Photography by Johannes Schwartz

Het Observatorium van Robert Morris bij Lelystad. Foto: Johannes Schwartz
Het Observatorium van Robert Morris bij Lelystad. Foto: Johannes Schwartz

Photographer Johannes Schwartz is creating a dynamic photo archive of the land art projects in Flevoland, to which he can add new series in the future. In his work, we tend to see tracks of things that are clearly absent. One well-known photograph of Schwartz features the wall that hosts De Nachtwacht by Rembrandt in the Rijksmuseum: a wall with an enormous spot without paint on the location where the artwork should be.

Schwartz' photos of the land art show tracks of people, animals, and activities: scratches in Sea Level's walls, bird feces on the pier of PIER+HORIZON, reflections of the sky in the weather-beaten metal plates of Polderland Garden of Love and Fire. Signs of life near and at the land art projects, even though the artworks are mostly located at remote locations. These signs show how, in a sense, time has passed over the works, that they have experienced things themselves as well - even though these experiences will remain unseen.

Gift Vrienden van De Paviljoens

Tentoonstelling Once more, with feeling. Foto: Geert van der Wijk
Tentoonstelling Once more, with feeling. Foto: Geert van der Wijk

The foundation Vrienden van De Paviljoens provided Land Art Flevoland with an amount of money as a gift. This money was still in possession of the Vrienden after Museum De Paviljoens closed its doors in 2013 - the money still awaited a useful destination. The Vrienden believe that Land Art Flevoland's activities are important because they continue what Museum De Paviljoens had started: create publicity for the Land Art in Flevoland. We are very grateful for this gift, which we will use to publish a book about land art. Vrienden van De Paviljoens: thank you very much!

Re-opening Polderland Garden of Love and Fire

Genodigden bekijken het opgeknapte Polderland Garden of Love and Fire. Foto: Michiel Rijsberman
Genodigden bekijken het opgeknapte Polderland Garden of Love and Fire. Foto: Michiel Rijsberman

Wednesday 4 October 2018, the restored work Polderland Garden of Love and Fire by architect Daniel Libeskind was revealed. Due to vandalism, the work had been damaged. The municipality of Almere has rebuilt the artwork in collaboration with Kunstwacht BV. We are happy that the artwork is restored and back in its original form, so everyone can enjoy it!

See this page for more information and a route description.


Tijdelijk kunstwerk van Tue Greenfort in Zeeland, op de landbouwgrond (en in opdracht) van de Koninklijke Maatschap Wilhelminapolder (2009)
Tijdelijk kunstwerk van Tue Greenfort in Zeeland, op de landbouwgrond (en in opdracht) van de Koninklijke Maatschap Wilhelminapolder (2009)

Land Art Flevoland organized a FARMERS/NEIGHBORS MEETING on Thursday 15 December 2016. With this meeting, we wanted to strengthen the relation between the seven land art projects and the farmers and agricultural organizations that are located in the area.

Land art and farmers share an interesting history: in 1962, farmer Waalkens organized the exhibition Koeien eruit, kunst erin (cows out, art in) in Finsterwolde in Groningen (the Netherlands). This led to a longstanding collaboration between young artists from the large city and the farm of Waalkens, giving the artists the chance to exhibit their works at his farm. In other places in the Netherlands and the United States (for example) as well, farmers and artists work together. Sometimes only to borrow material like excavators, in other instances this collaboration is more related to the subject of the artwork.

In Flevoland, we see many chances to investigate and develop the connection between land art and agriculture - especially since we're neighbors. Farmers focus on innovation and development towards business models involving care and tourism. Artists work a lot with themes as land usage, food provision, and sustainability.

During the FARMERS/NEIGHBORS MEETING, we investigate if we can think of subjects or chances in which we can work together. These ideas can be very practical, like borrowing things from each other, promoting each other or hire one another. Perhaps we'll think of interesting subjects and issues that we can think about together and in which we have a shared interest.

