult taste, albeit guided by pedagogical concepts perhaps. A dialogue between children and artists seldom occurs. On rare occasions, a wall painting may be realised in an act of cooperation between artist and pupils. However, I would really not want to restrict our artists to creations incorporating slides, wading pools and climbing structures. I even believe that such play objects – if they are to fulfil their actual function – do not necessarily have to be designed according to aesthetic criteria. I do, however, think that artists should more often consider children as partners whose specific perception needs to be taken into account.

In 1950s "garden architecture", sculptures largely played a decorative role that had no bearing on the architecture of any specific school. As real estate grew increasingly scarce and areas were ever more densely built-up, sculptures came to be more integrated, for example to subdivide buildings and break up façades. This is relevant to children as their perception is less selective than that of adults. Children find their bearings according to spontaneous spatial impressions rather than functional criteria. Younger children who have difficulty coping with spatial dimensions will perceive such fixed points, e.g. the column at the centre of the recreation area; the iron relief that divides a concrete façade; the round shape and warm material of a wooden sculpture that contrasts with the sober exposed concrete surface of an interior wall; the column of stainless steel, which stands a little to the side of an expanse of lawn – a magic object that reflects the viewer and the green grass. Art will provide emotional points of reference in a space that the adult mind would primarily perceive for its functional purpose. Such focal points will make it easier for children to find their bearings, and might even make them feel more comfortable. Sculptures are more child-friendly than two-dimensional museum art. They can be walked around, hidden behind, touched; they can often be sat on without causing damage; and they belong to everyone. A seven-year-old child is very capable of consciously perceiving and responding to art objects, and of expressing his or her thoughts or feelings – all it takes is some stimulus from an adult.

In the examples given above I have been thinking of the Sahligut School in Biel, with its sculptures by Raffael Benazzi, Willi Weber, Franz Eggenschwiler, Michel Engel and  André Ramseyer. It seems to me to be a successful example of a rich selection of architectural forms, shapes and materials of the most diverse kind, which render locations unmistakeable to the pupils, helping them to find their bearings. If, nonetheless, there is something missing here, it is the continuous dialogue that should begin well before the finished works are set in their final locations. This, by the way, is equally true for school buildings where the interplay of architecture and art goes a great deal further. The identity of the authors of the beautifully shaped, strange, mysterious and possibly scary objects usually remains a mystery. The school is completed, the architect and artist have done their job; the pupils move in.

There may be good reasons to keep artists away from the world of education. Our society holds a number of prejudices against the artist and his role, the most persistent one being that of the artist as a privileged, enviable person who is free to pursue his own ideas, insights, playfulness and desire to create. Such freedom and whoever incarnates it are not entirely harmless. The artist is a kind of messenger of man liberated from certain societal constraints. His art is driven by innovation and change, which does not, however, mean that change essentially occurs only in and through art.

However, there are some encouraging examples for approaches to art that have emerged from a process between artists and children without relegating the artist to being a mere builder of climbing towers. It would be ideal if artists could be in continuous contact with the respective school as they pursue their own artistic objectives; and if this contact with active artistic creation could give pupils more impulses to nurture and unfold their own creativity. This might mitigate a great deal of the currently existing alienation between artists and their audiences.
Andreas Meier

     

