Broken Circle/Spiral Hill

Robert Smithson
1971
Emmen, the Netherlands
Water, earth, topsoil, sand, and boulder
Broken Circle: diameter: 140 ft. (42.6 m); canal: 12 ft. (3.6 m) wide, 10-15 ft. (3-4.5 m) deep; Spiral Hill: diameter: 75 ft. (22.9 m) at base

In a sand quarry in the Northeastern Netherlands, Smithson has carved into the shoreline, flooding the resulting dikes to form an interlocking canal and jetty. At the sculpture’s center lies a single glacial boulder, while the hillside above features a winding spiral path—a manifestation of Smithson’s fascination with spirals and their elusive promise of a final destination. The work iterates the irreversible impact of industry—the land can never go back to what it was before—yet its hypnotizing beauty calls for a reevaluation of the relationship between nature and construction.

Broken Circle/Spiral Hill was created in 1971 especially for the now legendary Sonsbeek Buiten de Perken exhibition in an active sand quarry just outside Emmen and it is Smithson's only earthwork outside of the United States. It is an artwork of two parts. Broken Circle is a semi-circular jetty built into the quarry lake, filled with reflecting green water. Spiral Hill rises into a cone-shaped hill beside the lake. A spiraling path leads to the top, from where the quarry and Broken Circle can be seen from above. At the center is an immovable huge boulder deposited by the ancient glacial movements. 

We work closely with Land Art Contemporary on securing a sustainable future for the artwork, which sits on private land, and in 2025 the Province of Drenthe designated the artwork as a provincial monument. In January and February 2026 a series of bus excursions to visit Broken Circle/Spiral Hill (1971) have been organized: learn more and get tickets to visit here. 

Writing

Scholarly Text
Writing by the Artist

Untitled

Robert Smithson

Across the country there are many mining areas, disused quarries, and polluted lakes and rivers. One practical solution for the utilization of such devastated places would be land and water recycling in terms of “Earth Art.” Recently, when I was in Holland, I worked in a sand quarry that was slated for redevelopment. The Dutch are especially aware of the physical landscape. A dialectic between land reclamation and mining usage must be established. The artist and the miner must become conscious of themselves as natural agents. In effect, this extends to all kinds of mining and building. When the miner or builder loses sight of what he is doing through the abstractions of technology he cannot practically cope with necessity. The world needs coal and highways, but we do not need the results of strip-mining or Highway trusts. Economics, when abstracted from the world, is blind to natural processes. Art can become a resource, that mediates between the ecologist and the industrialist.

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