The Road of Peace ‘Das Geht Nur Langsam Und Das Geht Immer Wieder’

The Road of Peace ‘Das geht nur langsam und das geht immer wieder’

Vredesstraat

Sculpturenstraat in Europa

Hommage aan Otto Freundlich

Geïnitieerd door Leo Kornbrust

Renée Hartog 6077080

Author: Renée Hartog Supervisor: Jeanette Mak 2nd Reader: Jaap Boonstra

June 2015 Master thesis Political Science Public Policy

als het individu onlosmakelijk verbonden met omgeving en historie kiest voor meer dan kan het zijn dat samenwerking een omgekeerde spin veroorzaakt en meer van dat meer verlangt hoe de processen gedetermineerd worden hangt vervolgens af van hoe de gemaakte materie zich ontwikkelt kwantitatieve tijd speelt hierin geen waarachtige rol

Wim van Sijl

when the individual chooses inseparably connected to surrounding and history for more then it can be that cooperation causes an upside down spider and desires more of that more how processes are determined depends then of how the produced matter develops quantitative time in this sense does not play an actual role

Translation: Renée Hartog

THANKS*DANK*MERCI*DANKESHÖN

JAN BOR for always pushing me forward

HENK WIJNEN for this idea: no Henk, no thesis: looking forward continue working together

CORNELIEKE LAGERWAARD for your positive energy and time in your busy life: such an energetic lady!

WIM VAN SIJL for your hospitality: for spending time in your artwork (and great sandwiches)

CHRISTOPHE DUVIVIER for your honesty: it was great spending time in Tavet between Freundlich’s art

PHILLIPPE HANSCH for your honesty: hopefully this thesis will explain you what it is, The Road of Peace

ZHUO CHENG for making this process fun! And making such good arrangements for the French trip.

KERSTIN SOMMER for even showing up to meet me when you were sick!

LEO KORNBRUST for the Road of Peace

BERTRAND & MICHELLE NEY for coming all the way from Luxembourg to meet me. Next time Amsterdam & Luxembourg

USCHI MACHER for taking me so seriously

JEANETTE MAK for being the BEST supervisor ever do not underestimate the importance. I know.

MERAPI OBERMAYER for making my report on this art project a true art piece itself

I DEDICATE THIS THESIS IN RESPECT TO OTTO FREUNDLICH TO, OFF COURSE, WORLD PEACE

Table of Contents Introduction ...... 3 Description of the topic ...... 3 Research questions ...... 5 Societal relevance ...... 6 Scientific relevance ...... 7 The script: an outline on how to read this report ...... 9 Theoretical Framework ...... 8 European integration and European Culture: transactionalism has not developed while other early integration theories have failed ...... 8 Transactionalism and European Culture ...... 10 Collective action ...... 13 Networks ...... 14 Social organization and network organization ...... 16 Operationalization ...... 17 Methods ...... 17 Data collection ...... 21 Methodological section ...... 21 The Road of Peace: Background Chapter ...... 24 Otto Freundlich...... 25 Leo Kornbrust ...... 26 The Saarland government ...... 27 Cornelieke Lagerwaard ...... 28 Organizational structure ...... 29 Networks ...... 31 Data analyses ...... 33 Germany ...... 34 Background ...... 34 Who is participating? ...... 34 How do the involved actors and art pieces communicate to the public? ...... 35 Events, overlapping networks and interactions ...... 38 Concluding remarks on the empirical findings in Germany ...... 46 France ...... 47

Background ...... 47 Who is participating? ...... 48 How do the involved actors and the art pieces communicate to the public? ...... 48 Events, overlapping networks and interactions ...... 52 Concluding remarks ...... 53 The Netherlands ...... 55 Background ...... 55 Who is participating? ...... 55 Who is participating? ...... 56 Events, overlapping networks and interactions ...... 61 Conclusion and reference ...... 69 1. What is the historic background of the Road of Peace and how is it organized? ...... 69 2. How active are the partners of the Road of Peace in France, Germany and The Netherlands? .. 69 3. How do the actors and artworks communicate with the public? ...... 71 Could a network organization like the Road of Peace be seen as an agent of European consciousness and contribute to a sense of common European culture? ...... 73 4. Should this initiative be supported by (European) policy makers? ...... 75 Literature and reference sources ...... 78

Introduction A network analyses on how art projects could contribute to a sense of a common European identity

Description of the topic The European Road of Peace is an art project intended to conceptualize European peace. The project is initiated by sculptor Leo Kornbrust, who began more than thirty-five years ago, in cooperation with sculptors from around Europe, with realizing sculptures in the free landscape around Europe (website Strasse des Friedens). The objective is, by realizing a continuous chain of sculptures (from Normandy to Moscow and from Amsterdam to Marseille) to conceptualize peace among the different peoples of Europe (website Strasse des Friedens).

The Road of Peace was introduced to me by the Dutch artist Henk Wijnen. As we spoke in the Amsterdam Art club ‘Arti et Amicitiae’ (Arti) about the ‘Monuments of Mankind’ (MOM) art work he produced for Arti, this is a group portrait of the most important actors of the club hanging in the big staircase of the club, I asked him about the reproduction of another MOM art piece, exhibited in the hall of Arti. He explained to me that this organization is called the ‘Strasse des Friedens’, the Road of Peace, an organization that connects many artist to promote the idea of European peace, based on the ideas found in an old manuscript written by painter Otto Freundlich. I was immediately fascinated by this ‘Strasse des Friedens’ and surprised to find the European idea alive in such an organization of artists to promote an idea that policy makers struggle with. Right then I knew I wanted to find out more, not only to learn more about the organization itself, but more importantly how or if this idea could be connected to European policy and integration.

The idea originates from Jewish painter and sculptor Otto Freundlich. He was born in 1878 in Germany (now Poland) and died during the Second World War in a concentration camp. Freundlich was a pioneer in the abstract arts and

3 based on his original philosophy, other artists have designed a street of sculptures: “The main theme being modern sculpture, and its characteristic spatial development he visualized a row of non-figurative sculptures in an open landscape as a concept of ‘a social process in appropriate metaphysical language.’”(flyer Road of Peace). In the original idea of Otto Freundlich it is about accessible tower-like sculptures that are not only made by international known artists, but are also build in cooperation with local communities (website Strasse des Friedens). This presentation of communal work of artists with inclusion of the people is elaborated in later symposia. Jeanne Kosnick-Kloss, Freundlich’s longtime companion, formulated in a symposium in 1959 the perception of two crossing streets: one from North to South, ‘the road of human brotherhood’, and one from West to East, ‘the road of human solidarity in memory of the liberation’. The intersection of the two roads would be placed in Auvers-sur-Oise and would be highlighted by Freundlich’s original sculpture symbolizing his vision: ‘the tower of peace and the seven arts’ (website Strasse des Friedens)

The 1959 symposium, organized by sculptor Karl Prantl in Austria was attended by sculptor Leo Kornbrust and twelve years later he organized a second symposium in Saarland, Germany (website Strasse des Friedens). In 1973 the dredging in Sankt Wendel offers the opportunity to build sculptures of sandstone blocks. Kornbrust invites international artists to work with him and the idea of realizing the Road of Peace is born (website Strasse des Friedens).

In this context Kornbrust speaks about a ‘choreography of sculptures in the landscape’ (website Strasse des Friedens). With the idea of putting Freundlich’s idea into practice an association to help this project getting realized was founded in 1971.

When the idea was born in the mind of Otto Freundlich, the Second World War was lying ahead. The fronts between East and West hardened. Although in the twenty-first century the ‘Iron Curtain’ no longer exists and we have a well established European Union, a democratic political body of a majority of

European peoples, we still live in a world where peace is not a given status. Therefore, I wonder if an initiative like the Road of Peace could contribute to engendering awareness among the peoples in the European Union of this abstract idea of peace. This brings me to the following research questions:

Research questions The main question I want to answer is formulated as follows:

Could a network organization like the Road of Peace be seen as an agent of European consciousness and contribute to a sense of common European culture and should this type of initiatives be supported by (European) policy makers?

To answer this question I will first need to get an understanding of the organization, the Road of Peace. Then, I need to find out and describe how the organization functions internally and finally I need to get an impression on how the organization communicates its aims to the broader public.

In my methods I use unstructured interviews and participant observation. By means of these combined methods I want to answer the following sub- questions:

1. What is the historic background of the Road of Peace and how is it organized? 2. How active are the partners of the Road of Peace in France, Germany and The Netherlands? 3. How do the actors and artworks communicate with the public? 4. Should this initiative be supported by (European) policy makers?

To find the answers to these questions I examine different cases within the network by means of performing unstructured interviews based on an interview guide. This interview guide is designed with the guidance of Becker and network theory. Becker comes to a conception of art as a form of collective action. When studying art we can think of social organization as the network of all the people involved to make it possible for the artist to

5 produce the work and are involved in displaying the work to the public (Becker, 1974: 767). It comes down to the following questions: who is participating to produce what events and who is responsible for producing the events? What is the overlap between different networks and what role do conventions and resources play? Drawing on network theory I want find out what the strength is of interactions in the network. Finally, based on my analysis, I want to be able to advice whether these type of projects should be supported b (European) policy makers.

Societal relevance “The European Union is set up with the aim of ending the frequent and bloody wars between neighbours (sic), which culminated in the Second World War. As of 1950, The European Coal and Steel Community begins to unite European countries economically and politically in order to secure lasting peace” (website Europe.eu).

When I was first told about the Road of Peace, the first thought that entered my mind was how close the central idea of the Road of Peace is to the central idea that the European Union was founded upon. Immediately I was taken when I realized how prescient Freundlich’s vision was, considering this idea of the Road to Peace is rooted in a time, before the Second World War and long before the European Union was founded in the 1950’s.

In the decades following, European Integration, economically as well as politically, increased. However, economic integration moved faster than political and cultural integration. Today, the many peoples of Europe are living interdependent of one another, but yet we cannot speak of a sustainable politically peaceful environment. Although this year in the Netherlands and in many other European countries, we have celebrated seventy years of freedom after the liberation at the end of the Second World War, war has been in and around Europe ever since. Until the end of the 1980’s Europe was divided by a wall. In the 1990’s war destructed the Balkans and nowadays problems remain around the borders of the European

Union: political instability in the Ukraine, migrants arriving illegally in boats at the Italian border and the threatening rise of the Islamic State in the East.

It is often argued that the peoples united in the European Union need to work together to face these problems. However, economic integration has proceeded much faster than cultural and political integration. There is a single European currency and a European Central Bank, but collective political action still demands intensive negotiation.

It is often argued that a common European identity is a precondition for further going political cooperation. For example, Shore argues in ‘Building Europe’ that instead of creating union among the peoples of Europe, the EU has created a union of technical, political and financial elites (Shore, 2000: 232). Attempts to contribute to a European identity are for example a European anthem, the European flag and a European day (November 9th). These are top down examples, while Shore argues that top down led programs have lost momentum. Drawing on Shore’s argument that top down European integration has failed, let us here examine a case of bottom up initiatives. To remind us to the foundations that the European Union was built upon, initiatives like The Road of Peace could be very valuable. Can these type of organizations contribute to a sense of a common European culture?

Scientific relevance By examining the case of The Road of Peace, a network case, I will collect data and empirical findings that contribute to the knowledge of the concepts of collective action and social organization. Second, I apply network theory to understand how the network functions and how these type of organizations could contribute to make it possible to imagine Europe as a political entity and community.

The scientific relevance of my research lies within a contribution to the understanding of the relationship between network theory and bottom-up European Integration. By performing a case study on an organization that has

7 a very abstract goal of contributing to peace in Europe, I want to find out how this network of artists, that has strong ties in cultural roots, could contribute to a sense of a common European culture. On the one hand, the organization could learn how to improve on the functional aspects of the network, drawing from network theory. On the other hand, policy makers on the regional, national and European level could learn about the added value of strong ties and twisted roots that from a bottom up perspective could create a fundamental basis whereupon policy could be built.

In ‘Building Europe. The cultural politics of European Integration.’ Cris Shore describes the development of the ‘European Idea’ and how European elites have attempted to use culture as a tool for cultural cohesion among the peoples of Europe (Shore, 2000). He describes how different attempts of the European Commission throughout the decades, to create a top-down European culture, have failed. However, as we see in the example of the network the Road of Peace, initiatives to contribute to a European identity are still alive. It is a good example of a bottom-up initiative based on horizontal relations. Mark van Twist, professor in public administration, describes in his essay ‘De Boom en het Rizoom’ today’s society as a network society; a society that is shaped around horizontal arrangements. In this thesis, I aim to study the Road of Peace as a most likely case of a network of social organization that could contribute to a sense of a common European culture: a network that is shaped on horizontal arrangements. I will first of all study this network to understand how the network works: how are the interactions within the international network? Secondly, drawing on the ideas of Becker (1974) by means of this empirical case study I want to contribute on the debate how the conception of collective action applied to art could generate a broader idea about social organization in general. He criticizes that when sociologists apply the metaphor of social structure on the arts they speak of it as implying (without proving or arguing the point), that collective action should occur regularly or often (Becker, 1974: 775). However, he states that this should not be decided by description, but by investigation. Thus, with the guidance Becker offers on how to study social organizations, I aim to

8 contribute with my empirical findings to the debate of the relationship between collective action in the arts and social organization. When I have created an understanding on how the network functions I will be able to make statements on whether the network helps top down, being an agent of European consciousness to contribute to a sense of common European culture.

