Berlin Art at Site Daniel Libeskind	Garten des Exils Gesamt
Daniel Libeskind
Garten des Exils Gesamt
Lindenstraße 9
In the Garden of Exils Daniel Libeskind the olive-trees refer to tradition, trust, hope and future. The olives are standing in a cube and thus refers to the essential role of the substrate, the base, the tradition. The slope refers to a continuous and positive development, in my opinion. Even when Libeskind makes use of comparable aesthetic elements (cubes, a non-flat surface), he added thereto essential elements (olive trees) and so the meaning of the work is entirely different than the artwork by Eisenmann.

In the essay by ArtAtSite this artwork is compared with the following artworks. Check this link for the essay.

The impact of natural elements (stone, water) as Water Feature Stephen Cox (London, picture 1, more information) is strong and by pointing to words like a comprehensive universal system, continuity, human nature, responsibility, tradition and hope.

The use of massiveness has a major impact in 1600 Pandas by Paolo Grangeon (Hong Kong, picture 2, more information) by the friendly looking pandas who activate to immediate global action to protect nature.

Massiveness can also have an absolute nature. The question in The Wolves Are Coming by Liu Ruowang (Beijing, picture 3, more information) whether the lone person can keep standing up against the wolves. The artis can refer to different matters. It is at least something violent which man fears. This can be anything; natural disasters, other people, the government, big compagnies, etc. This work brings in a general topic with a strong emotion but gives no direction for a solution.
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Die Ähnlichkeit des Gartens des Exils mit dem Stelenfeld des Denkmals für die ermordeten Juden Europas sorgte 1999 für Plagiatsvorwürfe von Libeskind gegen dessen Architekten Peter Eisenman; der Streit konnte allerdings beigelegt werden."