What is a previous flow

Stones by the river

The artists and their works

"Archaic Traces" by Isabelle Federkeil

I.sabelle Federkeil, for example, repeatedly addresses human interventions in nature in her work. The question of the extent to which culture and nature connect with one another, compete with one another or even have a destructive effect on one another has also occupied her with the stone entitled "Archaic Traces".


"Stone at the mouth of the Saar in the Moselle" by Christoph Mancke

A little further on, at the confluence of the Moselle and Saar, Christoph Mancke has created a place of calm and meditation. The motif of the mouth is taken up here in the shape of the stone, at the same time the basic geometric shape of the triangle is one of the oldest symbols of mankind.


"Head fragment" by Karl-Heinz Deutsch

Below Wasserliesch we find the "head fragment". Karl-Heinz Deutsch places people, more precisely the human skull, at the center of his sculptural work. Its visor head is made of sandstone, but the smoothly processed surface no longer allows any concessions to the natural shape of the stone.


"Joint sandstone with a hollow shape" by Albert Hettinger

Albert Hettinger split a large sandstone block and symmetrically carved out a geometric shape in both halves.

The stone was then pushed back together and now hides a secret - invisible from the outside. The artistic intervention could only be experienced for a short time during the 1999 symposium and is now forever enclosed under the protective cover of the stone.


"Engel" by Georg Ahrens

Georg Ahrens stone "Engel" reminds strongly of the past of this region, in which already in Celtic times cult stones were erected, menhirs or dolmens, which as "heavenly pillars" marked the connection lines between earth and heaven and those of the people as the seat of the Gods were worshiped.


"Au bord de l'eau" by Bertrand Ney

In his work "Au bord de l´eau", the Luxembourg sculptor Bertrand Ney refers to the river that separates or connects Luxembourg and Germany, depending on the point of view of the beholder. The two-part work has found its place directly next to the landing stage for the ferry that carries people over and over every day.


"Big pointer" by Jürgen Waxweiler

Jürgen Waxweiler's work deals with people, whom he symbolizes in his sculptures through the head or - as in this case - the hand as pars pro toto. It is the confrontation with the self, with one's own humanity, a topic that has moved artists to a certain extent since cave painting. The natural form and color of the workpiece flows into the design concept, so that it is, for example, in the case of the "large pointer".


"Knee with joint" by Hartwig Mülleitner

The Austrian sculptor Hartwig Mülleitner defies clear classification into plastic or sculpture, because he combines his work from several elements, so that one can also speak of a built-up work, i.e. a sculpture.


"Character" by Willi Bauer

The "sign" of Willi Bauer on the banks of the Moselle in Nittel has a strict tectonic structure and is reduced to essential basic forms. This work of art, which initially looks almost like a functionalist construct, is nevertheless able to surround itself with its own aura, an aura that Walter Benjamin seemed to have lost for the work of art "in the age of its technical reproducibility". This "aura" is one of the sensibility, that of the felt - and not that of the calculated.


"Waymark" by Martine Andernach

The strict sculpture "Wegzeichen" by Martine Andernach consists of the same material as Willi Bauer's "zeichen ", a light granite from Sardinia. Towering high and emphasizing the vertical, it contrasts with the broad river and forms the opposite pole. Similar to how you sometimes squint your eyes up to a slit or use your hand like a telescope to see essential things more clearly, a narrow slit between the two elements pushed together allows a new view of the river and the landscape behind it.


"Culture structure" by Thomas Föhr

Thomas Föhr's stone "Kulturstruktur" on the Moselweg between Wincheringen and Wehr is very reminiscent of the landmarks or emblems of the Middle Ages with which a certain point or an area was marked in its shape and its restrained, only superficially relief design. He uses the archaic design language of ancient stonemasons, as we find them in a similar form on Roman sarcophagi and with these geometric patterns creates an almost abstract representation of the Moselle landscape surrounding the stone.


"Impressioni distratte" by Claudia Farina

A few hundred meters further on, we come across the sculptures by the Italian artist Claudia Farina. "Impressioni distratte", which can best be translated as "scattered impressions" or "fleeting impressions", is the title of the two-part work, homage to the fishing boats that the artist sees from her room window on the beach.


"Heaven Ladder" by Hubert Maier

The "Heavenly Ladder" Hubert Maiers rises below the village of Wehr and marks - more clearly and even more demanding than the angel sculpture by Georg Ahrens or the "Big Pointer" by Jürgen Waxweiler - a possible connection between heaven and earth. An ancient motif that we already know from the Old Testament with Jacob's ladder. Jakob saw this ladder in a dream and as in a dream it stands opposite the viewer, withdrawn from its actual function. Climbing the sky is only possible in a dream. The real steps of the monumental work of art are also not to be walked on.


"Prière de toucher" by François Weil

François Weil's kinetic work "Prière de toucher" is in sight of the "Heaven Ladder". Touching them sets them in motion as if their natural weight were not there. Like Hartwig Mülleitner's "Knee with Joint", this work cannot be clearly assigned to "sculpture" or "plastic". It moves on the border between, because basically it connects the two. The artist respects the stone as a naturally grown material as something so perfect in itself that he leaves it largely in its naturalness, changing it only with minimal interventions. That is the sculptural part.


"Two waves" by Susanne Specht

Susanne Specht's work in the Moselle floodplains near Wehr is entitled "Two Waves". Spread out wide, the two stones rest next to each other and invite the visitor to sit down and relax. The bench or the individual seat are not just a form, but also a well thought-out function.


You can find an overview map of the locations here