Nothing is Permament is a sculpture walk in Esch-sur-Alzette, a 2022 European City of Culture. The sculptures are (using the official numbers):

from nothing is permament

  1. 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).
  2. Barthélémy Toguo’s “Heimatlos” (homeless) is a sculpture of dark material placed in an always shady location, so I shot detail;
  3. Wim Delvoye’s “Pluto & Proserpina” (read the myth);
  4. Bertrand Ney’s “Phoenix”;
  5. I couldn’t find Claudia Passeri’s “Sunset Finale”;
  6. Nor could I find Vera Kox’s “… into the peripheral, reflecting”, which annoys me given the title’s resonance with both my profession and my photography;
  7. Stefan Rinck’s “Rabbiator (Hellboy Gaultier)” (first in the photoset);
  8. Wennig & Daubach’s “Belle Haleine”;
  9. Martine Feipel & Jean Bechameil’s “Moon in the Tree”;
  10. 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”;
  11. Valentin Carron’s “Adult and Dog”;
  12. Guillaume Bijl’s “Le Magicien”;
  13. Tina Gillen’s “Playground” (second in the photoset);
  14. Hisae Ikenaga’s “untitled”;
  15. Eric Schumacher’s “Relief Structures”;
  16. Edwin Wurn’s “Truck” (which made me laugh out loud when I first saw it);
  17. Stephan Balkenhol’s “Engelmann”;
  18. Jeppe Hein’s “Modified Social Bench #14”;
  19. Michel Majerus’ “Newcomer” was behind locked doors;
  20. Katinka Bock’s “Zzeiger” is in a roadworks’ depot, which was fortunately still when I was there;
  21. Bernar Venet’s “13 Acute Unequal Angles”;
  22. Roland Quetsch’s “HC1 (Der T(raum) des transnational sozialen Raums)”;
  23. Christoph Meier’ “Eeesch!” was also behind locked doors;

Esch is anyway full of statues and sculptures, so I shot (xxii), (xxiii), & (xxv) in passing.