If you are interested in this subject and want to collaborate with Land Art Flevoland, please mail us via

Examples of collaborations between artists and farmers
The project visualized in the picture above is part of a large-scale project of commissions and exhibitions as part of 200 years Koninklijke Maatschap Wilheminapolder (in collaboration with CBK Zeeland and SKOR).
More information about HUNGER
See the artwork Polder Peil, which relates to the land art in Flevoland

More about farmer Waalkens from Finsterwolde
One of the last exhibitions at Galerie Waalkens
Article about the political and activist side of early exhibitions in Finsterwolde

Many of the earlier American land art projects are situated on land of farmers, like this work by Robert Smithson (included in the database of Center for Land Use Interpretation). Another well-known work by Smithson is located near Emmen: Broken Circle / Spiral Hill. It has an interesting connection with the sandpit company De Boer on which terrain it is situated.

Artist Wapke Feenstra collaborates with two German artists on projects on agricultural land. The website My Villages contains many examples of art projects realized in rural areas over the world. The artists use these examples in their exhibitions and presentations.

Kunsthal KAdE: activities Expeditie Land Art (2015)

Expeditie land art bij Kunsthal KAdE in Amersfoort. Foto: courtesy Kunsthal KAdE, fotograaf Mike Bink
Expeditie land art bij Kunsthal KAdE in Amersfoort. Foto: courtesy Kunsthal KAdE, fotograaf Mike Bink

From 19 September 2015, the exhibition Expeditie Land Art was on show at Kunsthal KAdE in Amersfoort, produced by guest curator Sandra Smallenburg as a result of her recent publication. Together with Kunsthal KAdE, Land Art Flevoland organizes a couple of extra activities: a special tour and four discussions in KAdECafé.

Expeditie Land Art Tour: Sunday 4 October 2015
Artist Marinus Boezem is broadly featured in the exhibition Expeditie Land Art, and therefore we will visit The Green Cathedral in Almere during this tour on October 4th. The day starts at Kunsthal KAdE with a tour through the exhibition, and afterwards we'll visit Observatory by Robert Morris in Lelystad and Aardzee by Piet Slegers in Zeewolde as well. En route, guide Sanne Luteijn will explain the origins of the land art projects, which are closely related in Flevoland with the formation of the polder itself.

Four evenings of lectures and discussions
Thursday 24 September 2015
Guest curator Sandra Smallenburg will talk about her publication Expeditie Land Art, which formed the occasion for this exhibition. She will take us along on her extraordinary journey through the United States, Great Britain, and the Netherlands. From deserts to forests and through the polder, Sandra gives us a unique insight into her process.

Sandra Smallenburg took art history at Leiden University. Since 1997, she works as an art critic for NRC Handelsblad, first as freelancer and since 2003 as editor visual arts. Her work has been published in the American magazines ArtNews and Artforum. Expeditie Land Art will be published on 3 September 2015.

Thursday 29 October 2015
Two special guests this evening: Marinus Boezem and Zeger Reyers. Since the sixties, Marinus Boezem has been active as an artist. He created one of the Netherlands' best-known land art projects: The Green Cathedral. Boezem is one of the pioneers of Land Art in the Netherlands and his work is featured broadly in the exhibition. Zeger Reyers belongs to a younger generation of artists. He is known for his installations in which he confronts the man-made artificial world with nature. He created a new work specifically for this exhibition: Free Floating Tree. On 29 October, Sandra Smallenburg will talk with Marinus Boezem and Zeger Reyers about their work, Land Art, and the exhibition.

