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"Skulpturenlandschaft Osnabrück 2007" The aim of the project in 2007 is to link the outer city area of Westerberg with the local recreational area of Rubbenbruchsee by placing works of art at various points along the way and making it an experience in the form of a parcours. Concept Following the initiation of the "Skulpturenpark Finkenhügel" near Osnabrück Clinic in 2003 by artists Michael Flatau, Rudolf Kaiser, Frank Gillich and Michael Schüttrumpf, a continuation of the project is planned for 2007. With its park grounds, the clinic will also remain the centre of events in 2007. The space for the artistic activity to take place next year will extend out from this centre-point in two directions. Towards Rubbenbruchsee in one direction, and towards Westerberg in the other. The Rubbenbruchsee area is marked by it being a natural reserve consisting of meadows, pastures and marshes, all engendering a wealth of natural space. With its woodland, Heger Holz is both forestry acreage and a recreational area in one. Edinghäuserweg spans the crest of Westerberg. Pedestrians and bicyclists wend their way across the ridge down Bergstrasse towards Hegertor, passing by the botanical garden and a disused quarry on the way. At the highest point on Edinghäuser Weg, the view to the south towards Weststadt and Sutthausen beyond opens up onto Teutoburger Wald. Osnabrück's Piesberg harbour and the suburb of Eversburg lie to the north. The various marks of the natural environment (Rubbenbruchsee) and the urban environment (Westerberg) require different approaches to the aims of the artistic endeavour. Under the working title UNSICHTBARES WERK (INVISIBLE WORK) – SICHTBARES WERK (VISIBLE WORK) work will take place in harmony with the singular elements of the natural and urban environment. Whereas in 2003, the sculpture park was characterised by a central sculpture, conceptional artistic approaches such as land art, concept art, arte povera, forms of interventionism, performance and much more will be introduced in 2007. The Potential for Artistic Discourse Interaction with the landscape Processuality The transitoriness of the material Material properties (light, water, earth, wood) Fragility and provisional state Interaction with architecture
Interaction with leisure activities Local recreation and sport Irony as a characteristic Utility Transitions and limitations between the parameters are planned for and are dependent on the participating artists invited. Recourse Until a few years ago, symposiums for sculpture were very popular during the summer months. The artist worked on a piece in order to make the creative process apparent to passers-by during the period of creation. The creation of the artistic work was placed in the foreground here. Another way of communicating the value of sculpture to the public is the exhibition of works in the open, in public spaces in the city, and in parks or on deserted industrial landscapes. Following the preliminary steps taken to initiate the "Skulpturenpark Finkenhügel" under the aspects referred to above, a continuing path will be taken in future. The Sculptural Space The sculptural space is no longer a space in which the sculpture expands. It is all that can be co-conceived, when the location's environment is included in the artistic process. (See also: Potential for Discourse) Here, the artist is asked to forget his work in the atelier and relate to the location and its connotations, while deliberating on the actual artistic potential and lending the artistic contribution an own unique style. The problem for the artist consists of a mastering the attempt to integrate the environment in which a future site is located, with all its consequences, which means heading down new paths, without drifting too far away from old ones.
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