Art@Site Rob Birza De Vier Jaargetijden

Rob Birza


De Vier Jaargetijden

Schiphol Airport
Different emotions
At first nothing is noticed but suddenly it becomes apparent: the artwork Four Seasons by Rob Birza changes continuously. Because of the changing of the colors, the artwork express different emotions. The artwork is formed by four faces. Because of the simultaneously changing of color, this makes a different combination of spheres. This stimulates the emotional life in this seeming endless and impersonal walkway in the airport.
By Theo,

Compared with other artworks
In the evening offices are empty along a river. On top of one of these buildings Dainton Neon Tower by Philip Roger Vaughan (London, picture 1, more information) is standing. This artwork is visible from afar. The colors bring merriment and take the uncanny feeling away, not only for the area immediately around the building but in a larger area.

At a crossroads, next to an entrance to the subway and a shopping area, this work Mural by April Greiman (Los Angeles, picture 2, more information) is does not imposes itself. The work is both in day- and night-time (with the help of a perfect lighting) atmospheric and brings me a spiritual longing for harmony and cohesion. After examination it appears to depict a finger and bowl by the use of a rich palette of colors.

On a dark spot in the city, a small light on a roof is suddenly seen. It turns out to be Uomo Della Luce (Man with Light) by L. Bernardi Roig (Milan, picture 3, more information). The man is bared chested and has difficulty wearing his charge. This is a powerful hopeful artwork. Happiness can be brought apparently by a stranger on an unexpected moment.

Poured Linesin by Ian Davenport (London, picture 4, more information) gives with it's fresh colours a nice feeling on an awkward place.
By Theo,
Bijzonder aan Schiphol is dat binnen één complex kunstwerken te zien zijn uit verschillende perioden in de ontwikkeling van kunst in de openbare ruimte.
Er zijn vroege kunstwerken te vinden, die nog als uitgangspunt hanteren dat de beeldende kunst op ingetogen wijze de architecturale omgeving moest verlevendigen, zoals 'Knoop' van Shinkichi Tajiri en 'Wolk en Waterval' van Cornelius Rogge. Bij de kunstwerken die in de jaren tachtig zijn gerealiseerd, bijvoorbeeld de beelden van Sigurdur Gudmundsson en Theo Niemeyer, wordt de band met de architectuur losser. Van de kunstwerken wordt een nieuwe ‘activiteit’ verlangd: zij moeten het visuele geweld van de locatie aankunnen en zijn een tegenwicht tegen alle commerciële activiteiten en de hectiek van het reisproces. In de jaren negentig zet deze ontwikkeling zich voort; de beeldende kunst is niet versmeltend of decoratief meer maar gaat de concurrentie aan met reclamezuilen en informatieborden. Een mooi voorbeeld hiervan is 'Coda' van Dennis Adams. Adams maakte een kunstwerk dat bestand is tegen het visuele geweld van de terminal: het eenvoudige roodwit geblokte patroon – afgekeken van andere objecten op vlieghavens met een signaalfunctie – lokt steevast een groep reizigers naar het werk toe.

Particular to Schiphol is that within one complex to see works of art from different periods in the development of art in public space.
there are early to find works of art, which still use that as a starting point the Visual Arts had to liven up the architectural environment on understated way, as ' Knot ' of Shinkichi Tajiri and ' cloud and waterfall ' by Cornelius Rogge. At the works of art that are realized in the eighties, for example the images by Sigurdur Gudmundsson and Theo Niemeyer, the band with the architecture looser. Of the works of art: a new ' activity ' is required they must cope with the Visual violence of the location and are a counterpoint to all commercial activities and the hectic pace of travel process. Put this in the 1990s development continued; the Visual Arts is not versmeltend or decorative goes the competition to more but with advertising columns and information boards. A good example is ' Coda ' by Dennis Adams. Adams made a work of art that is resistant to Visual violence of the terminal: the simple red-white checkered pattern – copied from other objects on airports with a signal function – lures invariably a group travelers to the work.