Thursday 26 November 2015
At four of the six land art projects, interventions have taken place since 2013 as part of the program Land Art Live. Artists Melanie Bonajo, Rory Pilgrim, Zhana Ivanova, and Feiko Beckers will discuss their interventions with curator Martine van Kampen. What were their experiences and how did the older artists inspire them? Land Art Live focuses on the 'social function' that land art works have acquired over time, as a meeting point for regular or special occasions. This evening, we'll look back at the projects thus far, and will discuss what the future still holds for the program. (English-spoken)

Thursday 17 December 2015
Again two speakers tonight on stage: Aurora Tan of The Center for Land Use Interpretation (CLUI) in Los Angeles and Dr. Anja Novak, art historian at the University of Amsterdam. During their lectures, they will zoom in on land art in the United States and the land art projects by American artists in the Netherlands. What effect does land art have on the way we experience our surroundings, and are there similarities between the countries regarding the reflection on landscape through art? (English-spoken).

LOOKING THROUGH THE LAND ART LENS - One of the most powerful things about Land Art is the way it can inspire a new way of seeing. As one approaches sanctioned Land Art, everything else along the way – the surrounding markers and features – become more interesting and are imbued with a heightened significance and relevance. In this presentation, Aurora Tang of the Center for Land Use Interpretation uses this “Land Art lens” to look at a number of iconic works of American Land Art and the places in which they are set.

Pavel van Houten: video work for Judas (2015)

Videowerk van Pavel van Houten. Foto: Josja Kunkeler
Videowerk van Pavel van Houten. Foto: Josja Kunkeler

At the end of August 2015, theater company Suburbia put on the show Judas by Lot Vekemans in The Green Cathedral (Marinus Boezem, 1996). To strengthen this mixture between theater, visual arts, and religion, Suburbia and Land Art Live initiated several activities. Artist Pavel van Houten was invited to shine his light on the subject.

Pavel van Houten (1984) graduated on the subject of Judas and earlier had created an installation about him in the Museum for Religious Art in Uden. For this occasion, he created a video work that could be seen at several spots at the location. The beamers were being moved, thus forming a new relation with their surroundings every movement.

In his images, Van Houten questions both the power and uselessness of rituals, by following his own ritual without a clear goal. Opposite from Jesus, Judas was against waste - for example when Maria put expensive oil on Jesus' feet. As in the play, Van Houten confronts the pragmatic Judas with the enlightened Jesus. Thanks to: Prins Bernhard Cultuurfonds.

Side events Judas (2015)

Judas van Theatergroep Suburbia in de Groene Kathedraal. Foto: Claudia Kamergorodski
Judas van Theatergroep Suburbia in de Groene Kathedraal. Foto: Claudia Kamergorodski

In collaboration with theater company Suburbia and Staatsbosbeheer, Land Art Live organized side events for the theater show Judas in the Green Cathedral. Judas was on show every Wednesday through Saturday, from 26 August - 12 September 2015.

Pavel van Houten
A mobile video artwork was on show at various locations at the site of Judas. Pavel researched the power and uselessness of rituals in his images. They corresponded with the story of Maria Magdalena, who embalmed Jesus' feet with expensive oil. Something Judas could not appreciate.

Lecture Julia Mullié
Thursday August 27 and Wednesday September 9, art historian and Marinus Boezem-expert Julia Mullié talked about the Green Cathedral, one of the most well known artworks of this 'idea artist'. An unexpected relation appeared to exist between the current reflecting decor by Herbert Janse and early performances by Boezem.

Lecture The True Judas
Bert Aalbers is the Dutch expert on Judas. Every Friday, he lectured about the Judas gospel - long believed to be lost - that shines a new light on this character.

Flora and fauna of the Green Cathedral
Every Saturday, forester Tijmen van Heerden explained the flora and fauna in the Green Cathedral, and the "right and wrong" in nature.

Lecture Pavel van Houten
Pavel graduated on Judas, and in the past created an installation about him for the Museum for Religious Art in Uden. Thursday 10 September, Pavel talked about his video work for this presentation.

Hollandse Meesters (Dutch Masters)
In this documentary, Marinus Boezem talks about being an artist. It is a perfect introduction to the Green Cathedral. Thanks to AVRO Kunstuur.

Every Friday and Saturday, Zusjes van Dijk cooked a perfect dinner in relation to the ambience of the show: a Middle-Eastern mezze buffet.

