エッシュボルンのおすすめランニングルート

光のための石（Livia Kubach & Michael Kropp, 2010）：あなたが説明している、たくさんの穴が開いた石の彫刻は、この黒い花崗岩の作品です。アーティストの夫婦は、重い素材を光に透過させるために、巨大な石に多数の円筒形の開口部をドリルで開けました。これにより、石は「非物質化」されます。差し込む光が穴を通り抜け、硬い核が内側から生き生きと、そして壊れやすく見えるようになります。

It's been a great playground for decades.

At the edge of the sculpture park, there's a mini-shopping center with a great bookstore, a lovely Italian restaurant, and a wonderful ice cream parlor 😊 In addition to ice cream and drinks, the menu includes breakfast, cakes, toasties, salads, and focaccia. All delicious 😋!! Opening hours are Tuesday to Sunday, 8 a.m. to 7 p.m. Closed on Mondays.

The title "The Promise" refers to an announcement in the past. The group of figures, reminiscent of a gathering of dignitaries, embodies the present. The future is hinted at in the development of the egg-shaped object, which promises the fulfillment of the promise. None of the figures exhibits curious, impatient waiting. Rather, their anticipation is characterized by caution and reserve, and perhaps even perplexity. An exchange of ideas about the nature and possibilities hidden within the oversized egg seems to be developing in the room.

These elements, as well as the only hints of facial features, lend each individual figure its own distinct character. In their withdrawn and sometimes contemplative expression, the seven human figures develop a silent and enigmatic presence. Their gaze directions cannot always be precisely determined. At times, they appear to be gazing into the distance outside the circle, while simultaneously perceiving the egg object at the center of the circle. The figures communicate with each other not through their gestures and facial expressions, but through their postures, head turns, and positions in space. The viewer can enter this field of communication.

Stephan Guber's "The Promise" was created on-site in 2010 within eight weeks. The sculptor used a chainsaw to work on all the wooden sculptures simultaneously, avoiding constructive construction, but rather to processually develop the figures and their relationships within the space. Guber deliberately avoided the design of details, leaving much vague. Numerous notched, vertical cuts give the larger-than-life figures a garment that envelops the body in complex folds, creating a blocky appearance. The headdresses are reminiscent of historical clothing, myths, or foreign cultures.

The sculpture axis now runs through the entire urban area of Eschborn and Niederhöchstadt. It's not a linear axis, but rather a network with various intersections. Depending on the location, the view alternates between the silhouette of the Frankfurt skyline and the Taunus Mountains. The sculptures in Eschborn create new, distinctive places: They not only shape the cityscape but also establish a dialogue with the people who live here.

The bread roll with Parma ham is highly recommended.