Soledad Senlle Art Foundation

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas

Installation,
Vondelpark

Le complot was the very first artistic project by Marisol Ferradas.

Hundreds of silk cloths were hanging from the trees in the Vondelpark. These cloths, waving in the autumn wind, featured handwritten texts. This guerrilla action evoked many differing reactions. People were wandering from text to text, looking for new cloths.

'As I cycled through the park the next day, I saw the park keeper sweeping up the cloths that had blown away. A few months later, a friend told me of an art project going on in her street, involving window exhibitions. One participant had made a presentation in which she had incorporated one of the silk cloths. Next to the cloth, lay a note: Who had written this? she wonders.

This experience taught me that art is a powerful medium in which to communicate, and in doing so entering a dialogue with others. In 2007 the Soledad Senlle Gallery opened its doors on the Sloterkade. It became apparent that most visitors didn’t come from the Schinkel direct vicinity. At a time when communication is boundless, I think it is important we also get in touch with our direct environment, in this case, the local residents. This outlook was the most important provocation in my quest for connection. The colourful bridges across the Schinkel quickly took a central position. After all, they form the actual connection between the quays and the areas behind them. The liveliness of the water, due to the passing freight and pleasure boats, heading straight for the city centre. The vagabonds with their packs of dogs, talking with one another in the morning sun. The origin of my passion/enthusiasm lies in all this, prompting me to organise KadS, Kunst aan de Schinkel. '

Marisol Ferradas