01 oktober 2018

Curator: ruangrupa (Indonesia) - transACTION

Sonsbeek 2016 ‘transACTION’, by collective ruangrupa (Jakarta, Indonesia) was characterized by engagement with the city and interaction with residents, initiatives, and visitors. This started a year earlier with the opening of the 'ruru house' in an empty shop in the centre of Arnhem where many different activities took place such as lectures and cooking workshops. In addition, visitors were invited with 'open calls' to actually use the works in the ...


01 juni 2008

Curator: Anna Tilroe  (The Netherlands) - Grandeur

In 2008, the art critic and curator Anna Tilroe was in charge as the artistic director of the tenth edition of Sonsbeek. The premise this time was not “a focus on the location through the eyes of the art”, the motto of Sonsbeek 9, but a focus on the position of art in modern Western societies. According to Tilroe, a depression had been taking place in the art ...


01 juni 2001

Curator: Jan Hoet (Belgium) - Locus Focus

Like his predecessors, artistic director of Sonsbeek 9, the Belgian curator Jan Hoet, has studied previous Sonsbeek editions. In his introduction in the catalogue, Hoet stressed the importance of continuity and tradition. He referred in particular to Wim Beeren (who had died in 2000), who 30 years beforehand had been the protagonist of Sonsbeek ’71. Whereas Wim Beeren and Valery Smith had opted to spread out the artworks, ...


01 juni 1993

Curator: Valery Smith (USA)

During the preparations of each new Sonsbeek exhibition, the question arises how art can or should be placed in the park. Like her predecessor Saskia Bos, the American curator Valery Smith developed her own strategy for Sonsbeek ‘93. Smith's ideas can be summed up with the words identity, transparency, and process. First of all, she divided Arnhem into three rings, three zones, each with its own character: Sonsbeek Park as a ...


01 juni 1986

Curator: Saskia Bos (The Netherlands)

Fifteen years after ‘Sonsbeek beyond the boundaries’, Sonsbeek ’86 lead by artistic director Saskia Bos was considerably smaller. Bos placed most of the artworks in Park Sonsbeek; about half of them were specifically made for the exhibition. Another part of the exhibition was located in Museum Arnhem. Bos reflected on current developments in art on the basis of concepts such as 'skin' and 'sleeve'. The project resembled an art-historical essay ...


01 juni 1971

Curator: Wim Beeren (the Netherlands) ‘Sonsbeek Buiten de Perken’ 

‘Sonsbeek 1971: Sonsbeek beyond the pale’ (Sonsbeek Buiten de Perken) was a radical break with the tradition of its predecessors. It attracted international attention: never before were the latest developments of Conceptual Art, Minimal Art, Land Art and Performance Art brought together on this scale. For the first time the exhibition worked with a theme, spatial relations, and a curator, Wim Beeren.

Artists were invited ...


01 juni 1966

In many regards this fifth Sonsbeek was a move away from the previous triennial editions. Firstly, a ‘working committee’ became responsible for selecting the works of art, which was equally comprised by people from various art institutes on the one hand and by artists and sculptors on the other. Secondly, in the run-up to the exhibition, many new challenges arose. For instance, in the selection of artworks, the committee had to take into account the competition from ...


01 juni 1958

With artworks from ten different European countries, and 337 artworks in total, Sonsbeek '58 again presented a mainly European overview of sculptural art. There was still an emphasis on French sculptural traditions, which was still considered as the starting point of innovation. The fourth edition of Sonsbeek showed both abstract and figurative works and was able to present a more in dept overview of the state of sculptural art in Europe. For example, thanks to ...


01 juni 1955

In 1955, the green lawns surrounding the White Villa in Sonsbeek park were once again engulfed with bronze and stone sculptures made by French Neo-classicists and their Dutch, Belgian and Danish followers. In his introduction, the Sonsbeek chairman Jan de Goeijen emphasized the nature in the park. According to Goeijen, it provided a moment of “tranquillity and intense enjoyment”, thanks to its enrichment with sculptures. Many well-known sculptors, including Rodin, Maillol, and Moore, were represented ...


01 juni 1952

In terms of its organization and ambitions, Sonsbeek '52 can largely be regarded as a repetition of the first, well-attended Sonsbeek exhibition. Again, a jury, appointed by the Dutch Circle of Sculptors (consisting of art experts and artists), chose the artists and artworks. Once more, there was a small pavilion made from reeds, designated for smaller sculptures. However, unlike the first Sonsbeek, where over three-quarters of the work was made by Dutch artists, Sonsbeek '52 ...


01 juni 1950

During Sonsbeek '49 the horrors of the Second World War were still undeniably visible, the memories, still very much alive in people’s minds and the physical traces of the war still present in Arnhem’s urban landscape, which had been badly damaged by the bombings. The first exhibition showed European sculptures in the open air of Sonsbeek Park, more than 200 works by artists from Northern and Western Europe from ca. 1900 onwards. Because of the ...