The script: an outline on how to read this report First of all, it is important to get an understanding of the scientific theory that is relevant for the outset of this research. In the next chapter (2) I will introduce and explain some pre-theories on European Integration, explain the ideas of Shore on European identity building and the ideas of Becker on social organization and finally network theory. Then, a chapter (3) will follow telling the history of the case, the Road of Peace and some notes on the organizational structure and the overlapping networks. The fourth chapter will present my empirical findings and analyses, first introducing the German case, then the French and the Dutch case followed by a summary of my findings. In the final chapter I will conclude and answer my research questions.

Theoretical Framework In this chapter I will present the theoretical background of my research. Departing from European Integration theories I support the argument of Cris Shore, that top down European integration efforts have failed while bottom up initiatives could help to engender awareness and promote acceptance of the European idea (Shore, 2000). The Road of Peace could be seen as such an initiative and could contribute to engender awareness of this idea collectively. The Road of Peace is a network of artists. Becker gives insights in art as a form of collective action and I will use his insight for the operationalization of my research together with insights of network theory since the object of my research is a network.

European integration and European Culture: transactionalism has not developed while other early integration theories have failed Three different pre-theories on European integration, federalism, functionalism and transactionalism, offer different perspectives on the goals they have in common: how to solve problems on dimensions that reach beyond the nation state level. They share a belief on how international institutions can suppress conflict and the ultimate goal is a worldwide rather than a regional governance (Eilstrup-Sangiovanni, 2006:17-18). These three theories were popular in the 1950s and 1960s, the period that the European Union was founded and when the foundations for the EU as we know it today were established. From the perspective of federalism sovereignty is placed from the nation state to a centralized level of authority. Functionalists see the gradual expansion of economic cooperation as the means to reach peace. Transactionalist scholars offer a sociologically grounded vision of integration. The idea is that interstate conflict is ended through the formation of international ‘security communities’ in which feelings of trust and mutual identification means that member states will no longer consider war as a viable option (Eilstrup-Sangiovanni, 2006: 18).

The pre-theories of European Integration have highly influenced the study and the empirical development of European Integration (Eilstrup-Sangiovanni, 2006: 33). Shore describes that the reality that a common European identity does not exists cannot be explained by federalism and functionalism (Shore, 2000). From a transactionalist perspective European integration came to a halt already in 1957, because while economic integration and functional integration continued, as explained by federalist and functionalist scholars, social integration did not continue (Eilstrup-Sangiovanni, 206: 34). However, recently there has been a revived interest in this approach (Kuhn, 2015: 2). Constructionalist scholars, for example, believe that empirical and theoretical insights prove that real integration happens where the agent and the structure intersect by social learning (Checkel, 2006: 418-419). Within an institutional context people still interact and this interaction leads to social learning which can change the structure. If we can find the idea of a common European cultural identity still alive, initiatives like The Road of Peace are the locus to find it.

Let us thus look at how the Road of peace, as such an initiative, attempts to reach their goals. I want to do this by (a) examining how the Road of Peace functions as a network organization, drawing on network theory and (b) studying how actors and artworks communicate the aim of the organization to the broader public. To do this I examine different ‘knots’ within the network by means of performing unstructured interviews based on an interview guide. This interview guide is designed with the guidance of Becker (Becker, 1974) and network theory and comes down to the following questions: who is participating to produce what events and who is responsible for producing the events. What is the overlap on different participating networks and what role do conventions and resources play? What is the strength of interactions and arrangements within the network? Finally, based on my analyses I want to be able to advise whether these type of projects should be supported by (European) policy makers. If Shore is right that top down initiatives have failed to contribute to a common ground of European identity, bottom up initiatives might promote a European identity

9 better, because bottom up actors interact and in the line of Checkel, social learning may appear.

In the following sections I will first elaborate on transaction theory and European culture and Shore’s concept of ‘an agent of European consciousness’. I will then explain how I use the insights of Becker and network theory to do my research. Also the main concepts will be defined.

Transactionalism and European Culture Karl Deutsch and his colleagues pioneered transactionalism. They stated that Instead of only integrating the states elites and institutions, states should set a framework for increased cross-border transactions and networks among their publics, because these cross-border transactions lead to cross-border bonds of common identification and trust that would eliminate the risk of war (Kuhn, 2015: 1). Processes of social-psychological learning are triggered by international transactions (like communication, migration, mutual services, military collaboration and tourism), that in turn produce common identities and trust among social actors (Eilstrup-Sangiovanni, 2006: 29). This idea is also supported by constructivism “(…)the most interesting puzzles lie at the nexus where structure and agency intersect. The real action, theoretically and empirically, is where norms, discourses, language and material capabilities interact with motivation, social learning and preferences – be it international or European regional politics” (Checkel: 2006: 418-419).

In ‘Debates on European Integration’ integration is defined as a ‘pluralistic’ security community that is the result of a process of social integration where stats retain their legal independence but supranational institutions may be formed through interactions among the different smaller security communities (states). Transactionalism is criticized by other scholars shat state that from a transactionalist perspective it is not possible to explain the relationship between social international transactions and political change (Eilstrup-Sangiovanni, 2006: 29-32).

However, for the purpose of this research the relationship between those transaction flows and political change is not the relationship I focus on. The aim of The Road of Peace is not to establish political, legal or institutional change, it is simply to contribute to a sense of shared beliefs: the idea that Europeans can live in peace on the peninsula.

In the recently published book ‘Experiencing European integration’ Theresa Kuhn tries to solve the puzzle why the transnational networks and activities, that have been proliferated, have not been accompanied by an augmentation in European identification (Kuhn, 2015: 5). She concludes (1) that only a small elite of highly educated young professionals interact frequently in transnational activities and these elites come predominantly from rich countries. (2) Not all transactions are successful: instrumental transactions and transactions with a global focus are less successful than sociable transactions with a European scope. (3) Negative externalities of increased economic insecurity and cultural competition occur and people that do not interact in transnational activities are more negative and Eurosceptic especially when they live in more globalized countries (Kuhn, 2015: 127). She therefore states that it seems useful to promote transnational interactions especially among the lower educated and poorer members of society (Kuhn, 2015: 142).

The question why European identification is not augmented has also been studied intensively by Cris Shore in ‘Building Europe’.

The evidence of this study suggests that “(…) the EU has created not union among ‘the peoples of Europe’ but an ever closer union of technical, political and financial elites in Europe” (Shore, 2000: 232). Shore states that the formal top-down EU-led program of integration has lost momentum, while informal bottom-up Europeanization continues (Shore, 2000: 228). A second important critique of Shore is towards federalism: “A more philosophical critique of the European project, however, depends on whether one agrees with the federalist argument that the nation-state is obsolete and a threat to peace, that we have entered a post-nationalist era of history and that

11 supranational institutions like the Commission are more likely to guarantee stability, prosperity, peace and democracy for Europe’s citizens” (Shore, 2000: 231). “However, the perceived loss of national sovereignty has resulted in claims by many governments that the expansion of the EU has become a threat to nationhood and this has fuelled an upsurge of defensive cultural chauvinism and regressive regional nationalism throughout Europe” (Shore, 2000: 231-232).

In the search for a sense of what is meant by a European culture, the first step Shore takes is to define ‘agents of European consciousness’ “(…)all those actors, actions, artefacts, bodies, institutions, policies and representations which, singularly or collectively, help to engender awareness and promote acceptance of the European idea” (Shore, 2000: 26).

For this research I take the definition of Shore to define a European agent of consciousness:

A European agent of consciousness is defined by forces and objects through which knowledge of the European Union is embodied and communicated as a socio cultural phenomenon: in other words, all those actors, actions,

artefacts, bodies, institutions, policies and representations which, singularly or collectively, help to engender awareness

and promote acceptance of the European idea (Shore, 2000: 26)

Hence, according to Shore’s definition we can see the Road of Peace as ‘an agent of European consciousness’. All these agents “contribute to creating the conceptual and symbolic foundations that make it possible to imagine the new Europe as a political entity and community, and to conceive of oneself as part of that community” (Shore, 2000: 26). Could The Road of Peace, being an agent of European culture, thus contribute to make it possible to imagine Europe as a political entity and community and by means of this imagined community include the lower educated and poorer members

12 of society collectively? As such an agent the Road of Peace helps to engender awareness of the European idea collectively.

Collective action To research whether the Road of Peace could be seen as an agent of European consciousness we need some theory to operationalize this research. The social scientist Becker came to a conception of art as a form of collective action as early as in 1975.He states that when we study artwork we can think of social organization as the network of the people that make it possible for the artist to produce the work and are involved in displaying the work to the public (Becker, 1974: 774). Because art is created by networks of people acting together it is social in nature and therefore proposes a framework in which different modes of collective action can be studied (Becker, 1974: 775). When we apply the conception of collective action on art it generates broader ideas of social organization (Becker, 1974: 775). He criticizes sociological writers of speaking of social organization or systems without reference to the people whose collective actions constitute the organization or system (Becker, 1974: 767). When applying the metaphor of social structure on the art sociologist speak of it as implying (but not even proving or arguing this point) that collective action (and the people involved acting together) should occur regularly or often (Becker, 1974: 775). However, this should not be decided by description but by investigation. “Social organization (and its cognates) are not only concepts, then, but also empirical findings. Whether we speak of the collective acts of a few people –a family or a friendship– or of a much larger number –a profession or a class system- we need always to ask exactly who is joining together to produce what events” (Becker, 1974: 775). To conceive these empirical findings Becker proposes to find the answers to the following questions: who is participating to produce what events and who is responsible for producing the events? What is the overlap between different networks and what role do conventions and resources play?

Furthermore, network theory can give some more insights to be able to answer the above questions.

Networks In his essay ‘De Boom en het Rizoom’ Mark van Twist describes today’s society as a network society; a society that is shaped around changing horizontal arrangements. A feature of network steering is that it is not the solely the government that operates as steering actor, but other actors can point to the right direction as well. The purpose of governmental actors is then to facilitate those actors to organize themselves (Van Twist, 2010: 21). Van Twist hands some proposals that fit into the idea of network steering, but states that it is difficult to fit these in traditional vertical steering mechanisms in bureaucracy. Therefore, he states, empirical research is needed (Van Twist, 2010: 53).

In his essay, Van Twist uses the metaphor of a rhizome to describe today’s society. He draws on this idea of the French philosophers Gilles Deleuze and Felix Guattari (Van Twist, 2010: 10). Literally, a rhizome is a horizontal branched root structure, that cannot simply be traced to a single plant on the surface, but underground the roots intertwine and create new connections. A good example is the internet: it does not exist by virtue of singular structures or hierarchy, but by the virtue of ‘links’ or dots in an endless network of reciprocal connections (Van Twist, 2010: 11).

A society, he states, is not designed, is not an organization, is not logically build. A society is a network of networks that are all somehow connected, but meanwhile there is no coherence: it is fragmented and layered. This is as well an important feature of a rhizome: connection without coherence. Just like in a rhizome root structure, in society there is a connection between all individual parts, but these different parts (like different roots) develop also autonomous and there is no system in the connections that arise. Connection and meaning is ad hoc, continuously changing and (most often) by coincidence (Van Twist, 2010: 11).

The story of the Road of Peace is a good example as above described dynamics show: it is not something that has been designed, it is a developmental process that is continuously changing on its own. The Road of Peace is a network of international artist. They are the dots in the network and this is actualized by the signing of a ‘charta’ but this act does not yet connect any of the dots. For a ‘working’ network interactions and arrangements are needed. The network is coordinated from the center, because this is where Leo Kornbrust (initiator of the Road of Peace and sculptor) and Cornelieke Lagerwaard (chairman of the board of the Road of Peace) have developed the network since their involvement. How the center could facilitate the knots is then an obvious question. I will elaborate on the actual organization more deeply in the background chapter. It is first important to conceptualize the above introduced concepts in this chapter.

The picture below gives a first impression of the above described theory.

Network

Rhizome

Source: Liesbeth Sevenhuijsen ‘In Passing’

Social organization and network organization Becker states that in social and humanistic sciences it is accepted that knowledge and cultural products have a social base. The conception of collective action applied to art generates broader ideas about social integration in general. (ref). If we focus on a specific artwork it proves useful to think of social organization as a network of people who cooperate to produce that work.

