Dutch Discovery: Museum Boijmans Van Beuningen

Last Saturday, I went to go to the Museum Boijmans in Rotterdam. I had to take the chance to go see other parts of the Netherlands and the proper public transport system here makes that easy.

They had an opening of the new biennial rotation of their permanent collection. I do enjoy it when museums do this. Such massive collections in storage, I wish more would make the effort to take it all down and start again. I need to point out, Museum Boijmans is not small. 350 paintings were on display.

For the first time, the collection contains loans from other Dutch museums. The Museum Boijman seems to not only increase access to its works, but the works of others. The loans came out of the other museum’s collections that were not on display. These sort of domestic partnerships always instill in me a sense of optimism. It’s such a simple concept with a tricky administrative process. When it happens, the winners are always the museum visitor.

I went backwards around the collection, starting from the contemporary and ending with medieval. The layout of the galleries into two long loops made it interesting to move backwards through art history. To view a painting and then what came before really helped my understanding. I felt I was building layers upon my knowledge instead of starting from a reference point in history that is unknown to me.

Something I noticed about the curatorial decisions; most of the labels where in terms of the museum itself. For example, next to several Picasso print was the explanation that the museum bought a subscription from an aging Picasso, not realising that he would go on to make thousands of them.

The building the Boijmans inhabits was designed by Dutch architect Ad van der Steur. Influenced by the fact that many of the paintings came from private collection, the galleries range from small, intimate, irregular octagons to larger, airy spaces. The octagons make a very flexible space. The two long walls perfectly fit two good-sized paintings. The outside wall often has a high window to gently illuminate the room. The two corners opposite the window have smooth angles. This can “frame” a single hanging painting or frame the paintings hanging on the longer walls. Either side of the window, the corners become entrances. It’s a modular design. Each room a section on a subject and shaped into a plugin. Walking around these smaller rooms means you can envelop a surprisingly large amount of information without the usual fatigue.

Needless to say, the whole experience impressed me.

I did not get to see the whole museum. Who ever does? But I did get to see two other exhibitions.

In the very large hall was Nathalie Djurberg’s and Hans Berg’s (music) installation SNAKES KNOWS IT’S YOGA. Lots of small glass display cases filled with grotesque, ugly, wide-eyed and hairy little figures all in various states of hedonism with large projected screens of short claymation films. They do not seem to twisted or hideous but rather blissful in their base pleasures. One could feel uncomfortable at the at anatomical detail of one long-haired and bearded man, but you have to notice just how damn happy he is swinging from a branch of a beautifully crafted blossom tree.

I was introduced to the other installation with a sign by the main visitor information desk: Pas op: Pindakass!

Watch out: Peanut-Butter!

The Peanut-Butter Platform by Wim T. Schippers is… well… a large room with a large two-inch thick rectangle of peanut butter. The smell in incredible. You understand why the entrance to the room had double doors installed. The floor had written warnings about keeping a safe distance. The museum has the platform guarded to prevent someone from getting any stupid ideas. I admit, when I first it, my first reaction was the desire to make a big peanut butter angel.

In front of the entrance was a display that I took a lot of interest in. High quality stone covers the entire Boijmans floor. Leaving peanut butter on it would surely stain. This display showed the experiments taken of peanut butter on various surfaces to if it could be cleaned and keep its shape. It’s these little details I love. I imagine it would be a question on most visitor’s minds about how they installed the platform but also highlighting the conservation efforts, not just of the art but of the museum itself.

I wish I took more time there. There were a few other exhibitions I didn’t get to see. As I left, I was given an extra treat. A sculpture by one of my favourite artists: Claes Oldenburg’s SCREWARCH.

My Dutch Reckoning

It’s been ten days since I landed in Amsterdam. I cannot explain how incredible and inspiring the experience has been so far. I’m living in a cool place, I’m working with great people, I’ve seen fascinating things and the weather has been delightful.

Trust a Brit to talk about the weather in a foreign country.

I’m working for the Stedelijk Museum as part of their web team. I’ve been mostly learning the ropes of how their CMS and website and various comms software. I’ve been really happy but how much trust in my ability they have, despite being new. I’m loving the chance to be able to impress.

I’ll be (hopefully) blogging for them. I’ve got a few ideas down and something approaching an editorial. I’ll share some links when they’re up.

I suppose I’ll need to write some kind of disclaimer. This site, newcurator, my twitter or tumblr are by no means the views of the Stedelijk Museum. Anything I write for them will likely go through a vetting/editing process while newcurator will remain my notebook of half-thought ideas and slightly unhinged language.

That being said, I’ve decided to go a slightly different direction whilst I’m in Amsterdam. I’ve tried to cover news, dabbled in being a linkblog, had the most fun with writing longer articles and now I fancy trying travel writing.

I’ve often shied away from “reviewing” exhibitions because… well… I’ve never been comfortable shouting down other people’s work. If I can’t be honest in my opinion, then what’s the point of the criticism? Yet I can’t help feel empathetic towards museum staff who have worked their asses off to make something happen, regardless of my thoughts on quality.

This is why travel writing offers a different approach. I am a foreigner in a different land. This means my experiences can be in terms of Wonders on the New. So, whilst I’m in the Netherlands I plan to get a Museumkaart for about €45. This gives me free access to a bunch of museums. Every week, a new post on newcurator about a Dutch museum. Except the Stedelijk. I’ll write about them on their own website.

First up, I’m going out of town to the Museum Boijmans Van Beuningen in Rotterdam.

Tot zo.