Nothing is Permament (official site, archive) is a sculpture walk in Esch-sur-Alzette, a 2022 European Capital of Culture. The sculptures are (using the official numbers):
- Tony Cragg’s “Points of View” — I went a bit over the top with this one, hardly surprising given I’m rather fond of reflection photography: see photosets (iii), (xx) & (xxi).
- Barthélémy Toguo’s “Heimatlos” (homeless) is a sculpture of dark material badly placed in an always shady location, so I only shot detail;
- Wim Delvoye’s “Pluto & Proserpina” (read the myth);
- Bertrand Ney’s “Phoenix”;
- I found neither Claudia Passeri’s “Sunset Finale” …;
- … nor Vera Kox’s “… into the peripheral, reflecting”, which annoys me given the title’s resonance with both my profession and my photography;
- Stefan Rinck’s “Rabbiator (Hellboy Gaultier)” (first in the photoset);
- Wennig & Daubach’s “Belle Haleine”;
- Martine Feipel & Jean Bechameil’s “Moon in the Tree”;
- Wang Du’s “(Les Modes) The New York Times, 7 novembre 2006”, “(Les Modes) Komsomolskaya Pravda, 20 octobre 2006, and “(Les Modes) Asharq Al–As–wat, 27 septembre 2006”;
- Valentin Carron’s “Adult and Dog”;
- Guillaume Bijl’s “Le Magicien”;
- Tina Gillen’s “Playground” (second in the photoset);
- Hisae Ikenaga’s “untitled”;
- Eric Schumacher’s “Relief Structures”;
- Edwin Wurm’s “Truck” (which made me laugh out);
- Stephan Balkenhol’s “Engelmann”;
- Jeppe Hein’s “Modified Social Bench #14”;
- Michel Majerus’s “Newcomer” was hidden behind locked doors;
- Katinka Bock’s “Zzeiger” is in a roadworks’ depot, which was fortunately still when I visited;
- Bernar Venet’s “13 Acute Unequal Angles”;
- Roland Quetsch’s “HC1 (Der T(raum) des transnational sozialen Raums)”;
- Christoph Meier’ “Eeesch!” was also hidden behind locked doors.
Esch is anyway full of statues and sculptures, so I also shot (xxii), (xxiii), & (xxv).