Thanks to: Prins Bernhard Cultuurfonds

Presentation PIER+HORIZON (2015) on tour

Reizende presentatie Pier + Horizon. Foto: Elias Tieleman
Reizende presentatie Pier + Horizon. Foto: Elias Tieleman

On 6 May 2015, the design for the seventh land artwork PIER+HORIZON by Paul de Kort was presented at the city hall of Emmeloord. The small exhibition toured the rest of Flevoland afterwards. The presentation explains on which De Kort based his design for the land art project: the grid of the Noordoostpolder and the painting Pier + Ocean by Piet Mondrian. It also explains the relation of the work with the other land art projects in Flevoland.

The presentation toured Flevoland and visited KAF (Kunstlinie Almere Flevoland), the provincial hall, and De Verbeelding in Zeewolde. Composition presentation: Judith Flapper. Design: Petra Warrink, Studio Berry Slok.

More information about PIER+HORIZON

Architecture-Day (2014)

Rory PIlgrim vertelt over zijn project Affection is the Best Protection tijdens de Dag van de Architectuur 2014. Foto: Geert van der Wijk
Rory PIlgrim vertelt over zijn project Affection is the Best Protection tijdens de Dag van de Architectuur 2014. Foto: Geert van der Wijk

During the Architecture-Day on Saturday 21 June 2014, we organized a tour to Polderland Garden of Love and Fire by Daniel Libeskind: one of the so-called hidden gems of the woods of Pampushout in Almere. This was the final time Casla (together with Flevo-Landschap) organized the Architecture-Day.

On site, artist Rory Pilgrim explained his project Affection is the Best Protection that he developed for Libeskind's artwork in relation to Land Art Live. His project started in the fall.

The Architecture-Day started with a brunch and several presentations in De Havikshorst, one of the barns of the Flevo-Landschap. Martine van Kampen (curator Land Art Live) gave an introduction of the tour.

Excursion Piet Zwart Instituut (2014)

Winterse excursie Nederlandse Land Art met studenten van het Piet Zwart Instituut
Winterse excursie Nederlandse Land Art met studenten van het Piet Zwart Instituut

Students Fine Art of the Piet Zwart Instituut - the master's degree of the Willem de Kooning Art Academy in Rotterdam - visited the Dutch land art projects during their annual excursion. In two days, we've visited Broken Circle / Spiral Hill by Robert Smithson in Emmen, the location of the artwork by Paul de Kort in the Noordoostpolder, Nagele, and the other six land art projects in Flevoland. We stayed the night in Harderwijk. Students, most of whom are international students, had an extraordinary experience and got to know the Netherlands a little better. To see how these young artists enjoyed the land art was magnificent: hands on, and start climbing!

Blind Date at Aardzee (2013)

Blind Date van Suburbia in Aardzee (2013). Foto: Claudia Kamergorodski
Blind Date van Suburbia in Aardzee (2013). Foto: Claudia Kamergorodski

In Blind Date, we follow a married couple that dates each other via contact advertisements in the paper. At these "blind dates" they assume different identities. In their various roles, they talk, flirt, and fight with each other while it becomes clear what really happened in their lives. Blind Date is a play by theater company Suburbia. The show was located at the land art project Aardzee (1982) by Piet Slegers. In light of Land Art Live, a special tour was organized on Saturday September 7th and a guide gave an introduction about the artwork before the show.

Blind Date played between 24 August and 14 September 2013.

Land Art Live Symposium (2013)

Land Art Live Symposium (2013)
Friday 14 June 2013, 9.30 - 17.00 hrs, Schouwburg Almere, Kleine Zaal
The symposium Land Art Live focused on the social aspects of the six land art projects in Flevoland. What roles do artworks, located in the public space, play in the daily live of inhabitants of the polder? And how does this relate to their meaning as artworks? The symposium answered these and other questions related to the six existing artworks and the new to be realized land art project in the Noordoostpolder.

