Art on Wageningen Campus

A lotus is rooted in mud and reaches upwards, towards heaven. The lotus root was the inspiration behind Nine Gates to Heaven, which Janneke van Dijk (1944- ) designed for the pond near the bust of Linnaeus in the arboretum on De Dreijen. The dimensions were specifically tailored to this location. The idea behind Nine

This imposing sculpture carved from light limestone once adorned the IMAG building on Mansholtlaan (Institute for Mechanisation, Labour and Buildings). Following the demolition of the building, the gable stone was placed atop a low concrete plinth on the west side of Wageningen Campus, on a green lawn with other sculptures from the university collection, to

Near the northern entrance to Wageningen Campus (on Bornsesteeg) are three tall, frame-shaped steel portals that symbolise the campus gates. The largest portal is approximately 7 metres tall. The portals are surrounded by four wedge-shaped concrete blocks in the grass. As a whole, this work of art by Tim Hoving (1957- ) symbolises a gateway

This white geometric work of art dates from the time when the quarantine station (‘Q-Station’) of the Plant Protection Service was housed in the Unifarm building. The artist explained that she chose this open shape as a counterpart to the closed nature of the Q-Station when she presented the prototype. Margot Zanstra (Laren, 1919 –

A reclining man examines the underside of some leaves. Known as the Reclining Figure and later as the Cleaner, this sculpture by Cor van Kralingen (1908-1977) was installed in 1963 near the Laboratory for Insecticidal Research (LIO) at Marijkeweg 22 It depicts a person examining a plant for insects and disease. In 2009, the sculpture

This bronze sculpture was dubbed the ‘Blue Dragon’. From the top of a dark, rounded, bluish body with leg- and arm-like protrusions, a head seems to emerge. The theme of the two-part sculpture by Chris Elffers (1926- ) is change (in agriculture), which creates new life. Until 1995, this sculpture stood on the grounds of

Since 1954, this statue of a kneeling woman by Fri Heil (Surabaya, 1892 – Oosterbeek, 1983) has adorned the façade of the former CILO (Central Institute for Agricultural Research) building on the campus road that is now known as De Elst. The woman can be seen kneeling while harvesting a cornfield. She holds a fruit

Krijn Giezen (1939- ) is known for transforming locally collected garbage and waste into landscape art. With Bat Cave, the idea was to recycle the surplus building materials used to construct the Lumen building. But the design sketches and material proposals weren’t received with enthusiasm. It simply wasn’t considered art. Yet art it certainly became,

This sculpture was made in 1970 by Aart Rietbroek jr. (1929-1985) for the newly built forestry testing station De Dorschkamp in Wageningen. The artist was commissioned to create a decorative piece in line with the 1% scheme. When commissioned, the chief government architect gave instructions on how to treat the Javanese teak. Unfortunately, at the

Fugue is the Latin word for flight, but in this case refers to the musical term denoting polyphonic music in which a theme constantly appears and disappears. Ubbo Scheffer (1925-1998) expressed this through two converging L-shapes, one in wood and the other in stone. Scheffer’s talent was two-fold: in addition to sculpting, he also had