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




  • Sculpture 77 D, Wiggli Oskar, expo 1980
    Sculpture 77 D
  • Stille Stelle, Fischli Hans, expo 1980
    Stille Stelle
  • E 1 P, Duarte Angel, expo 1980
    E 1 P
  • Venus Asylstrasse 21, Aeschbacher Hans, expo 1980
    Venus Asylstrasse 21
  • Baum und Welt, Aeberli Matthias, expo 1980
    Baum und Welt
  • Raumplastik, Mattioli Silvio, expo 1980
    Raumplastik
  • La fleur du mal, Gerstner Karl, expo 1980
    La fleur du mal
  • Kunstauktion im Marzilibad Bern, Jordi Ernst Kretz Walter Schneider Jimmy Fred Vögeli Walter Suter Urs, expo 1980
    Kunstauktion im Marzilibad Bern
  • Kleines Bronzerelief VI – 1976, Rehmann Erwin, expo 1980
    Kleines Bronzerelief VI – 1976
  • Autoportrait, Berthoud Francis, expo 1980
    Autoportrait
  • Eisenplastik geschmiedet, Odermatt Josef Maria, expo 1980
    Eisenplastik geschmiedet
  • Vertschaupet, Hutter Schang, expo 1980
    Vertschaupet
  • Fanfan II, Schwarz Heinz, expo 1980
    Fanfan II
  • Baalbek, Bucher Carl, expo 1980
    Baalbek
  • Entwicklungsreihe (6 Steine), Grunder Mariann, expo 1980
    Entwicklungsreihe (6 Steine)
  • Figur II, Aeschbacher Hans, expo 1980
    Figur II
  • Windrad Esche, Küng René, expo 1980
    Windrad Esche
  • Biel Luminis, Fucktory Biel, expo 1980
    Biel Luminis
  • Komposition, Teucher Otto, expo 1980
    Komposition
  • Ouverture sur rencontre, Torres Manuel, expo 1980
    Ouverture sur rencontre
  • Figure debout, Ferrario Aldo, expo 1980
    Figure debout
  • Wiesenfloss (3 Aufnahmen), Stocker Norbert, expo 1980
    Wiesenfloss (3 Aufnahmen)
  • Der Papalagi, Seibt Dieter, expo 1980
    Der Papalagi
  • Ohne Titel, Blättler Rudolf, expo 1980
    Ohne Titel
  • Fils, Winteler Anna, expo 1980
    Fils
  • Seelenführer Anubis, Conne Louis, expo 1980
    Seelenführer Anubis
  • Figur III, Aeschbacher Hans, expo 1980
    Figur III
  • Poetree, Buchwalder Ernst, expo 1980
    Poetree
  • Rostiges Eisen um Farbkreuz, Bürkler David, expo 1980
    Rostiges Eisen um Farbkreuz
  • Vitrine mit 10 Zinkblechmodellen, Burger Walter, expo 1980
    Vitrine mit 10 Zinkblechmodellen
  • Der Rezipient als Bestandteil, Eberle Urs, expo 1980
    Der Rezipient als Bestandteil
  • Video blind piece, Minkoff Gérald, expo 1980
    Video blind piece
  • „Laa mi nöd gheiä“, Arbi (Bechtler Ruedi), expo 1980
    „Laa mi nöd gheiä“
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Agression, Mariotti Yves, expo 1980
    Agression
  • Stahl-Konstruktion XIIX, Altherr Jürg, expo 1980
    Stahl-Konstruktion XIIX
  • Scheiterhaufen, Hächler Peter, expo 1980
    Scheiterhaufen
  • F. Y. 26 – 1979, Bolomey Roger, expo 1980
    F. Y. 26 – 1979
  • Komposition, Teucher Otto, expo 1980
    Komposition
  • Zentrum, Büchi René, expo 1980
    Zentrum
  • Don Quichotte III, Zeller André-Paul, expo 1980
    Don Quichotte III
  • Grosse Mondleiter, Küng René, expo 1980
    Grosse Mondleiter
  • Déméter, Perrin Fred, expo 1980
    Déméter
  • Espace Nord-Sud, Fontana Dominique, expo 1980
    Espace Nord-Sud
  • Wandplastik, Mattioli Silvio, expo 1980
    Wandplastik
  • Flugkörper, Pedretti Erica, expo 1980
    Flugkörper
  • Accumulation no 792, Delieutraz Edouard, expo 1980
    Accumulation no 792
  • Die Baumfee und ihre Tänzerin, Balmer Hans, expo 1980
    Die Baumfee und ihre Tänzerin
  • Zusammenarbeit Urs Suter, Vögeli Walter, expo 1980
