De Campagne, Q.S. Serafijn
The Campaign
About ten artists, whose views on art in public space were of particular interest, were invited by Stroom to submit a proposal for a work at a location of their choice in The Hague, with as few restrictive conditions imposed in advance as possible.
Period: 1 September 1991 - 1 September 1993
Location: various locations The Hague
A group of about ten artists, whose views on art in public space were expected to be relevant, were invited by Stroom to propose a work for a self-chosen location in The Hague, with as few restrictive conditions as possible set in advance. At the conclusion of The Campaign (early 1993), in which the initiative was largely placed in the hands of the participating artists, a two-day symposium was held on the theme The Role of the Commissioner.
Projects by:
Andrea Blum
Surveillance Stations (1992–1994)
Plein, Spuiplein, Piet Heinplein, Neherkade, Zuidhollandlaan
At five sites in the city where past and present meet, a light-blue concrete bench with an overhanging mirror was placed. In front, one saw the historic buildings; in the mirror behind, the confronting recent times. On the bench one was both observer and participant.
Eric Colpaert
Cabana (1992)
Kerkhoflaan
In the stately Archipelbuurt, full of reminiscences of the Dutch East Indies and the atmosphere of Louis Couperus’ novels The Hidden Force and Eline Vere, Colpaert placed a small wooden structure with a rotating fan. Air was pushed outside through the slats, intended to evoke memories of times past. Local residents responded with incomprehension.
Harmen de Hoop
Waiting Room 34 NS (1992–1995)
Hollands Spoor platform 5/6
In a waiting room renovated for this occasion by the Dutch Railways, De Hoop added a black linear pattern in the linoleum floor, linking all the seats and inviting those waiting to cross invisible thresholds and start a conversation.
Philip van Isacker
Table with inscription “Protection–Emptiness” (1991–1996)
Neherkade
Opposite Aldo Rossi’s massive housing complex, along a busy road and by the water, stood a large rectangular stainless steel table with on either side of its surface the words Protection and Emptiness. Van Isacker: “Its beauty does not lie in the object itself, but in the thoughts it evokes when looked at.”
John Knight
Frog Bell (1992)
multiple / advertising campaign / bell transport to Cuba
Knight did not want a static work, but active participation by the public. Referring to the stork in The Hague’s coat of arms, he proposed the production of thousands of bicycle bells that croaked like frogs. He then staged an advertising campaign on city buses and in bicycle parking areas calling on residents to exchange their Dutch bicycle bells at Stroom, intending to ship them to Cuba as a way of circumventing the embargo through an art route.
Arno van der Mark
You Never Walk Alone (1992–1993)
Five light-blue painted billboards with a ring in relief at the center
Zeesluisweg, Scheveningen
The billboards (4 x 3 m), evenly light-blue with a circular shape in the middle, stood at regular intervals along the quay. This enigmatic work allowed for many interpretations, blending into its surroundings while at the same time disrupting them.
Norbert Radermacher
Die Wasserwaage (1992)
Ventilation shaft of parking garage, Plein
A spirit level set in a brass bar was inlaid into the hardstone cladding of a ventilation shaft of the parking garage at the Plein. A level permanently fixed in its ideal, stable position, located in the center of The Hague, the heart of government and residence.
Q.S. Serafijn
Notes of a Super Non-Individual Watcher (1991–1992)
By mail
Explanatory notes in a special envelope were delivered door-to-door to residents of the neighborhoods where the Campagne artworks were placed. Like a personal letter to the reader, printed on elegant paper—not art-historical explanatory texts, but “notes” that offered a reflection or speculation, or playfully digressed on the subject.
Raoul Teulings
Monade/Nomade (1992–1993)
Van der Vennestraat
Two words composed of the same letters in neon—standing respectively for knowledge and error—symbolically spanned many aspects of society. Installed on two housing blocks not visible at the same time, they appeared like commercial light signs in the city.
Unrealized proposals by Toine Horvers, Joep van Lieshout / Klaar van der Lippe, Hermann Pitz, Egied Simons, and Harry Vandevliet.