HEIZKRAFTWERK RÖMERBRUCKE STADTWERKE SAARBROCKEN
- KUNSTPROJEKT -
Bauherr: Stadtwerke Saarbrücken
Projekt 3: "Eislandschaft"
Künstler: P. Fischli und D. Weiss, Zürich
Architekten: PAS, Jourdan und Müller
Lage und Baubeschreibung
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HEIZKRAFTWERK RÖMERBRUCKE STADTWERKE SAARBROCKEN
- KUNSTPROJEKT -
Bauherr: Stadtwerke Saarbrücken
Projekt 3: "Eislandschaft"
Künstler: P. Fischli und D. Weiss, Zürich
Architekten: PAS, Jourdan und Müller
Lage und Baubeschreibung
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Die Automation verspricht uns eine Produktion, die die Bedürfnisse aller Menschen ohne menschliche Arbeitsleistung zufriedenstellt. Die Arbeit des Menschen ist nicht länger ein unumgängliches Produktionsmittel. Der Mensch steht erste. malig vor der Tat
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Die Automation verspricht uns eine Produktion, die die Bedürfnisse aller Menschen ohne menschliche Arbeitsleistung zufriedenstellt. Die Arbeit des Menschen ist nicht länger ein unumgängliches Produktionsmittel. Der Mensch steht erste. malig vor der Tat
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An outdoor concrete sculpture, yet uncompleted.
This minimal sculpture is to be built using the traditional catwalk runway model, as in use for most fashion shows. Although adaptable, it should be constructed according to standard proportions, in a
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An outdoor concrete sculpture, yet uncompleted.
This minimal sculpture is to be built using the traditional catwalk runway model, as in use for most fashion shows. Although adaptable, it should be constructed according to standard proportions, in a
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Aus: Katalog 'Kunst bleibt Kunst' - Hans Peter Feldman
Unbuilt Roads
Während der Ausstellung sollten in drei Kölner Tageszeitungen in jeweils drei Ausgaben ein bis zwei Bilder erscheinen. Diese Bilder sollten an beliebiger Stelle des redaktionellen Teils stehen und keinerlei Beziehungen zu sie umgebenden Texten oder ande
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Während der Ausstellung sollten in drei Kölner Tageszeitungen in jeweils drei Ausgaben ein bis zwei Bilder erscheinen. Diese Bilder sollten an beliebiger Stelle des redaktionellen Teils stehen und keinerlei Beziehungen zu sie umgebenden Texten oder ande
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Beschreibung des Modells bitte dem Katalog "Katharina Fritsch, Museum, Biennale Venedig 1995" entnehmen. (Erster Abschnitt: Modell 1:10) Der Katalog ist bei Cantz in Stuttgart gedruckt.
Previous Publications (?)
Katalog der Biennale Venedig 1995 (s
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Beschreibung des Modells bitte dem Katalog "Katharina Fritsch, Museum, Biennale Venedig 1995" entnehmen. (Erster Abschnitt: Modell 1:10) Der Katalog ist bei Cantz in Stuttgart gedruckt.
Previous Publications (?)
Katalog der Biennale Venedig 1995 (s
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The World is a Theater and we each have a role - Louise Bourgeois
Unbuilt Roads
A circular construction in wood, painted sky blue and white.
In 3 dimensions. An upside down dome. A small figure stands in the center.
(eventually reasons why the work has not be realized)
Complicated and too expensive but never discarded.
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A circular construction in wood, painted sky blue and white.
In 3 dimensions. An upside down dome. A small figure stands in the center.
(eventually reasons why the work has not be realized)
Complicated and too expensive but never discarded.
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An abstract sculpture is standing on an ellipse pavement platform, surrounded by city lights, a city seal and a small flower arrangement.
Een buitenaards stalen abstract object (±7m) is midden in de stadskem geland.
Er zijn balustraden rond gebouwd.
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An abstract sculpture is standing on an ellipse pavement platform, surrounded by city lights, a city seal and a small flower arrangement.
Een buitenaards stalen abstract object (±7m) is midden in de stadskem geland.
Er zijn balustraden rond gebouwd.