    Zusammenarbeit Urs Suter
  • F. Y 3 – 1976, Bolomey Roger, expo 1980
    F. Y 3 – 1976
  • Feuer, Wiedmer Paul, expo 1980
    Feuer
  • 9/78, Niederer Heinz, expo 1980
    9/78
  • Kopf aus Hauterive, Kunz Peter, expo 1980
    Kopf aus Hauterive
  • Sans titre, Bonnot François, expo 1980
    Sans titre
  • Entelechie 1 + 2, Stocker Ludwig, expo 1980
    Entelechie 1 + 2
  • Paravent, Suter Hugo, expo 1980
    Paravent
  • see, Weber Willy, expo 1980
    see
  • Kelch symmetrisch, Schneider Jimmy Fred, expo 1980
    Kelch symmetrisch
  • Totenschlitten, Sigrist Kurt, expo 1980
    Totenschlitten
  • Traktor und div. Materialien, Tinguely Jean, expo 1980
    Traktor und div. Materialien
  • 10/78, Niederer Heinz, expo 1980
    10/78
  • Fût no 793, Delieutraz Edouard, expo 1980
    Fût no 793
  • Aktionsplastik, Lüchinger Roland, expo 1980
    Aktionsplastik
  • Figur II, Aeschbacher Hans, expo 1980
    Figur II
  • Licht/Schatten Objekte, Nyffenegger Samuel, expo 1980
    Licht/Schatten Objekte
  • Elément en 3 pièces, Emile Angéloz, expo 1980
    Elément en 3 pièces
  • Schwebendes Ringpendel, Witschi Werner, expo 1980
    Schwebendes Ringpendel
  • Nombre 58 = Esther, Hess Esther, expo 1980
    Nombre 58 = Esther
  • Rutschbahn, Weber Bruno, expo 1980
    Rutschbahn
  • La concièrge, Polliand Daniel, expo 1980
    La concièrge
  • Euphorium, Kocher Lis, expo 1980
    Euphorium
  • Eisenplastik geschmiedet, Odermatt Josef Maria, expo 1980
    Eisenplastik geschmiedet
  • Mère et enfant, Ferrario Aldo, expo 1980
    Mère et enfant
  • Venus de Six-Fours, Aeschbacher Hans, expo 1980
    Venus de Six-Fours
  • Lächelnd sah er aufs Meer hinaus, Meier Dieter, expo 1980
    Lächelnd sah er aufs Meer hinaus
  • Microcosme New York IV B, De Montaigu Charles, expo 1980
    Microcosme New York IV B
  • Reflexion über die Gegen-Stände, Grossert Michaël, expo 1980
    Reflexion über die Gegen-Stände
  • Arbeit III, Baviera Michael, expo 1980
    Arbeit III
  • JURA, Berger Ueli, expo 1980
    JURA
  • Les 12 signes du zodiaque, Aeppli Eva, expo 1980
    Les 12 signes du zodiaque
  • Figur I, Wimpheimer Willy, expo 1980
    Figur I
  • Sans titre, Bonnot François, expo 1980
    Sans titre
  • Projet Bienne II 1980, Huber Hans Rudolf, expo 1980
    Projet Bienne II 1980
  • Quebec, Ischi Pierre, expo 1980
    Quebec
  • Wasserspiel 37, Fontana Annemie, expo 1980
    Wasserspiel 37
  • Gruppenbild, Engel Michel, expo 1980
    Gruppenbild
  • Modell für eine Plastik, Megert Christian, expo 1980
    Modell für eine Plastik
  • 2 Trees, Gruber-Stieger Jaqueline, expo 1980
    2 Trees
  • Elch, Weiss Max, expo 1980
    Elch
  • Werk Nr. 04.07.79 B. 1979, Mattes Rudolf, expo 1980
    Werk Nr. 04.07.79 B. 1979
  • Kreis-Stele I, Engler Jakob, expo 1980
    Kreis-Stele I
  • Rencontre XXX, Torres Manuel, expo 1980
    Rencontre XXX
  • Béatrice, Schwarz Heinz, expo 1980
    Béatrice
  • Wiesenfloss (Projektskizze), Stocker Norbert, expo 1980
    Wiesenfloss (Projektskizze)
  • Arbre, Candolfi Serge, expo 1980
    Arbre
  • L’Uomo nel Tempo, Paolucci Flavio, expo 1980
    L’Uomo nel Tempo
  • Poisson femme, Polliand Daniel, expo 1980
    Poisson femme
  • Biel Luminis, Fucktory Biel, expo 1980
    Biel Luminis
  • Grab, Brodwolf Jürgen, expo 1980
    Grab
  • Boden – Raum – Schnittpunkt I, Haldemann Walter, expo 1980
    Boden – Raum – Schnittpunkt I