This raises the question how to define a network. Drawing on insights from three fields in the social sciences (public policy, political science and organizational sciences) Kickert et al. conceptualize policy networks: “Policy networks are more or less stable patterns of social relation between interdependent actors, which take shape around policy problems and/ or programs” (Kickert et al., 1997: 30). Rhodes defines the concept in the context of the British government: “(…)sets of formal and informal institutional linkages between government and actors structured around shared interest in public policymaking and implementation. These institutions are interdependent. Policies emerge from the bargaining between the networks’ members” (Rhodes, 1997: 1244). Interdependency is in both definitions a key concept. “Actors in networks are interdependent because they cannot attain goals by themselves, but need the resources of others to do so. (…) Interdependency is based on the distribution of resources over various actors, the goals they pursue and their perceptions of their resource dependencies” (Kickert et al., 1997: 6). Important in the definition of Kickert et al., is also “more or less stable patterns of social relation’. This is exactly what is criticized by Becker: “When sociologists speak of social structure or social systems, the metaphor implies (though its users neither proves, nor argues the point) that the collective action involves occurs ‘regularly’ or ‘often’ and further that the people involved produce a large variety of events/ But we should recognize generally, as the empirical materials require us to do in the study of the arts, that whether a mode of collective action is

16 recurrent or routine enough to warrant such description must be decided by investigation, not by definition” (Becker, 1974: ).

Based on these insights I make a distinction between networks and policy networks.

A policynetwork is a coherence of more or less stable patterns of social relations between interdependent actors,

that take shape around policy issues or programmes. Actors in a network are dependent on one another and

interact with each other (Rhodes, 1997: 1244)

A network is a coherence of social relations between interdependent actors. Actors in a network are dependent and interact with each other (Rhodes, 1997: 1244)

Operationalization I want to find out if and how The Road of Peace could function as an agent of European consciousness by analyzing the network. First I will have to find out how the actual human relationship take shape within the organization. Thus, I need to understand the interactions between the participants in the network. Second, I want to understand how the sculptures interact with the public. Do these sculptures communicate the idea that The Road of Peace is built upon? In other words: does the Road of Peace act as an agent of European consciousness by helping to engender awareness of and promoting the European idea or how could the network improve this agency?

Methods My approach to the research will be of qualitative nature. Qualitative research methods are in line with interpretative epistemology, which emphasize the dynamic, constructive and developing nature of social reality (Devine, 2002: 201). Researchers operating in this paradigm value primarily the perspective

17 of conscious actors that give subjective meaning to their actions and interpret their own situation to in relation to the situation of others. “Thus, intensive interviews are appropriate when seeking to understand people’s motives and interpretations” (Devine, 2002: 201). Within the interpretative variant of qualitative methods one of the main methods is the case study (Boeije, 2012: 20). In a case study the researcher studies a phenomenon in the natural context. The case study is regularly used in organization and policy research and the subject is often the evaluation of a practical problem with reference to, for example, a new program (Boeije, 2012: 21). In this research the Road of Peace is the case that is evaluated to see if this as part of a new program could help to engender European awareness. Most often the case is studied as complete as possible.

This means that data is collected at different levels (Boeije, 2012: 21). For practical reasons (limited availability of time and linguistic difficulties) I limit my research in this case to three sets of partners in the network: the French partners, the German partners and the Dutch partners. I try to include all actors involved at all levels around these partners. Second, as many methods of data collection are being used to study the phenomenon from different perspectives, like interviews, observations and document analyses (Boeije, 2012: 22). This method is called triangularization and I will use this for my research. Third, the phenomenon is not studies isolated from the relevant environment in which it appears. Therefore, fieldwork is required and I will visit partners, actors and art pieces in their specific environment. When doing this fieldwork I take an ethnographic approach, making field notes to use as data. The Road of Peace is a network of artists. I study this network from a public policy perspective, however for the existence of the network the most important factor is the it consists of artists. These artist contribute to the network from an artistic perspective. I will thus have to take this in consideration and I need to make a translation from the meaning they give to their art and their position in the network, to the meaning that the artworks communicate.

To get a first understanding of what the Road of Peace is and to get an impression of what to expect the documentary made by Gaby Heleen Bollinger in 2011 will serve as background document. Later in the research further documentation will be used, to clarify and complement the findings in my interviews.

Thus, to understand how artworks communicate to the public fieldwork and observations are required. I will visit the locations of the art pieces and the environment of the involved actors and make field notes that can later be analyzed as in the example given in Boeije (2012:30).

To understand the interactions between the participants in the network I will use the method of in-depth unstructured interviews.

Two features of unstructured interviews are of importance: (1) the interviewer should formulate questions that fit into the reference framework of interviewees; (2) the interviewer should be focused to give space to good interactions with the interviewee, thus create a positive atmosphere (Boeije, 2012: 58). As an instrument for the interview a topic list is designed. The researcher translates the research questions into the questions on this list to be asked to the interviewees and all questions on this list should be relevant for the research questions. These lists can be long and structured or short using keywords (Boeije, 2012: 58).

My interviews will be unstructured. Open questions will give interviewees the opportunity to elaborately speak about the topic. When necessary, questions will be asked to push the conversation in a certain direction or to find out more about the meaning of perceptions in the conversation. The topic list I use will be unstructured, using keywords to check whether all topics are covered. Extended interviews are usually done with a small number of informants (Devine, 2002: 198). This method is often used when the goal is to discover the subjective experience of people and how they give meaning to these experiences (Devine, 2002: 199). This is why I believe this method will suit my research. “Qualitative methods are also good at tapping into the

19 thought processes or narratives people construct. In-depth interviews allow people to tell their own story in language with which they are familiar” (Devine, 2002: 199).

To collect my data I make use of purposive sampling, this does not generate statistical representativeness, but is meant to represent diverse manifestations in the research group (Boeije, 2012: 50). One of the methods in purposive sampling is the snowball method. “Snowball sampling (…) is a method that has been widely used in qualitative sociological research (…) it is created through a series of referrals that are made within a circle of people who know one another” (Berg, 2006: 12). Interviewees will be asked for other relevant candidates until all relevant material is collected (Devine, 2002: 205). It is a network method that permits in which people refer to each other (Berg, 2006: 12). It is interesting to find out more about reciprocated choices in various relationships in the network. This method is suitable for my research because I am specifically looking for interactions in the network.

Data collection

Methodological section The first interview I have taken was to get an understanding of how the Road of Peace was initiated and how it developed over the years and to get a first understanding on the organizational structure. For this, I spoke to the director of the network, Cornelieke Lagerwaard, who is involved for many years and as well has a helicopter view. Additional sources are the many books about the different projects and symposia and the documentary by Heleen Bollinger. Based on these sources the background chapter will give the reader an understanding of what the Road of Peace is.

It was easy to get access to the important actors in The Road of Peace, Henk Wijnen brought me in direct contact with Lagerwaard and I was given complete trust and openness. Lagerwaard provided books and documents of the organization and the documentary on her own initiative and when asked to give access to certain documents I she provided them immediately. After our interview I was invited to visit Sankt Wendel.

Following up, I have chosen a number of cases, official partners in the Road of Peace based on both practical and scientifically sound motives. I have tried to apply as much as possible a ‘most different case’ design within the bigger case, observing as many cases as possible closely. For logistical and linguistic reasons I have chosen to visit two French partners, because I speak and understand the language very well. And this led me to the partners that are at the moment the least active partners, as I learned from the first interview. In Pontoise and Auvers-sur-Oise I have visited the roots of Otto Freundlich. In Verdun I have visited the International Center for Peace. The cases in Germany are chosen because it is the heart of the organization. One of the newest and very active partners is in The Netherlands in Vianen, as I learned from the interview and also based on my own expectations, because

21 it are the partners in this case that attended me on the project in first instance. In this case, it is easy to meet the artist and speak to them.

In France it was not possible to interview the partners, however I could get their email addresses and instead of performing interviews I could perform an enquire by mail.

In Germany all relevant actors were available for interviews and took the time to receive me. All actors were open and it as easy to built trust. The only interview that was difficult was with Leo Kornbrust for two reasons: (1) he just returned from the hospital and therefore it was hard for him to speak and think clearly. (2) I do not speak German fluent which made it difficult to formulate my questions precise. I could move around freely in his house and take pictures.

In The Netherlands the actors were very welcoming as well. I could easily get in touch with them and they spoke freely.

The biggest dilemma and greatest difficulty was to stay objective. Soon I noticed that the trust I was given was connected to a ‘hope’ to bring the network forward. Most respondents pronounced clearly that they need to connect to a younger generation and often literally stated that I could fulfill this role. An article written by Loeber in 2006 deals with the problem how a researcher can deal with the type of problems around being involved as a researcher. She draws on the concepts of ‘phronèsis’ and ‘transformative learning’. “Pronèsis encompasses an element of compassion, which finds expression in commitment to understand the situation of the ‘other’ and to let that understanding come to bear in one’s judgment” (Loeber, 2006: 395). In this article Loeber describes how she as a researcher could generate more accurate findings because during the process she actively used the generated knowledge to facilitate interactions to help the process forward. “(…) knowledge production itself entails the key to change provided that the knowledge production process features design characteristics that facilitate phronetic judgement” (Loeber, 2006: 395). Phronèsis is then the enabling of

22 constructive action that moves the community from “flawed present toward an improved future” (Jennings in Loeber, 2006). It involves knowledge that enables us to act rather than knowledge that informs us. It does need an exceptional mode of participatory analyses: “The particularities of each of the participants must come to bear in the analyses in such a way that the result predicates action by members of the community. This means they have to learn” (Loeber, 2006).

During my research I showed compassion and understanding. In the analyses I show the particularities of actors and I show what actions can be taken by the members of the community itself. As a researcher I step into a bath filled with water which makes the water level rise. When I step out the bath the water level lowers again. The difference in the water level is measurable: in being open and fair on the process and by describing the particularities of the actors involved in the analyses I show the reader this difference in the water level.

The Road of Peace: Background Chapter In this background chapter I will introduce the story of the Road of Peace. I will try to untwine the roots in the rhizome as much as possible to give a clear chronological overview on how the Road of Peace has been born end lived among the past decades. It is based on the personal communication with Cornelieke Lagerwaard, she is the president of the organization and has been active in the organization for more than thirty years. Additional sources are the website and a number of publications about the Road of Peace. After an introduction this section will be structured around the actors that can be seen as the different roots of the network. It is followed by an overview of the organizational structure.

The Road of Peace is rooted in history. Different roots that follow upon each other shape the rhizomic fundament of the network. It is not something that has been designed, it is a developmental process that is continuously changing on its own. It works, because it originates organically. Up till today ever more roots connect to the network. These roots intertwine and the outcome is more than the sum of the individual parts. In the time that Leo Kornbrust picked up on the idea of a road symbolizing peace, a road was a symbol of communication. In time, this road has developed to be more of a network and in contemporary times a network is the symbol for communication. While the name of this network of international artists is still “The Road of peace’ it would be more accurate to speak of a peacenetwork.

This network consist of partners that sign a ‘charta’: a contract that states the vison, the mission and the values of the organization. Partners sign the contract to commit themselves to the values and the goal of the organization. These values are:

 The encouragement of peace and understanding between the peoples  The reinforcement of conscience of cultural empathy in Europe  To act actively for peace and against war and violence (Charta Road of Peace).

All partners are always responsible for their own art pieces and activities. The board is responsible for the ties and interactions with and among partners. The sculptural street in Sankt Wendel is a physical fundament of the 5500 kilometer road through Europe with more than 500 participating sculptures. It could be seen as a headquarter of the network, because the board members live and work around Sankt Wendel. So how did this network came about? The next section will explore the main roots and history of the network.

Otto Freundlich Otto Freundlich was born in 1878 in Stolp that was then in Prussia (now Poland). As an artist he lived and worked both in Germany and France. Freundlich was a pioneer in the abstract: “The main theme being modern sculpture, and its characteristic spatial development he visualized a row of non-figurative sculptures in an open landscape as concept of ‘a social process in appropriate metaphysical language.’”(flyer Road of Peace). In the original idea of Otto Freundlich it is about accessible tower-like sculptures that are not only made by international known artists, but are also build in cooperation with local communities (website Strasse des Friedens). His life- partner Jeanne Kosnick-Kloss was always very much involved in his work and he shared his vision most often with her. The original idea Freundlich developed was a ‘mountainsculpture’ with accessible towers where both artist and civilians could meet and exchange ideas. He envisioned it with spotlights on top and located in an open landscape. Not in cities, because cities change continuously, but also not too far away from cities so people could easily visit. In the 1930’s the threat of war made Freundlich move to Paris where he felt at ease, but he was in the eyes of the French still a German, so not easily accepted. During the Second World War he was forced to go into hiding. He moved to the Pyrenees, but was betrayed and because he was just above sixty years old directly transported to extermination camp Sobibor. Kosnick-Kloss survived and her further life she elaborated on the ideas of Freundlich. The idea of the two crossing roads must have been hers, because one road symbolizes the liberation. One road ‘the road of human

25 solidarity in memory of the liberation’ lies from west to east, from the Atlantic Coast where the allied forces had arrived to Moscow. The other, from north to south, ‘the road of human brotherhood’ lies from Breda, the birthplace of Van Gogh to Aix-en-Provence where Cézanne lived and worked. The intersection of the two roads lies in her vision in Auvers-sur-Oise and is highlighted by Freundlich’s l sculpture symbolizing his vision: ‘the tower of the seven arts’ (website Strasse des Friedens) renamed by Kosnick-Kloss ‘the tower of peace by the seven arts’. This point of intersection does not symbolize something universal, but is rather personal and romantic. In Auvers-sur-Oise Freundlich and Kosnick-Kloss celebrated many of their holidays and it was a place where they always felt very happy. It lays in a protected nature area, so the idea remains an utopia.

