|Braunschweig Parcours 2004 presents sculptures, installations and artistc
interventions by international artists who have dedicated their specific projects to the historical,
cultural and urban situation of the city of Braunschweig.
The conceptual approach of the projects is based on being largely generated out of the specifics of
their sites. They become an integral part of the work and both the specifics of their sites
and the works themselves, their contents and their form, their meaning and their spatial
context fuse into the unique coherence of each piece. Thus the quality of the art works
installed and the approach of the entire project grow out of the artistic initiative and
its correlation with its site.
It is not only the relevance of contemporary art for public spaces that is discussed by these
projects but it is uniting artistic strategies steming from different contextual approaches
what makes this project an extraordinary art event. Correspondingly the different contributions
are narrative, ironical or critical, architecturally, anthropologically or topographically
oriented or they are to be used practically by the visitors.
Different sites of urban living, squares, parks, prominent samples of local architecture or
hidden spots become stage for the artworks and thus are revived. A peculiarity of Braunschweig
urbanism, the river Oker that surrounds the city centre following the course of the medieval
fortifications, forms the main focus of the artistic interventions and initiatives. Resulting
from the demolition of the ramparts the river Oker is both separating the historic centre
from and binding it to the modern extensions of the city that took place during the
nineteenth century, converting ancient gardens and rural areas into residential districts
and industrial sites. The fate of the city during world war II has particularly shaped
the public awareness of its architectural heritage as well as of the extreme changes that
have been done due to local city-planning. Braunschweig Parcours 2004 is specifically
referring to this situation by directing international attention to a city representative
for both German experience as well as for European history.
All works situated at specific sites along the river Oker and in the centre are to be
visited by walking, by bike or by boat. It is not only that a local and regional public
gets an insight into current artistic strategies but that a specific attention is created
for the special meaning of a vivid urban cultural life what makes Braunschweig Parcours
2004 not only a substantial contribution to the international discourse but also a platform
for fundamental consideration about the environment being widely determined by aesthetic means.