Aurora Tang, Program Manager of the Los Angeles-based Center for Land Use Interpretation (CLUI) was keynote speaker. Unfortunately, professor Erik A. de Jong, Artis Leerstoel Cultuur, Landschap en Natuur (University of Amsterdam/Stimuleringsfonds Creatieve Industrie) was unable to come. Other elements of the program today were workshops and the viewing of the film BEAKING GROUND: BROKEN CIRCLE/SPIRAL HILL (1971-2011) by Nancy Holt and Theo Tegelaers.

9.30 am - doors open
10 am - Welcome and introduction by Martine van Kampen, curator art in the public space & land art, Museum De Paviljoens
10.30 am - Viewing film BREAKING GROUND: BROKEN CIRCLE/SPIRAL HILL (1971-2011). A film about Robert Smithson's land art project Broken Circle/Spiral Hill (1971) in Emmen. Directors: Nancy Holt and Theo Tegelaers.
11 am - Coffee break
11.30 am - Keynote lecture Aurora Tan, Program Manager, The Center for Land Use Interpretation, Los Angeles, California, United States
1 pm - lunch
2 pm - Presentation of workshop program: Elias Tieleman (artist) and Judith Flapper (consultant seventh land art project in Flevoland); Kees Hund (landscape architect and as designer at the Rijksdienst voor de Ijsselmeerpolders (RIJP) involved with the commissions of the early land art works); Eric von Robertson (artist, will present the first intervention of the program Land Art Live in August 2013); Nils van Beek (curator TAAK and Ultraperipheric, a series of commissions for the program Land Art Contemporary in Drenthe)
3 pm - Workshops
4 pm - Results workshops and conclusion
4.30 pm - Drinks in Restaurant Waterfront

Workshop Elias Tieleman: The seventh land art project
This workshop is based on the case study of the realization of the seventh land art project, located in the Noordoostpolder. Elias Tieleman and Judith Flapper consult the Province of Flevoland in this matter, and have researched the feasibility of several locations. It would be interesting to gather insights on the current use of the existing land art projects, and implement this in the plans for this new project. In what way should the future use of the artwork be part of the realization of this new artwork or the commission to the artist? Is the future use related to the participation of today? How is social use related to the democratic process?

Workshop Kees Hund: Spatial management of changes in use
The land art projects were realized in a period of time when the polder was still a kind of tabula rasa - not only in spatial sense, also in political. It was quite easy to install these artworks. Now however, decision-making is different. Either way, the landscape and structures around the artworks have changed, and, as comes to light today, there is considerable experience now with planned and unforeseen usage of land art. If we look at the current use, does that lead to rethinking spatial adaptations surrounding the artworks? And how about the near and far future, will there be developments that will change the way we use the artworks today? About relations between the land art projects and other use of landscape, for example ecology, and the possibilities to facilitate connections.

Eric von Robertson: Social usage and the autonomous artist intervention
Eric von Robertson is creating an intervention at the Observatory (1971-1977) by Robert Morris. In his work, Von Robertson deals with recreation, with both existing and new ways to relax and the spatial implications of this. He transforms locations and brings people into contact with each other through large but often light and mobile constructions. What are his views on the recreational aspect of land art in Flevoland? And how does this relate to the goal of the artist, to the autonomous intervention of Robert Morris and to his own position? This workshop is English spoken.

Nils van Beek: Center and periphery as concepts in land art
The land art projects in Flevoland are, in spite of their rural surroundings, strongly connected to the inhabited world. For the land art artists from the sixties and seventies however, isolation was very important: seclusion from the art world and in part also from observers. In the program Ultraperipheric, which takes place within Drenthe's program Land Art Contemporary, artists are asked to travel to the periphery to research the dynamic interaction between man and landscape, and the notion of periphery in today's world. What is de supposed center, and how are these concepts still related to the art world or art viewer? Does this perspective offer clues for the future land art projects in Flevoland?