Leo Kornbrust The second important root is the German sculptor Leo Kornbrust. He was born in 1929 and at the age of five kept as a prisoner of war. He was released, but he had to walk back from the middle of Germany back to Saarland where he lived. At a young age he knew he wanted to create things with his hands. After a period of making church benches as an apprentice he realized that he wanted more and he was accepted at the academy of Munchen where he was educated to become a sculptor. When he was a stipendium in Rome, at the Villa Massimo, the German art academy for talented young artist in Rome he read in the paper Karl Prantls call for international artists. This Austrian sculptor organized the first international sculpture symposium. He invited artists from all over the world to work with him in the quarry. The idea of working together in open air attracted Kornbrust, but at the time he did not work in stone yet. Kornbrust returned to Sankt Wendel and worked in his studio in the centre, and later in his second studio, a barn outside the centre, on small stone sculptures.

From friends in Berlin he took notice on what happened in the early sixties in Berlin where many artists protested against the wall being build. They did so by together in open air sculpting art out of pieces of the wall. Again,

Kornbrust admired the idea, but he did not participate. In 1967 he participated for in the symposium organized by Prantl and in 1972 he organized a symposium himself in Sankt Wendel. This was the third international symposium in Germany and the first one ever organized in Saarland. At that period the concept of symposia was a serious way of practicing art. Many famous artist wanted to participate and the symposium was a great success. It is important to bear in mind that at this time Kornbrust had still not heard about Freundlich. At the same time, around 1974, two books about Freundlich were published: one work catalogue by Joachim Heusinger von Waldegg, and second the writings of Freundlich himself. In the same year an opportunity arose in Sankt Wendel. When an industrial site was being enlarged, pieces of sandstone needed to be removed. Kornbrust lobbied with the local government to treat the sandstone very carefully so that it could be used as raw material for sculpturing. Without a determined plan he succeeded and this is how the third root starts to grow.

The Saarland government Plans were developed by the government to restore a walking path in the region for leisure purpose and to boost tourism. A part of this path passed through the symposium that Kornbrust had successfully finished. The first piece of a sculpture road originates here. Kornbrust started to invite international artist to pick stoned that were placed alongside the walking path. When his Berlin friends visited him they told Kornbrust about the bookd they read about Otto Freundlich. Kornbrust was touched by the idea and dedicated, out of respect, a piece of the road to Otto Freundlich. Thus, elaborating on the idea of Freundlich we see here the concept evolving. Not the buildings that Freundlich envisioned, but indicated by the symposium, abstract art began to symbolize the same meaning. So the concept is changing and at the same time more and more people are starting o get involved.

Cornelieke Lagerwaard Lagerwaard came to Germany in 1986 and became director of the Sankt Wendel museum in 1988. She was hired for only a few years, but she remains to be the director of the museum until today. She was fascinated by the sculptures on the road dedicated to Freundlich from the moment she arrived. As a closure of the project an exhibition around it was organized and that became a big event in the museum. She became acquainted with Kornbrust in that period and then it was quiet around the sculptures for some years. In 1993 Kornbrust was visited by some initiators on an art project around the celebration of Franco-German political relations and as well 35 years of cooperation between the French government and the Canadian French speaking community. They wanted to organize a symposium with five young artist from Germany, five young artist from France and five young artist from Canada and asked Kornbrust to take charge. He had been director of the Academy in Munich, and thus had a great network. For six intensive weeks long the fifteen artist were invited in Sankt Wendel to work on stone and conceptual artworks. Although in this period sculpturing was not so much of a popular art discipline anymore and the idea of symposia had led on some kind of inflation, many good and famous sculptors still approached Kornbrust because they wanted to make something in the street.

From here on the network and artworks started to grow. Kornbrust worked on an eleven meter high building, in Salzgitter an artist worked on a steel sculpture and dedicated a symposium to Freundlich in 1999. Hundred more artists participated. The minister of culture in Saarland organized two more symposia in 2001 and 2002 bringing the total of symposia to four. At the same time, one of the friends from Berlin asked to become part of the network because the small stone sculptures that were made earlier, against the building of the wall, fits in the thematic idea. In 2005 the sculpture street was approached by the European LEADER project. In 2007 Luxemburg was the European Cultural Capital and the ministry worked intensively together in the international cross-border region. The LEADER project was a project aimed at facilitating the cultural activities around this cultural year. The Road

28 of Peace had build a good reputation and was asked to participate in the project. This was off course financially very attractive and in the following years the Road of Peace had the opportunity the grow the network further, financed by the government. The amount of a yearly €260 000 made it possible to built a website and to hire one person as supporting staff to run the office. In three years time many developments contributed to the growth of the network. More and more partners wanted to join the network and relations arose in Luxemburg, France, Belgium, the Netherlands and Poland and a documentary was produced by Heleen Bollinger ‘Das geht nur langsahm’. After three years the funding stopped and for the moment the Road to Peace is ran by volunteers.

Organizational structure The organization has a board, members, partners and one employee. The board is formed by the president, Cornelieke Lagerwaard, the vice president, Bertrand Ney, and the treasurer, Claudia with Leo Kornbrust as a honor member. The yearly structural funding of €7000,-- finances the website and one part-time employee, the secretary for 18 hours a week. Members are individuals that sympathize with the idea. Up to now they do not pay contribution. Partners are participating artists or cultural organizations. They sign a Charta to underpin the support of the organizations philosophy. They held responsibility (financially as well as content-wise) of their own projects.

Although the organization exists since a very long time, the organizational structure as it is today has been shaped quite recently. The first structure was given in 1971 when an association was set up to organize the symposium in Sankt Wendel. Leo Kornbrust did not want to be in the board of this association, because as an artist he wanted to remain independent. The notables of the town of Sankt Wendel helped to organize the symposium and activities around it, as board members or members in the association. Leo Kornbrust’s wife, Felicitas was in the board as secretary (personal communication, Lagerwaard) This Association continued the exists after the

29 symposium had finished, to support the sculpture street actively as well as financially.

In 1988 Lagerwaard became director of the Museum in Sankt Wendel and one of the first exhibitions she organized was about the sculpture street. She became a member of the association. When in 2002 the Minister of culture approached the association to become part of a more internationally orientated program, the original members of the association withdrew. Reaching a higher age the growing association became too large for most of them. It was then decided to set up a new association. Thus, from 2004 onward we can finally speak of the association ‘Strasse des Friedens’ or the Road of Peace. Kornbrust became the first Chairman with Lagerwaard as Vice Chairman. In 2013 Kornbrust became Honorary Chairman and Lagerwaard became Chairman. Bertrand Ney became Vice Chairman, he is a sculptor and some of his sculptures are part of the Road of Peace. He is based in the border region, in Luxemburg.

Because Lagerwaard is director of the Museum of Sankt Wendel and because the sculpture street is an important attraction in Sankt Wendel, she can use some of the museum facilities for projects in the Road of Peace as well. Furthermore, the treasurer of the Road of Peace, Claudia Besch-Moutty, works for the museum on the financial department.

The association has around sixty members. These are members that support the work of the association actively or financially. At the yearly assemble around twenty members are present. Besides members, the association also has partners: these are the artists or the professionals in the field that have signed the charta.

The figure below shows the organizational structure schematic.

ORGANIZATIONAL STRUCTURE The Road of Peace THE BOARD

CHAIRMAN HONARABLE €€€€ CORNELIEKE SAARLAND CHAIRMAN LAGERWAARD MINISTRY LEO OF KORNBRUST CULTURE VICE CHAIRMAN TREASURER BERTRAND NEY CLAUDIA BESCH Representative

USCHI MACHER EMPLOYEE KERSTIN € SOMMER

MEMBERS PARTNERS

Networks A small note must be added in this paragraph on the network like nature of the organization. The Road of Peace is a network of international artists and professionals in the field of the arts that have signed the charta to state that they will promote the ideas of the organization. As such, we could see them as ambassadors. These ambassadors use their art works to communicate the ideas of the Road to Peace to the public, but with this ambassadorship they also promote the idea to their own networks. Thus, the ambassadors try to integrate their networks into the greater network of the Road of Peace. In the region around Sankt Wendel the overlap is very intense. The actors involved can work for the Road of Peace and in their own network simultaneously. For

31 example, Lagerwaard as director of the Mia Münster Haus and Chairman of the Road of Peace. Or Bertrand Ney, as a participating sculptor and as Vice Chairman. Second, Sankt Wendel lies in a border region, close to French Lorraine, and Luxemburg. From the Saarland Ministry of culture, Uschi Macher works in this international cross border environment. This could cause some confusion for the reader in the analyses, therefore I want to highlight this here, before we start with the analyses in the next chapter. In doing my research I first visited the French partners. However, because the German partners play a major role in the organization as a whole, in the next chapter I will introduce the German case first to avoid confusion. I will start with analyzing the German case on itself, mainly based on my fieldwork in combination with the taken interviews. Then I will present my findings on the network as a whole, based on the interviews with the same actors in Germany. Following, the French and Dutch cases will be analyzed.

Data analyses In this chapter I will present my findings. First, I will introduce the German case, starting with a close up from the German case on itself and then more broadly how the network as a whole is viewed by the actors I interviewed in Germany. Then, the French and the Dutch case will be introduced.

Germany

Background Sankt Wendel is important because it is the center of the organization. Leo Kornbrust is the initiator of translating the abstract philosophy of Freundlich and Kosnick-Kloss, into something physical and visible. When Cornelieke Lagerwaard arrived for the first time in Sankt Wendel she was touched by the sculptures in the landscape (personal communication Lagerwaard, May 1st 2015) just as how Kornbrust was touched by the Ascension of Freundlich (personal communication Kornbrust, May 27th 2015). Sankt Wendel is the steering center of the organization and the sculptures in the landscape are the roots of the project. Second, the structural funding of the organization comes from the Saarland government. Thus, the board is located in Sankt Wendel, the initiator is located in Sankt Wendel and the most important funding comes from the region.

Who is participating? In Sankt Wendel many actors have been involved, throughout the years and nowadays. The leading actors have been presented in the earlier paragraph on the organizational structure. To give the reader a clear understanding I will present their names and roles here again in the following figure:

Leo Kornbrust Sculptor * initiator * Honorable Chairman

Cornelieke Lagerwaard Director Mia Münster Haus * Chairman

Bertrand Ney Sculptor * Vice Chairman

Claudia Besch Treasurer * employee Mia Münster Haus

Kerstin Sommer Office Manager Road of Peace

Uschi Macher Policy Officer Saarland Ministry of Art and Culture, department of international and European cultural affairs

How do the involved actors and art pieces communicate to the public? In Sankt Wendel the Road of peace is more visible then in France. The sculptures are to be seen in the landscape in the nearby rural area on a walking distance from the city centre. Around the museum information boards informs where the sculptures can be found and he sculpture street and the Road of Peace is given.

Inside the museum at the entrance, which is as well the entrance to the public library, a corner is dedicated to the sculpture street and the Road of Peace: small pieces of sculptures and posters of the sculpture street are shown.

Furthermore, a brochure is available with walking routes and explanation on the sculptures. However, when I tried to find the brochure in the bookshops it was not available. The people in the shop did know what I meant, but they had to order the brochure, it was not directly available.

Finally, one of Kornbrusts pyramid sculptures is placed on a square next to the big church and surrounded by terraces. For Leo this sculpture is an important component of the Road of Peace: It is a pyramid dedicated to Otto Freundlich in four languages (personal communication Kornbrust May 27th 015). German, French, Polish and Russian. These are the linguistic area’s the West-East Road of Peace passes through. Another same pyramid is realized in Moscow and the third pyramid has yet to be realized in Normandy which is expected to be realized this year (personal communication Lagerwaard, May 1st 2015). These pyramids symbolize the beginning, the middle and the end of the Road. There is no sign besides it to explain what the pyramids mean or that they are part of the Road of Peace. However, as Kornbrust explains, the inscribed text on the pyramids should communicate this: “In memory of Otto Freundlich sculptor and painter born in Stolp 1878 died in Majdanek in 1943 to whom the sculpture street is dedicated” (personal communication Kornbrust, May 27th 2015).

Kornbrust does not interpret the pyramids as being real sculptures. He sees them as a means of communication (personal communication Kornbrust, May 27th 2015). This is why he emphasizes the importance of the four languages on the pyramids. Kornbrust explains that these pyramids are the physical pieces on how he developed the ideas of Freundlich in his own interpretation. By using the four languages he wants to communicate the idea that ‘we are all Europeans’

The sculptures were appreciated in the beginning, Kornbrust states, but soon people forget about it. Some people walk by more often and they take pictures, but most people do not care about it. Kornbrust thinks that sculptures are too difficult to understand for people. You really have to be fascinated and you see that only by a few people (personal communication Kornbrust, May 27th 2015). Thus, this finding indicates that solely the abstract sculptures as means of communicating an idea to the public might not be the suitable manner to function as an agent of consciousness.

The few citizens of Sankt Wendel, that I randomly meet (I have talked to about seven people about my research), all know about the sculpture street, but they do all not know that it is connected to the greater idea that the Road of Peace aims to communicate.

