Concrete art in Cologne: Why a car became a monument for eternity

Concrete art in Cologne: Why a car became a monument for eternity

What does a car from 1960 do on the Hohenzollernring in Cologne? The answer is simple: it is part of the artwork “Standing Traffic”, created by Wolf Vostell. This extraordinary concrete sculpture is not only reminiscent of a vehicle, but also reflects the social challenges of the 1960s. When the number of registered cars in West Germany exploded from 4.5 million in 1960 to 9 million in 1970, city planners responded with the concept of the “car-friendly city”. But what was left behind was often a deterioration in the quality of life in urban areas.

Vostell began his project in October 1969 on Cologne's Domstrasse, where he cast his Opel Captain in concrete. The first public announcement was made on October 2, 1969, followed by an elaborate process that documented the car's embedding in concrete. A video captures this creative act and today attracts the attention of passers-by. His idea was to present the work of art in a “park row”; However, this met with mixed reactions among the population. Many criticized it as a traffic obstruction, which ultimately led to the sculpture having to leave its original location because the public order office did not accept the loss of parking space.

An impressive piece of history

In 1989, the 15-ton sculpture found its new home on the Hohenzollernring, where it has since become one of the most famous works of art in Cologne. “Stationary Traffic” is not just a sculpture; it also represents the transformation of mobility and consumption and is valued by the city's art lovers. Vostell created a similar installation called “Concrete Traffic” in Chicago in 1970, which encased a 1957 Cadillac DeVille in concrete. Both works address the transformation of moving objects into immovable monuments and contribute to the discussion about our way of life.

The continuous interaction of art with urban space is more than just aesthetic. According to the analyses Schader Foundation Public art is not only visible and accessible, it also appeals to people who have little interest in art. Vostell's work is an example of the engagement with the city's social issues and encourages people to think about their individual approach to art.

The fate of “stationary traffic”

The sculpture was restored in 2023, but a planned move to a parking lot near the Museum Ludwig failed to materialize due to a lack of space. These recurring debates about the location and function of sculpture highlight the challenges facing art in public spaces. It remains to be seen how the fate of “Ruhender Verkehr” will develop and whether the people of Cologne are still willing to deal with this extraordinary work of art.

Wolf Vostell's “Standing Traffic” not only represents a bygone era, but also continues to challenge one's own mobility and the way we deal with urban space. Because in the end the question remains how much space we want and can create for art in the cityscape. Wikipedia has aptly summarized this as both the art and the place are constantly changing over time.