A colorful public sculpture in Basel, Switzerland, continues to face stability issues as it approaches its 50th anniversary, requiring ongoing structural support and maintenance that has become a recurring challenge since its installation. The artwork "Lieu dit," located at Heuwaage, is currently being supported by a mounting rod due to structural concerns, marking the latest chapter in its long history of vulnerabilities.
The Basel Department of Construction and Transportation confirmed that a noticeable weak spot has been identified in the blue cube section of the sculpture, requiring examination by a specialist to assess its stability. This is not the first time the artwork has needed reinforcement. In February 2020, the sculpture disappeared for nine months into a workshop hall where it underwent restoration and stabilization work, highlighting the ongoing challenges with its structural integrity.
Created by artist Michael Grossert in 1975, the sculpture is made from polyester resin, a material that proves particularly vulnerable to weather conditions and quickly becomes brittle and fragile when exposed to the elements. This material choice has necessitated annual maintenance work, an unusual frequency for public art installations. The maintenance requirements are compounded by the fact that the sculpture is designed to be accessible and climbable, making it popular not only with children who use it as a climbing structure but also with patrons of nearby pubs.
The artwork's troubled relationship with the public began almost immediately after its installation. Just weeks after its inauguration in spring 1976, unknown vandals defaced the sculpture with black paint, writing messages in Swiss German that roughly translated to derogatory comments about the work, including "Monkeys could have made it cheaper." This vandalism represented the peak of an outrage wave that the colorful sculpture triggered among Basel's more conservative residents.
The public criticism was harsh and widespread, with detractors calling the sculpture too colorful, too wild, and unworthy of an art city like Basel. Some critics even demanded that it be relocated to a children's playground rather than remaining in a prominent public location. The controversy reflected broader tensions about contemporary art in public spaces and what constituted appropriate civic art.
Despite the initial hostility, artist Michael Grossert had a clear vision for his work's placement and purpose. The Heuwaage area had become a traffic-dominated non-place following the construction of a viaduct in the 1970s, and Grossert intended his artwork to restore a sense of human encounter and community gathering to the space. In this regard, his sculpture has succeeded in its mission of creating a focal point for public interaction.
The sculpture's popularity and interactive nature continue to present maintenance challenges. Each year, the artwork must be fenced off for its regular maintenance work, and this year it was additionally enclosed twice during major events. Authorities took precautionary measures during the Women's European Championship and the Eurovision Song Contest, fearing potential damage from increased crowds and festivities.
As the sculpture approaches its 50th anniversary in spring, its story reflects broader themes about public art, community acceptance, and the practical challenges of maintaining interactive artworks in urban environments. The fact that Grossert's sculpture continues to serve as a meeting place and point of interest suggests that, despite its structural vulnerabilities and initial controversy, it has ultimately fulfilled the artist's vision of restoring human-scale interaction to an otherwise impersonal urban space.