Events, overlapping networks and interactions Based on the interviews we can distinguish a number of events that have played an important role in the existence of the Road of Peace. The first symposium in 1971 is an event that realized the physical existence of the sculptures in the sculpture street. The sculpture street had yet no connections with the ideas of Freundlich and the Road of Peace did not exist. However, the respondents all refer to this event as being important. The most active period was from 2005 till 2007 when the Road of Peace received yearly funding of € 260 000 in the European LEADER project for a period of three years and when many events around the organization were organized. Today, the organization is financed by the Saarland government for the amount of yearly € 6000 (and sometimes additional funding for specific projects) and in this context incorporated in the COURAGE project, a project that is directed towards the youth in the border region (Saarland, Luxembourg, Lothringen) around the theme of war and peace. I will analyze these events step by step.

First Symposium The first symposium physically created the sculpture street that was later dedicated to Freundlich. As such it can be seen as the fundament of the larger organization (personal communication Ney, May 31st 2015). All respondents in Germany emphasize the artistic value of the sculpture street. Uschi Macher, policy officer in the Saarland Ministry of Arts and Culture states in her interview that she heard about the project in the 1980’s when she arrived at the Ministry, because it is an artistic project of great value (personal communication Macher, June 1st 2015). Lagerwaard explains “the idea of a symposium was in that time (the 1970’s note of the author) very new and revolutionary. Many sculptors that are famous today wanted to

38 participate” (personal communication Lagerwaard, May 1st 2015). Ney stresses the importance as well: “The idea of a symposium was to create network opportunity, that was, after the war, almost a revolution, it was organized by the artists themselves. The symposium was a success, a few years after the World War with many international people, that worked together, ate together and drank together” (personal communication Ney, May 31st 2015).

However, all respondents also stated that it is something of the past and that this idea does not work nowadays. “In the last twenty years participation in a symposium is not interesting anymore. Sculpturing is not so popular with young artists, they prefer to work with new media and video art” (personal communication Lagerwaard, May 1st 2015). “Nowadays symposia are instrumentalized by politicians. Many cities organize symposia and they invite young artists and they come for a few weeks and then they are gone. But it is not possible to make good work in a few weeks. The symposia have been in the past and now we need to find new ways. We have to built bridges from this idea to develop it further into the future” (personal communication Ney, May 31st 2015).

The sculpture street facilitated interactions in the time that the event was organized and, although not to the same extend, it still generates interaction nowadays. “When artists work together, outside, they are in contact with the public and that creates a relationship between the public and the symposium. But after a while that becomes less because the children of this ‘active public’ do not have a special connection with the sculptures anymore” (personal communication Lagerwaard, May 1st 2015). “The symposium touches people that never visit museums. They go outside walking and ask how the sculptures are made and then they have a conversation” (personal communication Ney, May 31st 2015). However, the interaction that the sculptures could generate today are not automatically. “It is important to revive the interest for the existing symposia. Memory lasts only one generation (…) Didactic measures in schools are not effective, because they

39 do not generate a direct bonding. It is better to organize aimed activities, like a new sculpture, a big festivity, artists that talk about their work. An observation and appreciation that last eternally does not exist. We, the artists, the visitors of the symposium and the people that live around it, are all children of our own time” (personal communication Lagerwaard, May 1st 2015).

The LEADER project In 2005 the Road of Peace was approached by the ministry of culture in Saarland to become partner in the European LEADER project. In 2007 Luxemburg was the European Cultural Capital and the ministry worked intensively together in the international cross-border region. Macher worked for the cultural department and for this occasion brainstormed about cultural projects with a European theme (personal communication Macher, June 1st 2015). They approached the Road of Peace to participate. This was the start of a very active period. The Road of Peace received funding of €260 000 yearly for three years (personal communication Lagerwaard, May 1st 2015). In these years the organization grew and professionalized: (1) an office- manager could be hired for administrative tasks and to maintain contacts with the partners. (2) An international ‘charta’ was designed, this is a contract signed by partners in which they declare to support the qualitative standards and the aims and mission of the Road of Peace. (3) a documentary film has been produced (personal communication Lagerwaard, May 1st 2015). In this period the organization grew and attracted more and more partners. Interaction was high. Projects and travels were organized in Poland (partner that was included in the Road of Peace in the context of the LEADER project), Salzgitter-Bad (a symposium that was earlier included as a partner) and France (like the actors in Poland, a new established partnership) (evaluation report LEADER). Partners were visited and many meetings took place. Exhibitions were organized and sculptures were opened. A website and official communication (logo) were designed and established to reach the public. Between 2006 and 2008, 29 articles were published in regional

40 newspapers and 6 reports were broadcasted on regional television (evaluation report LEADER).

According to Lagerwaard, during this period the organization was run smoothly. The initiatives still came from the partners and the organization could offer the platform (personal communication Lagerwaard, May 1st 2015). After three years the annual funding was stopped, because the LEADER project stopped. It was never the initial idea to fund the Road of Peace permanently, or that the network should be self sufficient, but it is seen as a very active an successful period by Lagerwaard and Macher, because the funding made higer activity possible (personal communication Lagerwaard and Macher, June 1st). They had to let the office manager go and activities and interactions stagnated (personal communication Lagerwaard, may 1st 2015). “(…) without significant activity from the board the network continued to grow: several sculptures were added to the Road of Peace” (personal communication Lagerwaard, May 1st 2015). Second, now that Macher was involved in the Road of Peace, it had raised the attention to the governmental actors and she could realize annual funding of € 6000 later on.

Thus, without structural funding it appears difficult to maintain contact and increase interaction between partners. Macher explains that it is very complicated to find European funding. At het department she notices how professionals in the cultural sector struggle with European bureaucracy. “You need to hire someone specialized to apply for funding and to deal with European bureaucracy. Even bigger institutions like theatres stopped applying for European funding, because it is too difficult and too much work” (personal communication Macher, June 1st 2015). Macher states that it is her deception of the European Union: that there is so little money available for the cultural sector compared to economic projects like, for example, infrastructural projects. In the last year of the LEADER project a grand manifestation was organized in Sankt Wendel (personal communication Macher, June 1st 2015). She found this very successful: the partners of the

Road of Peace had the opportunity to exhibit their work and concerts were organized around it. It attracted many visitors.

The COURAGE project Since five years the Road of Peace receives a small amount of structural funding of € 6000 from the Saarland government. Macher finds it important to support the organization with some structural funding, but Saarland is not a wealthy region, so the amount is low (personal communication Macher, June 1st 2015). On specific projects it is sometimes possible to provide some extra funding. The Road of Peace is incorporated in the COURAGE program. “COURAGE- respect, tolerance and responsibility is not a closed series of events, but it is a process of several years to encourage the cultural actors in the region to deal together and on a new level with the theme war and peace” (policy document COURAGE). It is aimed at the youth to engage them in European society that is based on freedom, democracy, tolerance and solidarity (policy document COURAGE). The Road of Peace is implemented in this program. In September and October 2014 a manifestation like the one in the LEADER project with ten activities was organized by the Museum Münster Haus around an exhibition were partners of the Road of Peace exhibited their art piece (policy document COURAGE). Macher finds the manifestations very important to reach the public, but with the sculpture street the Road of Peace is at the same time a stable element in the program (personal communication Macher, June 2015). Manifestations are mostly temporary projects while the sculpture street is also visible when no events are programmed. “When there are no manifestations the Road of Peace is still an intelligent route, there is a documentary and there are many things that make the Road important to inspire the artists in their ideas” (personal communication Macher, June 1st). The Road of Peace does reach people in a positive way and people find it important. The manifestations attract a lot of people and some people come to see the sculptures as well. But when they walk and see the sculptures people do not understand that it is a route from France to Moscow to symbolize peace. It is thus important that we create a website and that we

42 create institutions to communicate about the Road of Peace (personal communication Macher, June 1st 2015).

Isabelle Federkeil: Bewegt (É)motion

An example of such a manifestation organized in 2014 within the framework of the COURAGE project by the Road of Peace is the artistic project of Isabelle Federkeil ‘Bewegt (É)motion’. In this project Federkeil presents a multimedia artwork that consists out of an installation, a videowork and performance (brochure, Bewegt 2014). For this project the artist took an interest in World War I and the project retakes the image of marching soldiers. She made an automatic machine of old wooden models that were used to make army boots for the soldiers fighting in the War. These models march in the machine and are surrounded by different styles of shoed from all over Europe throughout the ages and combined with performing artists. For the artist, the foot symbolizes human movement and progression. The machine sought interaction with the public: with a foot switch people could turn the machine off and on themselves. The performance that was taken on video in Berlin 9where the installation was shown for the first time) was continuously broadcasted on the wall behind the installation (personal communication Lagerwaard, June 19th 2015). This installation was exhibited in Sankt Wendel

43 and attracted 3500 visitors (personal communication Lagerwaard and Macher, June 1st 2015). It was receives well by the visitors, Lagerwaard exemplifies that, the installation communicates its message clearly and after a short introduction it is easy for the public to understand (personal communication Lagerwaard, June 19th 2015). During this exhibition the performance was also performed life twice, attracting both times about sixty visitors. The installation was, in the framework of the COURAGE project also exhibited in Luxembourg. Federkeil has become partner of the Road of Peace with this installation. She committed herself that for each exhibition and performance she needs to communicate that the installation is a sculpture that is part of the Road of Peace. As such, this installation is the first ‘mobile sculpture’ in the Road of Peace.

It is, according to Macher, important to reach younger people, but then we need to connect the Road of Peace to the reality of these times. It is important to show that it is not a road against the Nazi’s (personal communication Macher, june 1st 2015). Macher sees the future in a stronger connection between the arts and music. Artist should exchange their ideas in an active network (personal communication Macher June 1st 2015). This happens nowadays when artists travel, showing their work in different places to different publics and meat each other and exchange ideas. In this age it is not so important where the partners are located. There are enough stone sculptures and now it is important what takes place around it. New partners bring new ideas and in the centre it is important that they do not let the network go to sleep (personal communication Macher, June 1st 2015).

The future for the network in the perspective of German respondents Lagerwaard uses the metaphor of an amoeba: “When Leo picked up on the idea a street was a symbol of communication. The Road of Peace developed to become more of a network and that makes sense: in our time a network symbolizes communication. Our network is alive, like an amoebe that moves his flexible arms to places where he is fed! For us that means, that sometimes the one partner is very active and then withdraws, while at that

44 moment another partner becomes more active. Poland was very important for a while and now it is Te Netherlands and Normandy” (personal communication Lagerwaard, May 1st 2015). The board in Sankt Wendel is like a spider in the web, they coordinate activities, but every partner is responsible for their own activities. More and more partners join and thousands of people have heard about the Road of peace (personal communication Lagerwaard, May 1st 2015).

Ney has the same ideas about the future of the network. “I think it is now important how we will communicate our organization. We have things that we can show and now we need to work on how to communicate because more and more people are interested. We also have a generational problem, Leo will disappear, we are in the middle and now we need to establish relationships with the younger. We need to show them that the project is open and make sure that the project becomes part of them” (personal communication Ney, May 31st 2015). Ney believes that the organization is now in a key moment. Word of mouth via the personal networks of participating actors like it used to go is not enough anymore because nowadays such communication needs an underlying virtual infrastructure. The organization needs younger actors that understand virtual communities and virtual communication, because the actors involved now are too old to really get a firm understanding of virtual communication. Second, he believes that the organization needs new energy and new ideas that relate to younger artists otherwise it will be the end for the organization. “Leo is at the end of his life and he does not have the power to look forward. We know that this is happening and we know how much time and work is needed. We need people that can do this on a permanent bases. A conductor is needed, you need some control” (personal communication Ney, May 31st 2015). This statement can be supported by the empirical finding that the interactions were more intense and the network thus more active during the period of funding in the LEADER project.

To be able to facilitate interactions with younger people and to control the organization to some extend structural funding is needed. “A minimum of structural funding is needed to let the organization function: to pay for a secretary and to do some publication. There are multiple ways to find money, we have private members and for some projects we could ask for money in Brussels, but there the competition is high. You need someone that understands the administrative bureaucracy of Brussels because that is not easy” (personal communication Ney, May 31st).

Concluding remarks on the empirical findings in Germany In Sankt Wendel, the symposium played an important role in the history of the Road of Peace. In the 1970’s it was a revolutionary way of communication and a first type of international network. However, nowadays the idea is outdated and interactions are not easily facilitated. The fact that it does exist can offer a platform for more modern activity but all respondents emphasize the importance of reaching a younger public and younger partners to built bridges to future generations.

The highest activity occurred during the period that the organization received structural funding in the LEADER project. Interactions were high, events were organized new international partners were attracted and the first arrangements for communication to the public were placed.

The COURAGE project does not offer enough exposure to keep the interaction between partners and involved actors high. All respondents emphasize the importance of platforms of communication by means of (1) staff that can give their full attention to the network and (2) a functioning website.

All respondents emphasize the importance of finding connection with younger generations. They all stress the importance of the existing history and the physical sculptures, but they agree that the Road of peace does not necessarily need to grow in number of sculptures, but in number of activities.

