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7 commissioning of a number of works incorporating floral or nature motifs or presenting certain technical procedures as innovations.The result was works from artists such as Jeppe Hein (forecourt), Nol Hennissen (forecourt), Dieter Jung (entrance hall), Liet Heringa/ Maarten van Kalsbeek (canteen) and Yoshiuki Miura (conference hall). The photographs acquired in this period also engage with the blossom/tulip theme, a popular symbol of the Netherlands (Smulders, Oberer, Spaans). The 2011 re-hang, in contrast, is a consciously interna­ tional selection reflecting the EPO’s character as an in­ ternational organisation with almost 40 contracting states. By integrating conceptual works by such artists as Francisco Da Mata or Ann Veronica Janssens, this new approach not only fills gaps in the collection,it also links up to pieces on display in the other sites. Large works by Nikolaus Moser and Monique Frydman, for in­ stance, were selected to brighten up a meeting room, their vibrant colours bringing the space to life. In Jeppe Hein’s social benches and Rotraut Klein-Moquay’s Cosack (Cossack), two new groups of sculptures are presented outdoors for the first time.Their vivid col­ ours enliven the green areas in front the canteen,whilst their playfulness and wry humour hark straight back to Jeppe Hein’s water feature and Nol Hennissen’s kidney- shaped benches in front of the entrance.The central hub of the new building, completed in 2002, still fea­ tures decorative work around a floral theme. However, the concentration of such pieces around the raised trop­ ical garden is more an ironic nod to this real wetland biotope than a serious comment on the old Dutch still- life tradition.The re-hang added new conceptual piec­ es from the Office’s photographic collection, including many newly acquired over the last five years (Michael Wesely,Philippe Ramette,Juan Uslé,ThomasWeinberger, Peter Schlör,Sean Scully,Dirk Brömmel) to the existing photographs already on display near the meeting rooms (Roland Fischer,Hiroyuki Masuyama,Katrin Korfmann, Dieter Rehm).The number of such works on show in The Hague is unique to this site.Those unfamiliar with the contextual concept behind the artworks may well not be aware of the prominence of some of the artists around them. This guide is designed to provide that knowledge. This international selection of works includes not only well-established contemporary artists but also young newcomers from the post-1970 generation. All the works of art on display here reflect curiosity about the fresh and the new.This openness connects with the EPO’s daily business of rewarding innova­ tion. Openness towards the new, willingness to take risks, and persistence in research endeavour: these factors are reflected in the number of patent applica­ tions. The EPO, with its mission of promoting inno­ vation, competitiveness and economic growth in Eu­ rope by granting high-quality patents, collects con­ temporary art precisely because it symbolises those characteristics of innovation and gives expression to them in a variety of ways. It is always exciting to see how individual artworks can assert themselves at the workplace.This brochure features sixteen of them, and invites you to discover and learn about contem­ porary art through the medium of the EPO’s collection. Kristine Schönert > E> E