“Does anyone know why it is called Silhouetten?” I ask, pausing before the artwork in Amsterdam-Noord. Silhouetten by Marin Kasimir is not just a sculpture. It is an experience.
Let’s delve into the story behind this captivating piece. Created in 1995 by Marin Kasimir, Silhouetten was designed for a new residential area called Walvisbuurt. This area was built to expand the Molenwijk neighborhood. Kasimir, known for his architectural creations linking function and form, conceived the artwork. He originally named it Molenaarsplein.
Kasimir drew inspiration from Molenwijk. He noticed its resemblance to windmill sails from above. The sculpture was initially intended to be in the heart of the neighborhood. But it proved too large. It was then placed on a small square between Walvisbuurt and the Molenaarsweg bus stop. It now serves as an entryway between the bus stop and neighborhood.
Silhouetten consists of four elements. These are a window, a gate, towers, and a bench. The sculpture, excluding the bench, resembles a revolving door. Certain edges feature ribbing when viewed head-on. But viewed from the side, they reveal human silhouettes.
Interestingly, one silhouette appears to transform. As you walk past, it shifts from a woman to a man. The window displays a woman’s silhouette. One of the pillars shows a child’s face. The changing forms offer a dynamic visual experience.
Originally, the concrete was painted a marble pink. This attracted graffiti. Around 2010, the artwork was repainted a monochrome red-brown. Kasimir disapproved of this change. He said it was no longer his work.
Silhouetten has a predecessor. It is a similar gateway in Issoudun, France. It is located at the “Place des droits de l’homme” also known as “La place de miroirs”.
The name “silhouette” itself has an interesting origin. It comes from Étienne de Silhouette. He was a French Minister of Finance in the 1700s. He was not very popular. He imposed severe austerity measures. These measures even affected the royal court.
After his short time as minister, he turned to a hobby. He cut portraits from black paper. This became his way of decorating his home inexpensively.
These black profile portraits became popular. In 1759, an exhibition in Paris showcased them. The technique spread to other countries. A “portrait à la Silhouette” became synonymous with a cheap alternative to painted portraits. Thus, the minister’s name lives on in the term we use today.
So, as you stand before Silhouetten, remember its layers of meaning. It is a gateway, a transformation, and a tribute to both art and unexpected origins. It invites you to see the world from different angles. Each view reveals a new perspective. What do you see?