Page 35 - Studio International - May 1973

somehow taking part in the functionally open
situation of that park, taking a position in that
space — while that position is highly closed and
self-conscious; the sculpture cannot be
approached as something naturally belonging
there. But then, speaking in terms of sculpture
and its historical function, one could reverse the
argument and say: it is certainly not the spot for
a natural phenomenon like a tree but (almost
therefore I am tempted to say) it is precisely the
artificial place for a sculpture.
Probably this will not change: it is a
theoretical deadlock between two fundamentally
different types of ideological argument, there
being no criteria to settle the matter. An artist
can only declare his position, and maybe that is
why much of what has been said on this subject
has the ring of a doctrinaire statement rather
than that of careful reasoning. In fact either way
is justifiable: an artist might want to proclaim
his identity as an individual and erect a self-
centered sculpture which will confront its
environment and make it hierarchical, or he
might project his visual intelligence in a large-
scale environmental design, creating diffuse,
open structures which at a certain point will no
longer be recognized as art on its own. It will
slip away into architecture or nature.
These two positions, each fundamental in its
own terms, might be clarified by comparing
works by Jan Maaskant, the sculptor, and Peter
Struycken, painter and environmentalist. In a
Maaskant drawing, for example, there are
several spatial levels or positions articulated by
three different elements. Those elements are: a
wide grid of thin lines, a narrow grid, and six steel columns marking the outer boundaries of
black squares (or blocks). Though developed out the place; within it there is an arrangement of
of one module, the two grids, in particular, look concrete objects, in positions which are fixed in
very different from each other. This is due, relation to the columns but more flexible in
probably, to the irregular way in which the relation to each other. In this way an open
narrow grid overlaps the wide one. The structure is combined with a closed structure
optical qualities of these elements, in their around it — a feature Maaskant thought suitable
particular relationship, are such that (if we see for the site: a roughly triangular space, open at
the drawing as a plan, upon which we are the corners, architecturally indistinct, with
looking) the wide grid signifies ground level. traffic running through. For a monument,
Upon this is placed the narrow grid, with its Maaskant felt, a clearly bounded place would be
black squares, which makes for the impression proper, to get a certain calmness.
that the black squares in the narrow grid, being This may imply that for a purely open
intermediary, are on a different level from the structure to be successful it is necessary that it
black squares on the wide grid. Thus the can be related to, or integrated into, a situation
drawing is a subtle system of spatial shifts and in which some elements are already fixed —
tensions, weighed down and held together by architectural elements for example. An open
the black squares, in a precious balance which structure is delicate, easily susceptible to
would be broken if any of the elements were to outside disturbances. This may be a
change position. It is this quality, that the characteristic point of difference from
singular elements condition each other's centralistic, public sculpture, not easily
position in a critical way, which makes this threatened: Wessel Couzijn's sculpture in front
drawing a closed structure, introverted and of the Unilever Building in Rotterdam, or Ad (Above)
autonomous in its environment. Dekkers's monument at the entrance of the Computer Structure 0 1969
Peter Struycken
Even within the tight hold of the six black Utrecht crematorium or Carel Visser's Double Rotterdam: Museum Boymans-van Beuningen
squares, however, there seems to be some Form in a public park in Leeuwarden.
(Below)
flexibility in the centre. That aspect is the In a classic, closed structure all relations Jan Maaskant
central quality of Maaskant's design for a between elements are balanced and locked in Drawing 1969
monument to the memory of Queen each other's grip; in an open structure, The Hague: Gemeentemuseum
Photo : Cor van Wanrooy
Wilhelmina in The Hague (not yet instead, relations between elements are less
commissioned). In structure this monument is precisely orientated and relatively flexible.
similar to the drawing. There are four heavy For example: one's eye can travel through

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