The hanging gardens of Babylon
15 August till 26 September 2010
HEEMSKERK — In the Natura 2000 dune landscape near the Kruisberg, I temporarily made the underlying conditions of this nature reserve visible during the summer of 2010. By inviting materials from outside the area into the reserve, a lively dialogue emerged about the meaning and construction of this landscape. Together with the organizers, I discussed why a car was not allowed to be exhibited in the area, while a sailing yacht was. With visitors confronted by this unusual collection of objects, I discussed the rules and conditions that define this nature reserve. This “material intervention” formed part of the exhibition Schone Schijn (“Appearances Can Be Deceiving”).
PWN Water Supply Company North Holland is responsible for managing this nature reserve. At a certain point, the organization felt that the artistic process was affecting its green public image. It then became essential that the curator involved continued to support the research. Otherwise, the artwork would have been removed from reality at an early stage. This art project demonstrated that a particular reality—such as this nature reserve—is made up of agreements that we collectively establish. It is an orchestrated reality.
The experiences I gained here led to the founding of The Organisation in 2011. Through this initiative, I seek to free up knowledge and resources in order to temporarily imagine this orchestrated reality differently. We are trained as experts and use our knowledge in exchange for payment, answering questions generated by the free-market economy. What new possibilities might emerge if we were able to share this potential in different ways?
THE HANGING GARDENS OF BABYLON — The title of this temporary artwork was inspired by a painting by Maerten van Heemskerck, who was born in this region. He created a painting depicting the ancient wonder of the world, The Hanging Gardens of Babylon. These gardens were commissioned by Nebuchadnezzar in what is now known as Baghdad, because his wife, Amytis of Media, was unhappy in the urban environment and longed for the greenery of nature.
This story inspired me to initiate a dialogue with everyone involved in the management and use of this nature reserve. During these conversations, I proposed inviting materials from outside the reserve into its boundaries. This process of negotiation ultimately determined how the temporary artwork appeared within the landscape. Examples included cars from the local car boulevard, shipping containers from the industrial area, and bulb crates from the flower-bulb industry.
This artistic process of shaping and negotiation led to interesting—and at times heated—discussions about the conditions and regulations governing the nature reserve. It encouraged the public to reflect on the assumptions and agreements that define this landscape. In doing so, the project played a role in the democratic process. Art can make an important contribution to generating new perspectives and insights.
The temporary artwork was realized in collaboration with Jaap Velserboer and Ronald Tebra, the Stichting Beeldende Kunst Manifestatie Heemskerk, the North Holland Water Supply Company, PWN, car dealers Klok & Thissen and Poelenburg, Multimade Heemskerk, MIK Furniture & Interior Koevoets, and, of course, all the volunteers who made The Hanging Gardens of Babylon possible.
During the realization of the project, two videos were produced: 'Functor' and 'The ode'.
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Best regards, Edwin Stolk.
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