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About the Artwork

We are pleased to announce an open call for Sculpture in the City 2018: Submit your artwork by 16 November

Download the SITC2017 map (544kb) and discover 16 artworks in 18 locations accross the Square Mile.

You can also get the SMARTIFY app for Apple or Android and scan any of this year's sculptures to receive immediate access to extra commentary, including a map of the SITC trail.

 

 

Showing 1-10 of 16 results Show all
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  1. Ajar,2011 by Gavin Turk at St-Botolph-without-Bishopsgate 1. 'Ajar' | Gavin Turk | 2011
    As a reference to the painting 'La Victoire' by Rene Magritte, 'Ajar' is a surreal gateway: a spiritual journey through the imagination, an interactive sculpture that children will enjoy as much as adults. It is a key to the imagination: unlocking ideas of the infinite as mused on by Aldous Huxley quoting Blake, "If the doors of perception were cleansed, everything would appear to man as it is, infinite." It simultaneously references both Duchamp's work '11 Rue Larrey', a corner door that is always open and shut and a Bugs Bunny sketch, where a door in a frame freely stands on a cliff in a landscape. 'Ajar' is placed without walls and is permanently half open encouraging the choice to go around, or go through.
  2. Mark Wallinger's Black Horse outside 99 Bishopsgate 2. 'The Black Horse' | Mark Wallinger | 2015
    The sculpture was made with the help of advanced technology, scanning a racehorse, part owned by the artist, named Rivera Red. The horse is a subject with deep emotional and historical meaning. As the artist notes, ‘people still have an atavistic love of horses.’ Though bent to our will the thoroughbred represents unfathomable instincts. The thoroughbred could perhaps stand as an exemplar of this country’s identity and our relationship with the natural world. It was first developed at the beginning of the 18th century in England, when native mares were crossbred with imported Arabian stallions. Every racehorse in the world is descended from these animals.
  3. Work No. 2814 by Martin Creed consists of colourful plastic bags of various sizes displayed on the tree outside 99 Bishopsga 3. 'Work No. 2814' | Martin Creed | 2017
    Merging art and life, Martin Creed uses ordinary materials and everyday situations to create multimedia works that have confounded and delighted viewers and critics for nearly 30 years. In Work No. 2814 a tree ‘blossoms’ with plastic bags caught amongst the branches. This accentuates what some might see as a common ‘everyday’ occurrence, until it becomes something more absurd, yet humorous and strangely beautiful at the same time. Creed approaches art making with humour, anxiety, and experimentation, and with the sensibility of a musician and composer, underpinning everything he does with his open ambiguity about what art is.
  4. blue air-dropped aid parcel with its white parashute suspended from a tree outside Hiscox Building in Undershaft 4. 'Never has there been such urgency, or The eloquent and the Gaga' | Ryan Gander | 2014
    An air-dropped aid parcel suspended from a tree by it's parachute. The parcel contains items relating to the subject of the 'disparity between research based practices and production based practices; the polarity between the conceptual significance of the object as carrier; and the gulf between learning to speak with great articulation and eloquence and the incoherency of stuttering and stammering a chain of unrelated words at great volume'. The contents of the aid parcel are listed on an etched, metal plaque placed nearby.
  5. image of Paul McCarthy's artwork positioned in Undershaft 5. 'Apple Tree Boy Apple Tree Girl' | Paul McCarthy | 2010
    Paul McCarthy’s 'Apple Tree Boy Apple Tree Girl’ (2010) belongs to the artist's Hummel series, executed on a monumental scale. The kitsch mid-century German figurines depict rosy-cheeked children in idyllic repose. In McCarthy’s world, this Aryan naïveté becomes a target for parody, and ultimately, defilement and disfigurement. The figures deformed innocence suggests the conditioning of children, from Hitler youths to contemporary, TV-addled teen consumers. The miniature Adam and Eve find themselves reborn as 18 foot Überkinder; they remain only a suggestion of their former selves, sweetly deformed to the point of abstraction. The implicit naïveté of the Hummel motif is materially deconstructed, portraying a sophisticated fall from grace for these darling figures, in simultaneously literal and metaphorical terms.
  6. image of Black Shed Expanded by Nathaniel Rackowe in Bury Court 6. Black Shed Expanded' | Nathaniel Rackowe | 2014/2016
    Nathaniel Rackowe's large-scale urban shed structure is installed, seemingly mid-explosion, upside-down, its contours wrenched apart, exposing its illuminated interior. The wooden shed, painted with black bitumen, emanates an eerie acid-yellow glow from the white strip-lighting inside it reflecting off the painted walls of its interior. The structure appears to be exploding, split apart by the force of the light within. Rackowe says, 'I thought it interesting to take the humble shed and elevate it so it can rise up and challenge architecture, deconstructing it to the point where you are forced to re-read it.' Referring to garden sheds throughout the suburbs of London, the work has an equally universal impact in its depiction of such a familiar, domestic structure.
  7. image of 4 Colours at 3 meters high situated work by Daniel Buren 7. '4 Colours at 3 Metres High Situated Work' | Daniel Buren | 2011
    4 Colours at 3 metres high situated work is a variation on the theme of the pergola or ‘attrape soleil’, which Daniel Buren has explored in several public works, which play with outdoor light, the movement of the sun, architecture and coloured shadows. All of Buren’s interventions are created ‘in situ’, appropriating and colouring the spaces in which they are presented. They are critical tools addressing questions of how we look and perceive, and the way space can be used, appropriated, and revealed in its social and physical nature. In his work life finds its way into art, while autonomous art is able to reconnect with life.
  8. image of Fernando Casasempere's 'Reminiscence' - white porcelain sculpture 8. 'Reminiscence' | Fernando Casasempere | 2017
    Fernando Casasempere (born 1958) is a sculptor working with ceramics, the traditional material of pottery, and his work explores ideas relating to landscape and the environment. Conceptually his use of earth/clay and his concern with nature and ecological issues connects him to artists associated with the Land or Earth Art movement, but Casasempere works out of a very different cultural tradition, being profoundly inspired by the Pre-Columbian art and architecture of Latin America. Reminiscence (2017) evokes not only geology but the remains of a once-grand ruined structure or even a construction site. Placed in the heart of the City of London it is a powerful statement about the relationship between nature and culture.
  9. image of neon arrangement by Kevin Killen on one of the culumns of The Leadenhall BUilding 9. 'Tipping Point' | Kevin Killen | 2016
    In this series of work, my role has been to observe and photo-document, studying the outlines created by city lights. Walking the city photographing and recording, the non-stop nature of the city is documented through endless small events and incidents. Long-exposure photographs capture objects and people as black marks obstructing the lights of the city. I later "translate" these images into three-dimensional neon installations, with the city sounds correlated to match the sequence of the neon as it turns on and off.
  10. Mhairi Vari's cocoon like artworks reflecting the day and artifitial light have been attached to Lloyd's Building. 10. 12. & 13. 'Support for a Cloud' | Mhairi Vari | 2017
    Support for a Cloud plays across ideas of macro and micro - referencing concepts rooted in the natural sciences from cosmological formation to that of the insect cocoon. The artwork which is hung in three different locations is intended to inhabit the urban environment with its alien, nest-like structures that play on synthetic/organic forms. The visibly complex surface of these cocoon-like structures is generated by loops of agglomerated tape. The surface is alluring, even seductive and gently catches both daylight and artificial light, which animate the work further. These works are like small pieces of architecture inhabiting the manmade environment like nests or protective cocoons.
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