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




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