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Description:
The impetus came from , or was initially inspired by the endless stream of monotonous images created by the exponential growth in the amount of photographic apparatus. In an effort to counteract this mediocre use of such a powerfull medium
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Description:
The impetus came from , or was initially inspired by the endless stream of monotonous images created by the exponential growth in the amount of photographic apparatus. In an effort to counteract this mediocre use of such a powerfull medium
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1 carré en béton dimension 150 cm epaisseur 15 cm, accroché au flauc d 'une monVague
Publications:
Galerie "Ben donte de tout" 1971 (Invitation à l'exposition Mouraud)
feuille volaute Galerie LP 220, Turin, Milan
"Paysage sonore urbain" Be
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1 carré en béton dimension 150 cm epaisseur 15 cm, accroché au flauc d 'une monVague
Publications:
Galerie "Ben donte de tout" 1971 (Invitation à l'exposition Mouraud)
feuille volaute Galerie LP 220, Turin, Milan
"Paysage sonore urbain" Be
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„Entwurf für einen erneuerten Malkasten" 1992 - 1994
Gemeinschaftsprojekt
Jacobischer Garten/ Malkasten Düsseldorf:
22000 m2 großer historischer Garten und Gebäudesubstanz (Jacobihaus, Hentrichbau, Randgebäude) im Zentrum der Stadt Düsse
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„Entwurf für einen erneuerten Malkasten" 1992 - 1994
Gemeinschaftsprojekt
Jacobischer Garten/ Malkasten Düsseldorf:
22000 m2 großer historischer Garten und Gebäudesubstanz (Jacobihaus, Hentrichbau, Randgebäude) im Zentrum der Stadt Düsse
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Dear Hans-Ulrich,
Thank you for inviting me to participate in "Unbuilt Worlds - unrealized artist-projects". Sounds terrific.
In 1986 I was invited to participate in a program called "Messages to the Public". The invited artists would be given a 30-
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Dear Hans-Ulrich,
Thank you for inviting me to participate in "Unbuilt Worlds - unrealized artist-projects". Sounds terrific.
In 1986 I was invited to participate in a program called "Messages to the Public". The invited artists would be given a 30-
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Dog Jaw Monument - A Futurist Tele-introject - Leon Golub
Unbuilt Roads
Years: A.D 2096, A.D. 2777, A.D. 3096
See drawing (to be submitted if desired)
note: time - 2096 - becoming a critical exponential extension of the artist's hand
(eventual reasons why the work has not been realised)
Project has not reached a cri
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Years: A.D 2096, A.D. 2777, A.D. 3096
See drawing (to be submitted if desired)
note: time - 2096 - becoming a critical exponential extension of the artist's hand
(eventual reasons why the work has not been realised)
Project has not reached a cri
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Geplanter Standort:
Naturwissenschaftliches Zentrum der Westfälischen Wilhelmsuniversität, Münster
Material:
Betonguß
Maße:
Tiefe 2,30 m, Breite 25,0 m, Länge 25,0 m
Note
The piece is a rhomboid square depression with the p
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Geplanter Standort:
Naturwissenschaftliches Zentrum der Westfälischen Wilhelmsuniversität, Münster
Material:
Betonguß
Maße:
Tiefe 2,30 m, Breite 25,0 m, Länge 25,0 m
Note
The piece is a rhomboid square depression with the p
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Dear Hans:
The most passionate times in the studio is the birth of a new idea. It gets all the juices that make being an artist flow. Sadly many wonderful ideas are not realized because one is in the wrong place at the wrong time.
I chose to live a
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Dear Hans:
The most passionate times in the studio is the birth of a new idea. It gets all the juices that make being an artist flow. Sadly many wonderful ideas are not realized because one is in the wrong place at the wrong time.
I chose to live a
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La liste non exhaustive qui suit correspond une á série de projets qui n'ont pas abouti. Ils sont de plusieurs types et les raisons de leur non aboutissement sont également différentes.
Tout d'abord, tous sont liés des situations précises et dict
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La liste non exhaustive qui suit correspond une á série de projets qui n'ont pas abouti. Ils sont de plusieurs types et les raisons de leur non aboutissement sont également différentes.
Tout d'abord, tous sont liés des situations précises et dict
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119. PROJET DE DESTRUCTION DU MUSEE 1970 - 1971 - Jef Geys
Unbuilt Roads
Plan pour devoir Musée o'anu[?]s avec autorisation et aide de ministères contactes
(Eventuellement raisons pour lesquelles le travail n'a pu etre realise)
Refus ministères de la defense etc.
Publications:
Kempens informatieblad
Contact
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Plan pour devoir Musée o'anu[?]s avec autorisation et aide de ministères contactes
(Eventuellement raisons pour lesquelles le travail n'a pu etre realise)
Refus ministères de la defense etc.
