The Hague



Since the sculptors Irene Droogleevar Fortuyn and Robert O’Brien began their collaboration, in 1983, under the logo Fortuyn/O’Brien, they have designed sculptures that could very accurately be called Post-Modern. On the basis of an ambitious as well as simple program, to which the concept of a domestic art is central, they make sculptures that, in their modishness, can compete with Post-Modern interior furnishings. In consciously exploiting the banal, they hope to expose the roots of art. In this they are posing as Post-Modern dandies, as the mediators of a contemporary spirit that has placed in question the meaning and value of sculpture.

According to Fortuyn/O’Brien, there is no longer a place for sculpture—not in a general social context, and definitely not as the basis for site-specific work. It is not at home anywhere, and therefore can only exist in a vacuum. Fortuyn/O’Brien direct

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