France

Background The selection of the partners in France as a case is not only based on a comparison of ‘most different cases’. It is also important to start the research where the first roots of the project are planted, to get a full understanding of the artistic mindset. Although Otto Freundlich was a German artist, born in Stolp, which is now in Poland, he felt better at ease in Paris where he lived and worked during the 1920’s (personal communication Lagerwaard, May 1st 2015). Freundlich arrived for the first time in Paris to live there in 1909, and from that period onward travelled between France and Germany (Heusinger von Waldegg, 2007: 85-90). It was Freundlich’s sculpture ‘the Ascension’, which is placed in the garden of the museum in Pontoise., that grabbed the fascination of Leo Kornbrust (personal communication Kornbrust, May 29th 2015).

‘The Ascension’

In France, I visited the Bateau Lavoir, where Otto Freundlich has lived for . Equally, I went to Auvers-sur-Oise, where Freundlich often went on holiday

47 with his partner and what was meant by Jeanne to be the crossing point of the two peace roads. Finally I visited as well the two partners in the organization: Musée Tavet in Pontoise and ‘Le Centre Mondial de la Paix’ in Verdun.

In both Auvers-sur-Oise and bateau Lavoir we hardly see traces of the existence of Freundlich let alone the Road of Peace. At bateau Lavoir, where many tourists pass by on a daily basis with many guided tours in many languages, the name Otto freundlich is written in the lists of artists that have lived in Bateau Lavoir, but most attention goes to the infamous Modigliani and Picasso (report Paris)

In Auvers-sur-Oise almost all attention goes to Van Gogh. It is still a village where we can find artists but none of the three people I speak to have ever heard of the Road of Peace (report Auvers-sur-Oise).

Who is participating? The official partners in France that I have included in my fieldwork are ‘Musée Tavet’ in Pontoise and ‘Le Centre Mondial de la Paix’ in Verdun. In the documentary both cases are shown. In Pontoise we see Leo Kornbrust with a model of the Peace Tower in the museum and also the director, Chrisophe Duvivier is interviewed. In this interview he explains the meaning of the tower of the peace by the seven arts in relation to Freundlich’s oeuvre. Today, he is still the director of the Museum.

How do the involved actors and the art pieces communicate to the public? In Pontoise the first floor of the Museum Tavet is dedicated to Freundlich. The second floor is dedicated to his friends and there is work of Kosnick- Kloss, Freundlich’s partner. The two working employees have never heard of the Road of Peace (Report Pontoise).

When I ask about this in the written interview questions to the director, Christophe Duvivier, of the museum he responds:

“I am surprised! But you must have spoken to less qualified staff…. Our guards do not strongly know about our activities or have not understood

48 what you wanted to talk about (at the museum = Strasse des Friedens). However the publications of the Strasse des Friedens are shown in the first room of the exposition”1

This is indeed true, the first thing to be seen in the exposition is a showcase with many books on Otto Freundlich and the books about the Tower of Peace by the seven Arts are shown open to read.

However, no further information on the Road of Peace is provided. Second, the model that is shown in the documentary is nowhere to be seen in the museum. When asked about why this is the case, Duvivier answers:

“<> again I find your question surprising. On one side, it can happen that we expose it, on the other hand, it can also happen that we present it in expositions elsewhere (for example in the exposition ‘Exil’ in

1 4. Quand j’étais lá j’ai parlée avec vos collègues. La réceptionniste et un monsieur dans la salle. Ils ne connaissaient pas du tout la voie de la paix . Quand même le musée est partenaire avec la voie de la paix. Pourquoi vous croirez le personnel de la musée n as jamais entendu de la voie de la paix ?

---Je suis surpris ! Mais vous avez certainement parlé à un personnel peu qualifié... Nos gardiens ne connaissent pas forcément l'étendue de nos activités ou n'ont pas compris de quoi vous vouliez parler (au musée = Strasse des Friedens). Des publications de la Strasse des Friedens sont d'ailleurs dans une vitrine dans la première salle d'exposition.

2012, expositions organized in the national museums in Biot, Nice and Vallauris). Above all, it is not an original piece but a later interpretation of a project of Freundlich. We have a lot of better and more interesting other pieces to expose. It is normal that the documentary puts emphasis on Leo Kornbrust and the Strasse des Friedens…it is a particular point of view on Freundlich. Allow me not to put it in the focal point of our work!”2

In Verdun, the viewer of the documentary can see the artists that produced the sculptures that are included in the Road of Peace by the signing of the charta and the actors around the artists working on the realization of those two artworks. The first sculpture is a metal plate with quotes of letters that have been written by soldiers during World War 1. We also see the students of the Technical gymnasium in Pont-a-Mousson that worked on the production of the plate and state that they feel a little bit like an artist in realizing the work. The second sculpture is a sculpture that consists of ninety porcelain helmets. In the documentary the artist is interviewed and the viewer can see how he produces the work. After the sculpture has been made it is, as shown in the documentary, placed in the interior of the International Center of Peace and the viewer can see it being placed. The flyer that is spread by the Road of Peace shows a picture of the same sculpture, but on the flyer we see it placed outside in the garden of the International Center of Peace.

In Verdun, the experience of my fieldwork is similar to the experience in Verdun. The one working employee at the reception had never heard of The Road of Peace and when I explain that I am coming to see the specific

2 --- « jamais là » : Encore une fois je trouve votre remarque étonnante. D'une part, il arrive que nous la présentions, d'autre part, il arrive aussi que nous la prêtions pour des expositions extérieures (par exemple pour l'exposition « Exil » en 2012, exposition organisée par les musées nationaux de Biot, Nice et Vallauris). --- Surtout, ce n'est pas une œuvre originale mais une interprétation posthume d'un projet de Freundlich. Nous avons beaucoup d'autres œuvres plus bien plus intéressantes à exposer. --- Il est "normal que ce documentaire mette en valeur Léo Kornburst et la Strasse des Friedens... C'est un point de vue particulier sur Freundlich. Permettez-moi de ne pas en faire le centre de notre travail !

50 sculpture that belongs to the Road of Peace he cannot tell me where to find it. It appears that the sculpture is nowhere to be found.

Photo taken at Verdun May 17th 2015, Hartog

Element of flyer Road of Peace

After my visit in Verdun I had email contact with the director of the centre. In answering the same questions I asked the director of Pontoise, it seems that he does not know anything about the Road of Peace. He simply has never heard of it:

“The International Centre of peace, freedom and Human Rights does not have a liaison with the Road of Peace”3

When I refer to the documentary he answers:

“Unknown to me, no relation with the Road of Peace”4

3 Le Centre Mondial de la Paix, des libertés et des droits de l’Homme n’a pas de liaison avec la voie / voix de la paix.

And when I ask if he would be open to strengthening the ties with the Road of Peace he says:

“I have to know first what it is the Road of Peace”5

An explanation for this finding could be that after the partnership was established by the signing of the charta in 2006, the current director is the third director ever since (personal communication Lagerwaard, May 26th 2015).

Events, overlapping networks and interactions The empirical findings do not show any activity at Verdun around the organization after the realization of the Sculptures. There has been activity around the topics of peace, war and the European Union. In three themes, World War I, Human Rights and French-German relationships, three exhibitions are shown and they change every six months. The center attracts more then 60 000 visitors a year, from France, Germany, Belgium and The Netherlands. More than 100 events are included in the annual program (written interview, Hansch, 2015). In the garden there is a educational program for children and also two trees have been planted on different occasions.

4 Inconnu pour moi, pas de relation avec la voie de la paix

5 Il faut déjà que je sache ce que fait la voie de la paix

The left picture shows a tree planted by the Leadership Club of the European school of public administration. The right picture is a tree planted for the occasion of the 100 years remembrance of the start of the Great War. The left text is “To not forget you. To not get us used. Because the union of peoples is the only way towards peace”.

Concluding remarks In Verdun, the idea of peace is communicated, however it is not at all linked to the Road of Peace. There is no overlap between the networks and there has been no interaction since the partnership was established: the response of the current director is a clear indication of that and this was also confirmed in the personal communication with Lagerwaard. The sculpture that is part of the Road of Peace is not there anymore.

In Pontoise the director that has committed the museum to the Road of Peace is more active. In the enquire he send links to websites with examples of events where he participated and spoke about The Road of Peace. In 2014 Duvivier included the Road of Peace in an exposition in Alencon by means of exhibiting the model of Freundlich’s tower and most recently Duvivier spoke about the Road of Peace on a conference in Chartres on May 9th 2015 which

53 is ‘Europe day’. He states that he has many cases and research centers where he could integrate the project, but also that his means are limited. “I have recalled and valued the project many times in the context of many other projects. However, it appears that the reception to these type of concepts by political staff, but also cultural staff, remains limited” (written interview Duvivier, 2015).6 In response of the question whether he would be open to intensify the contact with The Road of Peace he states that “he is remains available but only under the conditions that I am approached in a concrete framework with precise objectives” (enquire Duvivier, 2015)7 He is first and for all a museum conservator, Otto Freundlich being the focal point of his work, but in his opinion the Road of Peace is not the central focus on the oeuvre of Freundlich (written interview, Duvivier, 2015).

The professional network of Duvivier has a small overlap with the Road of Peace. Although Duvivier tries to communicate the idea as much as possible (according to him), there is not enough interaction between the Road of Peace and him to facilitate and support these actions. The concept is not received with great enthusiasm and does not fit well enough in the museum to give it more emphasis. The resources and the means are limited and this withholds Duvivier to implement the project more actively in his network.

In conclusion it seem that the Road of Peace is not so active in France. It was only active in the period that the charta was signed and the partnership was established. The physical artpieces have disappeared from the eye of the public. In Verdun the subject, peace and European Union, are alive but the Road of Peace is non-existent. In Pontoise the Road of Peace is communicated slightly more, but it appears hard to find connections between different actors. There are practical no interactions between the board of the Road of Peace and Duvivier and resources are limited.

6 J'ai néanmoins évoqué très souvent et essayé de valoriser, de présenter la Strasse des Friedens dans le cadre des nombreux projets à l'échelle locale et départementale. Il s'avère que l'écoute pour ce type de concept, de la part des personnels politiques, mais aussi culturels, reste (très) limitée.

7 Je reste comme toujours disponible, mais dans la mesure uniquement où je suis sollicité dans un cadre concret avec des objectifs précis

The Netherlands

Background The partners in the Netherlands are the newest partners in the network. At the moment they are very active and bring new energy to the Road of Peace according to the Chairman and Vice Chairman of the Board (personal communication Lagerwaard, Ney). As stated in the introduction of this research, it is the work of these partners that attracted my attention to the Road of Peace in the first place and it was the enthusiastic explanation of Henk Wijnen that made me decide to use this case for this research. As a side note I must state, that in the beginning of the research my impression was that they have a longer history with The Road of Peace. However, it appeared that they have only joined the network three years ago and during my research it became clear that they did not know about the complete history yet. This is important, because it explains the embryonic phase that these partners are still in. They became partners of the Road of Peace by means of their artistic collaboration on the project ‘Monuments of Mankind’ (MOM) (personal communication Wijnen, May 13th 2015). MOM is a project where Henk Wijnen and Wim van Sijl approach organizations to make group portraits. They started this project in 2011 and in 2012 they approached Kornbrust to propose making such a portrait for the Road of Peace. Wijnen knew Kornbrust via mutual friends and had followed the Road of peace since 1993 from a distance (personal communication Wijnen, May 13th 2015). Kornbrust and Lagerwaard were enthusiastic about MOM and the portrait was realized. I will elaborate on this art piece in the next paragraph.

Who is participating? The participating artists in The Netherlands are Henk Wijnen and Wim van Sijl. They have signed the charta as individual artists, but they also signed a charta as a duo on behalf of their MoM project, Monuments of Mankind (personal communication Wijnen, May 13th 2015). Monuments of Mankind is a project where Henk Wijnen and Wim van Sijl approach organizations to make group portraits. They started this project in 2011 and in 2012 they

55 approached Kornbrust to propose making such a portrait of the Road of Peace. Wijnen new Kornbrust via mutual friends and had followed the Road of peace since 1993 from a distance (personal communication Wijnen, May 13th 2015). Kornbrust en Lagerwaard were enthusiastic about MoM and the portrait was realized. In this period they worked intensively together with the actors of the Road of Peace and in conversations with Lagerwaard and Kornbrust they developed the idea to integrate the MoM work into the Road of Peace as a ‘modern sculpture’ (personal communication Wijnen, May 13th 2015). Second, they decided to commit themselves to the organization on an individual basis to link Amsterdam and IJsselstein (where Wijnen and van Sijl live respectively). As participants, in the next paragraph I will explain how Wijnen and Van Sijl participate to the Road of Peace with their various art projects.

Who is participating? The participating artists in The Netherlands are Henk Wijnen and Wim van Sijl. They have signed a charta as individual artists and they also signed a charta as a duo on behalf of their MoM project (personal communication Wijnen, May 13th 2015).