  • Pavillonskulptur aus 6 Rundhölzern, Bill Max, expo 1980
    Pavillonskulptur aus 6 Rundhölzern
  • Fig. XIX A, Presset Henri, expo 1980
    Fig. XIX A
  • Allee, Häckel Wolfgang, expo 1980
    Allee
  • Environnement mit Performance, Gfeller Reinhard, expo 1980
    Environnement mit Performance
  • La Perception visuelle en tant qu’art, Fischer Walter, expo 1980
    La Perception visuelle en tant qu’art
  • Profil eines Fluges, Egloff Anton, expo 1980
    Profil eines Fluges
  • Microcosme New York III, De Montaigu Charles, expo 1980
    Microcosme New York III
  • Kardinal, Luginbühl Bernhard, expo 1980
    Kardinal
  • Der leere Raum, Blättler Rudolf, expo 1980
    Der leere Raum
  • Ein Schatten zwischen Sein und Schein, Schwarz Martin, expo 1980
    Ein Schatten zwischen Sein und Schein
  • PARADISE LOST, Siegenthaler Albert, expo 1980
    PARADISE LOST
  • Annabello, Kohlbrenner Beat, expo 1980
    Annabello
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Diagonale Faltung, Staub Josef, expo 1980
    Diagonale Faltung
  • PARADISE LOST, Siegenthaler Albert, expo 1980
    PARADISE LOST
  • Explosion, Wirz Tobias, expo 1980
    Explosion
  • Zeichen, Büchi René, expo 1980
    Zeichen
  • Figur I, Aeschbacher Hans, expo 1980
    Figur I
  • Phönix, Moser René, expo 1980
    Phönix
  • Standortbestimmung, Brand Heinz, expo 1980
    Standortbestimmung
  • L’Ile aux oiseaux, Camesi Gianfredo, expo 1980
    L’Ile aux oiseaux
  • Licht – Bild – Raum, Fricker Hansruedi, expo 1980
    Licht – Bild – Raum
  • Sky-Lab II: ein Environnement, Etcetera Ateliergemeinschaft, expo 1980
    Sky-Lab II: ein Environnement
  • Homo-Sapiens, Hotz Roland, expo 1980
    Homo-Sapiens
  • Weiblicher Toso, Aeschbacher Hans, expo 1980
    Weiblicher Toso
  • Drei Obeliske aus dem Pentagondodekaëder, Storrer Peter, expo 1980
    Drei Obeliske aus dem Pentagondodekaëder
  • Schiff, Sigrist Richard, expo 1980
    Schiff
  • Sculpture 76 J, Wiggli Oskar, expo 1980
    Sculpture 76 J
  • 79/30, Mauboulès Jean, expo 1980
    79/30
  • Schlafwandler, Pfenninger Kaspar, expo 1980
    Schlafwandler
  • Ohne Titel, Raboud André, expo 1980
    Ohne Titel
  • Objekt in der Schüss, Signer Roman, expo 1980
    Objekt in der Schüss
  • Objekt II, Streiff Matthias, expo 1980
    Objekt II
  • Olymp, Metzler Kurt Laurenz, expo 1980
    Olymp
  • Chromstahl, Talman Paul, expo 1980
    Chromstahl
  • Mondaffe, Eggenschwiler Franz, expo 1980
    Mondaffe
  • Projet Dimension Uniques, Transmutation Forme et Terre, Camesi Gianfredo, expo 1980
    Projet Dimension Uniques, Transmutation Forme et Terre
  • Rasterteppich, Bauer Heiner, expo 1980
    Rasterteppich
  • Licht/Schatten Objekte, Nyffenegger Samuel, expo 1980
    Licht/Schatten Objekte
  • Marmor-Block, Meister Peter, expo 1980
    Marmor-Block
  • 5 Bielerrugel, Benazzi Raffael, expo 1980
    5 Bielerrugel
  • Borg, Bucher Heidi, expo 1980
    Borg
  • See Stück, Ruenzi Fritz, expo 1980
    See Stück
  • Ferienlandschaft, Buchli Rudolf, expo 1980
    Ferienlandschaft
  • Projekt Zeitraum, Sigrist Kurt, expo 1980
    Projekt Zeitraum
  • Liber, Werro Roland, expo 1980
    Liber
  • Die Weisen, Weber Bruno, expo 1980
    Die Weisen
  • Objekt III, Streiff Matthias, expo 1980
    Objekt III
  • Objekt I, Streiff Matthias, expo 1980
    Objekt I
  • Weibliches Idol, Aeschbacher Hans, expo 1980
    Weibliches Idol
  • Teatraedre, Ischi Pierre, expo 1980
    Teatraedre