APEX reveals how urban infrastructure, from the built environment to digital connections, shapes the ways we live together and connect with one another.
Free admission

APEX reveals how urban infrastructure, from the built environment to digital connections, shapes the ways we live together and connect with one another.
Free admission
For the sculpture APEX, Ricardo van Eyk drew inspiration from urban planning: design focused on creating a living environment where people can live together as pleasantly as possible. This means a built environment centred around space, greenery and human contact. APEX, meaning “the highest point” in English, consists of a “bouquet” of dish-shaped elements and poles reminiscent of 4G antennas. These are placed on top of buildings to connect people with one another. In this way, the work refers to another form of human infrastructure: a physical object that facilitates invisible contact. No longer at street level, but on top of buildings and digitally—as is common today.
Ricardo van Eyk considers himself a painter, but in recent years he has increasingly been creating three-dimensional work as well. His work stems from a fascination with the urban environment as a constantly changing system and with the way the city functions as a ‘carrier’ of traces of human presence, decay and the passage of time.
Van Eyk is also interested in the aesthetics of functionality. This means that he looks at functional elements and objects in our living environment that were not designed to be beautiful, but to serve their purpose quickly and effectively. These interventions usually go unnoticed: think of air-conditioning units, ventilation shafts, undercoats for painted walls and antennas. It is precisely these skilfully executed interventions that catch Van Eyk’s eye as he walks through the city. He sees the visual appeal of these expertly crafted, functional applications and uses them as the starting point for his paintings, sculptures and installations.
Art on the Square is an annually changing presentation on the open plinth in front of the Centraal Museum. Each year, a different artist is given the opportunity to display a sculpture, often in connection with an exhibition in De Stallen. This keeps the square dynamic: from accessible and inviting to surprising or unconventional.
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