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.