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Various locations

Bidonvilles series

Bidonvilles expand further on the study of livability in today's context. Different skyscrapers and dwellings embody diverse forms and shapes but they are still inherent to the same architectural context. Bidonvilles are archetypical houses as a parody on the way people live now. Cities are developing with inexhaustible fervor. Without thought or a vision of sustainability, houses are rapidly built one next to another; the functionality of the buildings, streets, and parks in total in the urban settings are not fully considered. Bidonvilles tranquilize or accelerate this process intentionally and provoke open communication in a society of human interaction.

The linking of diverse societies in this way aligns with Quinze's belief that all individuals are equal. Cultural and monetary differences between people do not alter this equality nor lessen our basic sameness. Quinze's constructions are both shantytown and industrialized skyscraper. Distinct cultures are represented by different lines and rhythms, and yet are unified within the same structure, reflecting our daily lives around and with each other. All his Bidonville towers seem to incorporate the same shape and similar construction yet, upon closer look, they are marked with differing details according to the culture, continent, or city in which they are built.

For these works, Quinze drew inspiration from the ubiquitous favellas of Brazil, those shantytowns competing with skyscrapers and with no lateral space available for growth.The only place for buildings to go is up; social gravity pushes the social mass up into the sky. The air, once considered the sovereign district of the wealthy, has undergone a shift in the balance of power. To look at a Bidonville— – a vertical outgrowth of suppressed building blocks – —is to experience the transparency of people living together and interacting in what was once an individualistic society.

Chroma Lupines in Arne Quinze's garden

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