Edith Dekyndt is a Belgian artist who deals with ephemeral and transitory phenomena. In some of her works she explores the workings of light, wind and tidal movements. For her, sculpture means succinct and quiet intervention, not snappy or possession-taking edification. This is why she works with what already exists as part of the park-environment. She applies copper foil to the high metal grids of the entrance gates. At the beginning the gates shine like majestic trellises, but as time passes they will eventually turn a blueish verdigris, caused by patina oxidation. Dekyndt shows us the dichotomies of value and decay, time and disappearance, substance and appearance.

Edith Dekyndt is a Belgian artist who deals with ephemeral and transitory phenomena. In some of her works she explores the workings of light, wind and tidal movements. For her, sculpture means succinct and quiet intervention, not snappy or possession-taking edification. This is why she works with what already exists as part of the park-environment. She applies copper foil to the high metal grids of the entrance gates. At the beginning the gates shine like majestic trellises, but as time passes they will eventually turn a blueish verdigris, caused by patina oxidation. Dekyndt shows us the dichotomies of value and decay, time and disappearance, substance and appearance.

Edith Dekyndt is a Belgian artist who deals with ephemeral and transitory phenomena. In some of her works she explores the workings of light, wind and tidal movements. For her, sculpture means succinct and quiet intervention, not snappy or possession-taking edification. This is why she works with what already exists as part of the park-environment. She applies copper foil to the high metal grids of the entrance gates. At the beginning the gates shine like majestic trellises, but as time passes they will eventually turn a blueish verdigris, caused by patina oxidation. Dekyndt shows us the dichotomies of value and decay, time and disappearance, substance and appearance.

Edith Dekyndt is a Belgian artist who deals with ephemeral and transitory phenomena. In some of her works she explores the workings of light, wind and tidal movements. For her, sculpture means succinct and quiet intervention, not snappy or possession-taking edification. This is why she works with what already exists as part of the park-environment. She applies copper foil to the high metal grids of the entrance gates. At the beginning the gates shine like majestic trellises, but as time passes they will eventually turn a blueish verdigris, caused by patina oxidation. Dekyndt shows us the dichotomies of value and decay, time and disappearance, substance and appearance.

Edith Dekyndt is a Belgian artist who deals with ephemeral and transitory phenomena. In some of her works she explores the workings of light, wind and tidal movements. For her, sculpture means succinct and quiet intervention, not snappy or possession-taking edification. This is why she works with what already exists as part of the park-environment. She applies copper foil to the high metal grids of the entrance gates. At the beginning the gates shine like majestic trellises, but as time passes they will eventually turn a blueish verdigris, caused by patina oxidation. Dekyndt shows us the dichotomies of value and decay, time and disappearance, substance and appearance.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.

Lois Weinberger has an aisle drawn through the park. It crosses the stone-paved paths twice, cut through the lawn surface by a digger. The aisle ends in a heap of debris, the spoil of lawn, rubble and earth contrasting with the perfection of the park landscape. Weinberger’s aisle is cut and delicate groove, and at the same time a road for invasive plants. In his work, which reached a greater audience through a planting at Kassel main station during documenta 10, Weinberger deals with so-called ruderal species. Mostly referred to as weeds, they colonise fallow ground, cracks in the tarmac, heaps of rubble or undeveloped peripheries. In “well-kept” gardens they are normally weeded out. But Weinberger creates a hierarchical shift with a political purpose. He sees the ruderal plants as migrants, forced to survive under poor conditions. They suffer the same fate as people who lost their homes.