Publications:
Kempens informatieblad
Contact
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Grand Concours International D'Architecture - Sol Lewitt
Unbuilt Roads
TITRE DU PROJET:
Grand Concours D'International D'architecture
ANNEE:
1993/1994
DESCRIPTIF:
Concours de plage ouvert surinvitation a des equipe D' Architectes de renomíe internationale.
Objet = construire en untemps limiteé entre lama
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TITRE DU PROJET:
Grand Concours D'International D'architecture
ANNEE:
1993/1994
DESCRIPTIF:
Concours de plage ouvert surinvitation a des equipe D' Architectes de renomíe internationale.
Objet = construire en untemps limiteé entre lama
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13 Kuben
Granit Rosa Porrino,
jeweils horizontal und vertikal gespalten
jeweils ca. 300 x 200 x 200 cm
davon jeweils ca. 90 cm in die Erde
eingelassen
120 Bäume
jeweils in lOer Gruppen gepflanzt
Gesamtareal: 100 x 100 m
Dreize
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13 Kuben
Granit Rosa Porrino,
jeweils horizontal und vertikal gespalten
jeweils ca. 300 x 200 x 200 cm
davon jeweils ca. 90 cm in die Erde
eingelassen
120 Bäume
jeweils in lOer Gruppen gepflanzt
Gesamtareal: 100 x 100 m
Dreize
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No title, as the project only reached proposal stage - Rikrit Tiravanija
Unbuilt Roads
Proposal No. 1
(a) In the exhibition space, in proximation (as precisely as possible) to actual space. Replicate (Reconstruct) in architectural scale, space and in specific: detail, the office of the director of the museum.
(b) All contents (in deta
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Proposal No. 1
(a) In the exhibition space, in proximation (as precisely as possible) to actual space. Replicate (Reconstruct) in architectural scale, space and in specific: detail, the office of the director of the museum.
(b) All contents (in deta
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three projects about which I have been thinking for some time.
The first construction is to be about 18 feet high with a base about 24 ft. by 18 ft. The principle of this technique was suggested by Mr. E. LI. Evans, who worked in
the corrosion of meta
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three projects about which I have been thinking for some time.
The first construction is to be about 18 feet high with a base about 24 ft. by 18 ft. The principle of this technique was suggested by Mr. E. LI. Evans, who worked in
the corrosion of meta
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Merci, Thank you, Danke: Les 2 sujets - Thomas Hirschorn
Unbuilt Roads
Pour les affichés 4x3 devant l'immeuble Valois/Saint-Honoré je propose deux sujets issus de la serie "merci, Thank you, Danke". Ces sujets sont deux collages sur carton d'un format assez petit (eviron 20x40 pour l'un et 20x40 pour l'autre) Cette serie j
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Pour les affichés 4x3 devant l'immeuble Valois/Saint-Honoré je propose deux sujets issus de la serie "merci, Thank you, Danke". Ces sujets sont deux collages sur carton d'un format assez petit (eviron 20x40 pour l'un et 20x40 pour l'autre) Cette serie j
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Placid Earth: A Project for the Meeting of Millennia - Cai Guo Quiang
Unbuilt Roads
Observed from space, the Earth at night is ablaze with lights.
During the last second of this century and the first second of the next century--the two seconds when the millennia meet-all inhabitants of the Earth should turn off their lights, letting t
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Observed from space, the Earth at night is ablaze with lights.
During the last second of this century and the first second of the next century--the two seconds when the millennia meet-all inhabitants of the Earth should turn off their lights, letting t
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Project pour le parc de sculpture de Vassiviére - Paul-Armand Gette
Unbuilt Roads
Un bloc de granite choisi dans la partie boisée de l'île sera considéré comme étant le centre d'une circonférence de 25m. de rayon, qui, sans que cela soit indiqué sur place d'aucune façon, restera vierge de toutes interventions (aménagements, co
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Un bloc de granite choisi dans la partie boisée de l'île sera considéré comme étant le centre d'une circonférence de 25m. de rayon, qui, sans que cela soit indiqué sur place d'aucune façon, restera vierge de toutes interventions (aménagements, co
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A Public Misery Message, was designed as temporary public art for a US city. The Reagan/Bush era was coming to a close, and the financial restructuring of the classes was complete: The top wealth holders in America controlled more wealth than at any previ
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A Public Misery Message, was designed as temporary public art for a US city. The Reagan/Bush era was coming to a close, and the financial restructuring of the classes was complete: The top wealth holders in America controlled more wealth than at any previ
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