The new university library of the University of Amsterdam (UvA) on the site of the former hospital Het Binnengasthuis was opened last September 1. It has become a special place, the university has connected three building parts - the Second Surgical Clinic, the Nurse's House and a new building part - in the heart of the city center by a gigantic canopy of glass and steel. Here over 1,100 students can study simultaneously. All in all, an ambitious project, and with it came an art commission. Esther Didden talked to artist Lynne Emptiness.
The conversation with Lynne Leegte takes place a few weeks before the opening. After many years of renovation and construction, only the final details are being worked on before the library can be inaugurated. In any case, the exterior facade on the Nieuwe Doelenstraat and Binnengasthuisstraat side is already very beautiful: 3D printed letters in twenty-four languages form the phrase "Read it, it doesn't say what it says," by poet and playwright Martinus Nijhoff.
In late 2019, Leegte learned that outgoing University Library Director Maria Heijne wanted a work of art for the new University Library as a parting gift. Heijne had also indicated that Leegte should create this artwork. After all, many years earlier (in 2013) she had created the installation The library of Emptiness that had made a great impression on her. Anyone who steps into this library enters the year 1868. Tall wooden cabinets, heavy tables, display cases and an open floor with balustrade, are the setting for the works of Linnaeus and letters of Charles Darwin, among others. An ideal setting for Leegte's serene work. In her work, she frequently makes connections to the past, old masters and craftsmanship. Her installation in this library was subtle and consisted of a few petrified books. The work did not stand out tremendously until the observant viewer realized that there were some white book bindings among the rows of books. Elsewhere, a white book lay open on a table. These books of alabaster looked deceptively real, often including an excellent card indicating that the book needed restoration. Heijne had seen this work by Leegte and had not forgotten it.
Leegte was invited to visit the university library under construction. Protected by a helmet, she visited the construction site and the stairwell because the university wanted a work of art by her there. Other locations were also possible, but she actually agreed that this location could be a very suitable one. The daylight falls beautifully in there.
In her work, she frequently makes connections to the past, old masters and craftsmanship
However, the available art budget had to be increased if she wanted to create something significant. Since a university is not a legal entity, applying for grants is not easy. Eventually, the University Fund submitted an "Art Assignment" application to the Mondriaan Fund and it was honored. Leegte conceived an artwork consisting of fifty-seven books made of alabaster scattered through the stairwell. Each floor was given its own set of books. It starts modestly with seven books, then up the stairs, and there is a composition of sixteen books and finally, on the top floor, an "explosion" of books. The stone type alabaster is a common material in Leegtes sculptures. The stone has a certain degree of transparency, especially when sunlight falls on it as it does in the stairwell, giving the work both a sensitive and robust character. The books are chemically anchored to the wall.
Most of the fifty-seven books have an "old look," as if they were made of leather with thick horizontal bands across the spine. Leegte says she has a great affinity for historical books because they are crafted. Books symbolize knowledge and contemplation. Leegte makes the alabaster books with the same craftsmanship as the bookbinders of yesteryear. It is a meticulous and intensive work to arrive at the fragility and serenity that so characterizes her work.
Leegte says she has a great affinity for historical books because they are crafted
The entire renovation and construction process of the university library was significantly delayed, which actually suited Leegte just fine, she says. Making the books should in no way become routine. Now she could spread the books out over a longer period of time, allowing her to start a sculpture from scratch each time and take her time. Well before the opening, her books were fixed in the stairwell. The height of the books was carefully determined; a tall student could just barely reach them with a stretched arm. The cabinets in the long hallways are filled with books at this stage. Walking through a building that is preparing for thousands of students and where it is still relatively quiet is a privilege. Studying here soon will certainly be too.
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