56 wijnenenvansijl: Monuments of Mankind

Monuments of Mankind, Strasse des Friedens, wijnenenvansijl, Photo: H. Wijnen

MoM is a collaborative project of Wijnen and Van Sijl and this emphasis on collaboration is important, because what they do in this project is to reflect larger groups of people that work together in collective organizations (personal communication Van Sijl, May 27th 2015). In the composition of these group portraits they symbolize the organizational structure at that exact moment. For example, in the above picture Kornbrust is staged at the forefront and Lagerwaard in the middle, pointing towards the tower of peace by the seven arts that symbolizes the presence of Freundlich (personal communication Van Sijl, 27th May 2015). With the MoM piece, Wijnen and Van Sijl have contributed a physical piece of art to the Road of Peace, although it is not a traditional sculpture. This ‘modern sculpture’ is not a sculpture on a permanent location. It is a work that can be moved around easily to be exhibited in different places and smaller reproductions of the work are available.

Henk Wijnen: ‘Reserved #2050’

Model of ‘Reserved #2050’ Photo: H. Wijnen

The project that Wijnen dedicates to the Road of Peace is called ‘Reserved #2050’. This is a sculptural stamp with an intersection of 50-80 meter to be seen from space like a signal. With the text ‘Reserved #2050’ Wijnen makes a statement to reserve the earth for a peaceful future (personal communication Wijnen, May 13th 2015). This stamp will be build out of stones, directly withdrawn from the earth and will be placed in Scotland. The cosmic aspect is essential, to generate a cosmic understanding for the Road of Peace (personal communication Wijnen, May 13th 2015). “What is a street? It is a point of view. It is a depart to the ‘other’, it is a journey or a perspective. With this piece of art I create another spatial understanding both content wise and philosophical” (Wijnen, personal communication May 13th 2015).

This sculpture is yet to be realized, however as a concept Wijnen does exhibit this project with a model and also an artistic presentation of the concept. I will elaborate on this in the paragraph on events, interactions and networks.

Wim van Sijl: Eyes of the Earth: ‘Centre Jhon’

Concept Earth Eye Photo: W. van Sijl www.wimvansijl.eu

Van Sijl dedicates two projects to the Road of Peace. The first project is called ‘Centre Jhon’ and this is a conceptual satellite that has anchored all world religions and philosophies of human kind. It is a sculpture, a metal pyramid shaped installation of 60 meters high and Van Sijl plans to produce six of those sculptures and place one on each continent. A lower pyramid inside the metal installation is accessible and standing on top of the smaller pyramid people can look up and through the metal point of the metal pyramid individuals make contact with ‘Centre Jhon’ and by means of this with humanity. With these tower like sculptures, where people come together he wants to feed the debate on war and peace. In this sense the project suits more into the original concept of Freundlich than into the concept that originated from the commitment of Kornbrust. Second, instead of a European dimension of Peace it develops a more global perspective on Peace.

Likewise to the project of Wijnen ‘Centre Jhon’ has yet to be realized, but Van Sijl does exhibit this project with a model and also an artistic presentation of the concept. I will elaborate on this in the paragraph on events, interactions and networks.

Wim van Sijl: ‘Stichting Boogbrug Vianen’ The second project Van Sijl dedicates to the Road of Peace is the conservation of a steel bridge in Vianen. Van Sijl designed four plans to redevelop the function of the bridge (publication Stichting Boogbrug Vianen, 2015). The bridge was designed in the 1930’s and in threat of war so called ‘casemates’ where implemented in the architectural design. Casemates are empty spaces in the arches of the bridge where weapons could be stored and this was done in defense of the Dutch Water Line. One of the plans for redevelopment is to open the nowadays empty spaces to the public and in this context the bridge could function as a ‘Peace Bridge’: it could serve as interactive space wherein and around people and artists could meet (personal communication Van Sijl, May 27th 2015).

Likewise to the project ‘Centre Jhon’ this project suits more into the original concept of Freundlich than into the concept that originated from the commitment of Kornbrust. Likewise to the above described projects, this project is also conceptual, however Van Sijl does produce communicative instruments about the project.

Before I will analyze the interactions, events and overlapping networks in the next paragraph, I want to make a note here on the translation of the artistic conceptual approach of the artists, that differs from a scientific perspective or the perspective of politicians and policy makers. Van Sijl explains: “The Road of Peace is an abstract idea and I approach it, as an artist, from a different approach than other artists. I approach it as an artist that works with the concept of peace and from my life experience I have a perspective on war and peace” (personal communication Van Sijl, May 27th 2015). For example, when Picasso puts down a perspective on society this is in a way completely different than when president Francois Mitterand speaks about

60 peace. Policy makers can understand that an artist perspective is important and that they cannot create this perspective themselves. An artist can make a translation to emotion and feelings. This is what makes the Road of Peace such an interesting project (personal communication Van Sijl, May 27th 2015).

In conclusion, in The Netherlands two artist are participating in the Road of peace with one joined mobile piece of art and with three conceptual projects that have yet to be realized.

Events, overlapping networks and interactions In the past three years Van Sijl and Wijnen have been six or seven times in Sankt Wendel to speak with Kornbrust, Lagerwaard and other actors and each time they learned more and more about the Road of Peace. The conversations with Kornbrust have lately been difficult, because he is old and his sickness prevents him from speaking clearly (personal communication Wijnen, May 13th 2015). With Lagerwaard they always try to find time to speak with her, but the museum keeps her busy and thus they do not always find time to go into depth (personal communication Wijnen, May 13th 2015). They do have intensive contact by e-mail. Wijnen hopes that Lagerwaard finds time to sit down and talk about the future of the Road of Peace. In September 2015 there will be a meeting with all partners and he hopes that they can propose some ideas to create a positive vibe and energy (personal communication Wijnen, May 13th 2015).

The MoM portrait, ‘Reserved #20150’ and ‘Centre Jhon’ have all been exhibited in Sankt Wendel in 2014 in the Mia Münster Haus.

MOMMoM pieceportrait

Reserved #2050

Van Sijl maquette of Centre‘eye’ sculpture Jhon

Wim van Sijl

Henk Wijnen

Exhibition Road of Peace, composition: R.M. Hartog, Photo’s: H. Wijnen

The MOM work does facilitate some interaction. “As soon as we have finished a new MOM work we send a digital newsletter around to all that ever have participated in a MOM project and the network around them. We always get reactions, also about the Road of Peace, because people want to know what it is. Then we explain what it is or we direct them to the website. “People find it usually very interesting, but they want to know more about what the network does now. We need a more modern website and the website we have now is too much about history while it should be about now” (personal communication Wijnen, May 13th 2015). Wijnen believes that in the future the website should serve as an interactive tool, but therefore you need an employee to maintain the website and now there is no money to pay an employee. Van Sijl states that during the exhibition in Sankt Wendel, Wijnen and Van Sijl brought the idea to Lagerwaard to place reproductions of the portrait all over Europe where partners are located. The ultimate goal would be that a reproduction of the Road of Peace would be in an official building of the European Union. It could bring a personification to the project of the

Road of Peace and it can bring a connection between the public and the organization. However in addition, a good website is needed to help in this translation (personal communication Van Sijl, May 27th 2015).

As stated in the introduction, in a way it is the MoM peace that originated this research: through the MoM portrait that Wijnen and Van Sijl made for the art club ‘Arti et Amicitiae’ and the reproduction that was then exhibited in the club made me ask about the Road of Peace. When Wijnen explained me this history I was fascinated enough to do my research about this. Thus, the MoM peace brought a range of interactions reaching eventually the networks of the artists and in this specific case my network as well. However, we cannot predict what the future outcome of these interactions will be.

‘Reserved #2050’ has not been physically realized yet, but it has been included in some events besides the Sankt Wendel exhibition. The print of the model stamp with an intersection of 3 meter is exhibited on the walls of an old prison in Janov Lubelski, Poland as shown in the picture below.

Photo: H. Wijnen

A print like this will be exhibited in the München Biennale in August 2015 and Wijnen is applying to exhibit the print in Scotland as well.

“In the reservation project I built virtual works that can be found on the internet and photo’s that can be exhibited (personal communication Wijnen,

May 13th 2015). Wijnen gives presentations where he talks about the project and shows sketches and posters (as shown in the picture below), then the public always responds and “who knows what can be picked up in that way” (personal communication Wijnen, May 13th 2015).

Poster ‘Reserved #2050’ by H. Wijnen

However, Wijnen also states that he should be more active in doing presentations and in giving interviews to newspapers and magazines. The problem there is, that Wijnen is not a reporter, he is an artist. It is not his

64 strength to translate his visual work into words. He also feels that there is never enough chance to really go into depth and that does not serve his work (personal communication Wijnen, May 13th 2015).

Wijnen does notice surprised and admiring response when people hear about the Road of Peace, especially when they hear how much energy the many actors have given to the project for such a long time. For example, when he invited about forty people in his studio to broadcast the documentary about the Road of Peace to his visitors, the public was amazed . They wondered where the energy comes from to produce a film that took five years to make it and where the energy comes from to be active with such an idea for more than forty years (personal communication Wijnen, May 13th 2015).

As stated before, likewise to ‘Reserved #2050’ Van Sijl’s project on the bridge in Vianen is conceptual. While the bridge does not serve as a physical Peace Bridge yet, Van Sijl does communicate about the project and as such he promotes the idea of the Road of Peace within his network. At this point in time the project of Van Sijl of the Peace Bridge in Vianen could be a crucial element. It was the idea of Wijnen to implement this project into the Road of Peace. For the last seventeen years Van Sijl tries to prevent the bridge from being demolished. For the Ministry of Infrastructure and the Environment the bridge is simply seen in the perspective of an infrastructural policy issue. However, when the bridge will be framed as a Peace Bridge it could just as well become a cultural issue and the Ministry of Culture will then get involved and approach the project from a different perspective (personal communication Van Sijl, May 27th 2015). Van Sijl has noticed that the more he speaks about his redevelopment proposals the more and more actors, like for example the Major of Vianen, local government officials and local pressure groups take on a positive approach the bridge becoming a Peace Bridge. Van Sijl asked Lagerwaard to write a document assigning the Bridge as a Peace Bridge in the broader project of the Road of Peace. She will do this in the coming months and with this Van Sijl will continue his lobby towards public officials and he will approach the media to continue to try to realize

65 this project. Up until now, in his publications with concepts for redevelopment the Road of Peace is mentioned and by means of these publications and personal meetings with Van Sijl, policymakers, politicians and action groups get informed about the Road of peace.

Van Sijl believes that if the bridge in Vianen would be designated as a Peace Bridge, this could generate media attention for the project itself but then also for the Road of Peace. A document of Lagerwaard designating the Bridge as such could be crucial and they are in the middle of this process of physical connection. “The roots of the Road of peace are in the history of Freundlich, his model and then Leo takes over and the story continues, but Leo’s story is about to end and then it continues to new stories based on new roots” (personal communication van Sijl, May 27th 2015).

Likewise to the history of the Road of Peace, this project is one with a long history that Van Sijl has put energy in for many years. It is not stated that this project will be realized and there is no empirical evidence that shows the project does stand a chance to be realized and if it is to be realized that the bridge would serve as an agent of consciousness. Second, the reader may wonder why, if this is a crucial moment, a document from the Road of Peace with an argumentation on integrating the Vianen bridge into the Road of Peace should take so long to be produced. I need to elaborate on this issues in the context of this research a little bit further here.

As a researcher I have to deal again with the translation on the way artists work and the way I need to deal with my empirical findings as a scientist. For Van Sijl, the realization of the Peace Bridge is not the sole goal to realize his artwork. He includes the process of realizing this in his conceptual art with the goal to approach issues as an artist and translate political views into something that includes emotions (personal communication Van Sijl, May 27th 2015). Thus, as a scientist I de not make statements on whether this project is successful or not, now or in the future, simply because there are no empirical findings on the extent to which it is or could be successful. That

66 could only be measured if the project is to be realized, in the future, with a different research design.

On the second remark, from the perspective of a policy maker, it appears very amateurish that producing a document that is stated as crucial in this moment of time, should take months. This is a crucial point in my empirical findings in the context of this research: all actors involved are in some way amateurs. They do have professional knowledge about their profession as artists or museum conservators which is the grand added value of the entire project, but they do not have professional knowledge about public management, public policy, nor are they organizational experts. The involved actors all have full time jobs in their own field of expertise and they participate in the Road of Peace on a more or less voluntary bases. If the network ought to be professionalized they need professionals that can do so and in that case they need to have the financial means to pay these professionals.

Another note must be stated about my expectations on this case when I started this research. Wijnen was the first person to introduce me to the Road of Peace and by his enthusiasm I wrongly interpreted his knowledge about the Road of Peace as an organization. As stated in the background introduction of this chapter, Wijnen and Van Sijl have only recently become active partners in the organization. At this moment Wijnen is still trying to understand what his role is as ambassador and what his meaning is by the signing of the contract (personal communication Wijnen, May 13th 2015). This needs to be the first step and until now his understanding of the meaning of the Road of peace was not sufficient to really promote the idea among others. “Our goal is that yet no one in Amsterdam knows about it, but people should, I should have invited the major. Now this plan needs to be developed with other artists” (personal communication Wijnen, May 13th 2015). Van Sijl states as well that he remains to find the meaning of his ambassadorship for the Road to Peace, before he knows how to interpret the role of his art pieces and himself as an actor (personal communication Van Sijl, May 27th 2015).

In conclusion in The Netherlands the Road of Peace is more alive among the partners, in comparison with the other cases. The partners have interaction with the board in Sankt Wendel and in interactions with actors in their individual and mutual networks they speak about the Road of Peace often. They are ambitious in implementing their projects into the Road of Peace and vice versa. They do share the ideas that the Road of Peace aims to communicate, however they feel that they are yet not long enough involved to really understand the full meaning and feel therefore not ready to act as a full ambassador. When they do talk about the Road of Peace they experience positive response, but the problem they encounter is that the emphasis of the communication tools in the Road of Peace is too much in the past, while people are more curious what the Road of peace means and does now. Both respondents emphasize the importance of a better functioning website to facilitate this. The projects both artists are working on offer some perspective for the future, the enthusiasm is alive and there is a possibility they will participate in some future events, however these projects are not easy to realize and for now we cannot with certainty predict them being successful, let alone predict how these projects will communicate to the public.

Conclusion and reference This chapter will present the conclusions that can be drawn from the empirical findings in this research. I will answer the research questions and give some proposals on (1) the functioning of the organization and (2) how these findings contribute to the scientific debates on transactionalism and network theory. I will include some suggestions for further research.

1. What is the historic background of the Road of Peace and how is it organized? The Road of Peace has a long rhizomic history where international artists have participated together, so that the organization could grow to what it has become: based on the philosophy of Otto Freundlich a street of sculptures is dedicated to the idea of promoting peace among the peoples of Europe. In the 1970s a street was a symbol for communication. Leo Kornbrust has been an active artist during his lifetime to promote this idea and he managed to involve many different international actors. Nowadays, in a time that a network symbolizes communication, the organizational structure has developed and we can speak of an international network of artists and professionals in the field of arts that continue to promote Peace in Europe with a steering centre in Sankt Wendel, the hometown of Kornbrust. This steering centre is managed by a small board with one part time office manager and financed by the Saarland government with an annual funding for the amount of € 6000.

2. How active are the partners of the Road of Peace in France, Germany and The Netherlands? The actors in Germany have been very active in the past. The original symposium in the 1970s attracted many famous sculptors and up till today the street of sculptures is visual in the landscape. During the period of three years, when the organization received funding within the framework of the LEADER project, the activity around the Road of Peace is more intense. Partners have increased interactions, a documentary is made, and the public is reached by the activities organized by and with the organization. Today,

69 activity decreased. The actors in the board put time and energy in the organization, but at the same time their professional careers are demanding. Within the framework of the COURAGE project some activities are organized and they do reach the public in a positive way.

The COURAGE project does however not offer enough exposure to keep the interaction between partners and involved actors high. Respondents note that this low activity in interactions is caused by the absence of platforms of communication: a full time employee could increase interactions by maintaining contacts with partners on a regular bases. A better functioning interactive website could also improve intern communication and increase interactions.

In France, activity is almost nonexistent. The case in Verdun shows no connection at all to the Road of Peace. The director of the International Center of Peace in Verdun is not even aware of the existence of the Road of Peace and the partner. The case in Pontoise shows only a vague connection to the Road of Peace. The director does participate in some events and speaks about the Road of Peace. He would be happy to integrate the Road of Peace within his own network, but his means are limited. He does remain available as ambassador of the Road of Peace, but the initiative must be from the Road of Peace, with precise objectives in a concrete framework. When the documentary was made in the period of the LEADER project, interactions between actors in France and Germany were facilitated. Today, almost all interaction disappeared.

In The Netherlands the partners are active, although they do not fully understand their role as ambassador yet. With the art projects they dedicated to the Road of Peace they participate in events and they are active in speaking about the Road of Peace to the public. The MoM portrait is actively presented to the actors in the artists’ networks and causes interaction with the public. For example it has motivated me to write this thesis on the Road of Peace. The other artistic projects of the artists are yet to be realized, but

70 the conceptual development does cause some interaction between the artists, the concepts of the works and the public.

3. How do the actors and artworks communicate with the public?

In Germany, the sculptures that originate from the first symposium in the 1970s, are still visible in the landscape. The fact that they are there could offer a platform for activity. All actors in Germany emphasize the importance of reaching a younger public and younger partners to build bridges to future generations. Respondents agree that the physical sculptures are important, but today it is more important to organize activities and manifestations to reach the public, the number of sculptures does not necessarily need to grow. The respondents emphasize the importance of platforms of communication by means of (1) staff that can give their full attention to the network and (2) a well-functioning website. In order to professionalize as a network structural funding is needed to coordinate the infrastructure of the network on a more permanent bases.

In France, the art pieces do not communicate to the public at all. Only one actor communicates slightly about the Road of Peace to the public. The Road of Peace is not received with great enthusiasm and the resources and means to promote the Road of Peace more active are limited. Although the actors are open to the idea of the Road of Peace, the lack of communication between these actors and the board of the Road of Peace prevents these actors to be actively involved.

In The Netherlands the actors communicate more actively. When they talk about the Road of Peace they experience positive response, though they emphasize that the communication tools in the Road of Peace are too much pointed to the history of the organization. A better functioning website is needed to communicate to the public what the Road of Peace is and what its meaning is in today’s context. The role that the conceptual art projects of

71 both artist will play cannot be predicted. Both artists experience that the now more amateurish driven network blocks progression. For example, financial resources and time are limited with the effect that plans progress only slowly.

To sum up the above findings in the three cases:

 The art pieces do not communicate to a great extent and this communication does not go automatically: interaction with the public needs to be facilitated with activity and communication around the art pieces.

 All respondents emphasize the importance of better communication tools like a well-functioning interactive website.

 All respondents recognize the problem that means and resources are limited. Structural funding could help the network move forward and could professionalize the organization. An example is the period of the LEADER project: the empiric findings show that during this period (1) activity was higher both between actors in the network as well as to the public and (2) some tools were brought in to professionalize the network like the establishment of a website, the designing of the charta and the production of a documentary.

 All respondents feel the urge to reach a younger public too built bridges to future generations. Younger artists should participate and the theme of peace should be approached in a different way, a perspective to the theme that relates to younger generations.

Before answering the fourth sub question I will formulate an answer to the first part of the main question based on the above presented findings.

Could a network organization like the Road of Peace be seen as an agent of European consciousness and contribute to a sense of common European culture? As Shore defines, a European agent of consciousness helps to engender awareness and promote the European idea. Based on the empirical findings of this study the Road of Peace does not function as a European agent of consciousness because it does not communicate and thus does not promote the European idea. We should then ask the question why the Road of Peace does not communicate and promote the European idea. The European idea is intrinsically connected to the Road of Peace and is manifested by the signing of the charta. However, sculptures may be too abstract to serve as a communicative tool to promote an idea. Though, modern approaches on art, like installations, performance and manifestations do get the attention and appreciation of the public. As argued above in the conclusions of the empirical findings in this research the communicative structure of the organization could be improved by additional funding. Thus, although the empiric results of this study do not show that the Road of Peace contributes to a sense of European culture today, I cannot state as firmly that it could never serve as a European agent of consciousness in the future. Nor can I firmly state that it will serve as a European agent of consciousness when the funding is provided. However, if funding is provided to give the network a chance to become a European agent of consciousness some recommendations can be stated based on the findings of this study.

 If structural funding would be used to build an infrastructure of communication, the board of the Road of Peace could facilitate interaction in order to promote the European idea. It should set a framework with precise objectives to facilitate the partners as ambassadors of the organization. A well-functioning interactive website is key.

 A younger public and younger participating artists should be attracted in order to build bridges to future generations. The concept of peace should be approached in a perspective that speaks to the societal problems the generation of today needs to deal with. The art pieces participating in the Road of peace should speak to the contemporary public.

In the light of the conclusions of Kuhn a number of notes can be made with regard to the Road of Peace. As introduced in the theoretical chapter of this research she tries to solve the puzzle on why transnational networks and activities that have been proliferated, have not been accompanied by the augmentation in European identification,

Kuhn concludes that only a small elite of highly educated young professionals interact frequently in transnational activities and these elites come predominantly from rich countries. People that do not interact in transnational activities are more Eurosceptic. Therefore she states that it seems useful to promote transnational interactions especially among the lower educated and poorer members of society.

I argue that a more dynamic and young approach in the Road of Peace could increase transnational interactions among the lower educated and less wealthy members of society. A sculpture street is outdated and does not reach the public. Sculptures are too abstract for people to understand. However, an installation like Federkeil’s, which is the first moving sculpture in the Road of Peace, is appreciated by the public and its meaning is easy to understand. As a network the Road of Peace can bring art to the people, including the lower educated and poorer members of society. Only if the network is professionalized and the above stated conditions are implemented the Road of Peace might increase transactional interactions and as an agent of European consciousness promote the European idea.

This is however not a guarantee, thus if the network will be given a chance to become a European agent of consciousness, it needs time to develop and

74 future research is needed to evaluate whether the network is able to communicate better to the public. The empirical findings of future research could add to a broader understanding of how European agents of consciousness communicate.

4. Should this initiative be supported by (European) policy makers?

As stated above, based on the empirical findings of this research, the Road of Peace does not function as a European agent of consciousness at the moment. The question remains whether it has the potential to become one in the future. The idea of the Road of Peace does speak enough to people to devote their time and energy to the project. It is an organization that continues to develop into an extended international network, based on common ground that is manifested in the signing of the charta. This common ground is enough for participating artists to become partners in the organization and to be active, however it is not communicated to the public. The different roots of the network that are connected to each other by the signing of the charta and build forward on the original concepts of Freundlich and his partner and Kornbrust can be seen as the rhizome. The partners are the knots in the network, some are active, some are not. To activate all the knots some minimal steering from the center is at least needed. In order to communicate the idea to the public, funding needs to be more structural instead of project based to provide the steering center with the basic means and resources to be able to steer. This finding can be related to network theory in general: although bottom up initiatives can be supported and grow without central steering, some coordination is needed from the center in order to facilitate interactions and keep the different knots in the network somehow connected. Only, then a network can become a working network and with the total network that is then more than the sum of all individual knots, collective objectives can be realized bases on a common ground. In formulating an advice to (European) policy makers, the findings of this research do not prove any certainty in terms of future output.

However, the quality of this network is in the intrinsic value of the network as it is originated and continues to develop. Therefore, its outputs can and should not be predicted. It only needs time and trust in order to professionalize so that its scope could also develop.

Literature and reference sources

Articles

 Becker, H. S. (1974). Art as collective action. American sociological review, 767-776.

 Rhodes, R.A.W. (2007) Understanding governance: Ten years on. Organization studies 28, 1243-1264

 M. van der Steen, R. Peeters & M. van Twist, De Boom en het Rizoom: overheidssturing in een netwerksamenleving, essay in opdracht van het Ministerie van Wonen, Wijken en Integratie, NSOB 2010.

Books

 Boeije, H. R. (2005). Analyseren in kwalitatief onderzoek: denken en doen (pp. 152- 153). Den Haag: Boom onderwijs.

 F. Devine in D. Marsh and G. Stoker (eds., 2002) Theory and Methods in political Science, New York: Palgrave Macmillan.

 Eilstrup-Sangiovanni, M. (2006). Debates on European integration: a reader, European Union series.

 Kickert, W.J.M., E.H. Klijn, and J.F.M. Koppenjan (eds.,1997) Managing Complex Networks. Strategies for the Public Sector. London: SAGE Publications.

 Shore, C. (2013). Building Europe: The cultural politics of European integration. Routledge.

Internet

Internet www.europa.eu/about-eu/eu-history/index_en.hfm, last visit 9 march 2015 www.strasse-des-friedens.net, last visit 9 march 2015

Rapporten & publicaties

 COURAGE Respect, Toleranz und Verantwortung. Ministerium für Bildung und Kultur. Saarland

 Endbericht LEADER. Europäische Skulpturensrtasse des Friedens

 Lagerwaard, C. Isabelle Federkeil. Bewegt. Museum St. Wendel 2014

 Sijl, W. van. De Viaanse oversteek. kathedraal van staal. Stichting Boogbrug Vianen 2015

Interviews

 Kornbrust, Leo. Honorable Chairman Road of Peace & sculptor, May 29th 2015

 Lagerwaard, Cornelieke. Chairman Road of Peace, May 1st 2015

 Ney, Bertrand. Vice Chairman Road of Piece & sculptor, March 31st 2015

 Macher, Uschi. Policy Officer Ministerium für Bildung und Kultur Saarland, June 1st 2015

 Sijl, Wim van. Artist, May 27th 2015

 Wijnen, Henk. Artist, May 13th 2015

Written interviews

 Duvivier, Christophe. Museumdirector Musée Tavet. May 2015

 Hansch, Philippe. Museumdirector Centre Mondial de la Paix, May 2015

List of consulted literature and sources

 Bohnen, U. (1982). Otto Freundlcih Schriften. DuMont.

 Hartmann, W., & Pokorny, W. (1988). Das Bildhauersymposion.Verlag Gerd Hatje.

 Heusinger von Waldegg, J. (1978). Otto Freundlich. Rheinland Verlag Koln.

 Heusinger von Waldegg, J. (2007). Otto Freundlich (1878-1943) Leuchtturm der sieben Künste Ein utopisches Denkmal. Krüger Druck + Verlag.