Tag: museum boijmans van beuningen

Submarine Wharf – XXXL Painting – Rotterdam – The Netherlands

Jim Shaw, Untitled (Faces in circle), 2009, oil on canvas, 152,4 x 152,4 cm., courtesy of the artist and Simon Lee Gallery, London/Hong Kong

Jim Shaw, Untitled (Faces in circle), 2009, oil on canvas, 152,4 x 152,4 cm., courtesy of the artist and Simon Lee Gallery, London/Hong Kong

From 8 June until 29 September, 2013 – Museum Boijmans Van Beuningen – Submarine Wharf

This summer Klaas Kloosterboer, Chris Martin and Jim Shaw will transform the Submarine Wharf into a gigantic art studio.
In the months leading up to the opening, the artists will be busy at work in the wharf, creating the exhibition on site. Museum Boijmans Van Beuningen wishes to demonstrate the resilience and energy of the art of painting with a true ‘battle of the Titans’ between the three artists:

The Amsterdam-based artist Klaas Kloosterboer can be seen as an ‘inventor’. He experiments constantly, altering the form and appearance of his paintings. The exhibition will include works from the collection of Museum Boijmans Van Beuningen, augmented with loans and new works. Chris Martin lives and works in New York and is the ‘savage painter’: he uses his energy to make each painting an explosion of colour and power. In ‘XXXL Painting’ he will exhibit thirty existing paintings, and in the weeks leading up to the opening he will work on a new painting measuring 13 x 10 metres. Jim Shaw, the ‘storyteller’ from Los Angeles completes the trio. He paints and draws in a figurative, sometimes cartoon-like style on old film sets. In the Submarine Wharf he will present these ‘backdrop’ paintings, some measuring 4 x 15 metres.

Museum Boijmans Van Beuningen

Lonnie van Brummelen & Siebren de Haan – Rotterdam – The Netherlands

From December 18 2010 until February 13 2011 – Museum Boijmans Van Beuningen
The artistic duo Lonnie van Brummelen & Siebren de Haan are exhibiting a new work in Museum Boijmans Van Beuningen. The title ‘The Embed and the Shadow of the Horse’ links a sixteenth-century foreign intervention in Tunis to other military operations, including the current action in Afghanistan.

In The Embed and the Shadow of the Horse, Van Brummelen & De Haan investigate representations of historical and present-day interventions. Using a  two-part 16mm film of sixteenth-century tapestries and the cartoons for them, some historical prints from the collections in the museum and the Royal Library, and a video work based on current newspaper reports, the artists examine how the image of the ’other side’ is constructed, reproduced and distributed.

Museum Hours

Yayoi Kusama’s Mirror Room – Rotterdam – Netherlands

Until the the 5th of December 2010 – Museum Boijmans Van Beuningen

Infinity Mirror Room – Phalli’s Field by the Japanese artist Yayoi Kusama. With dots and infinite reflections, the Japanese artist Yayoi Kusama plays with our visual perception.

This work, the first of Kusama’s (Matsumoto, 1929) mirror rooms, was exhibited at Museum Boijmans Van Beuningen in the autumn of 2008 as part of her solo exhibition Mirrored Years. Her enormous installations with her characteristic dots and mirrors are at the root of an increasingly rich tradition of environments in contemporary art.

Yayoi Kusama gained worldwide recognition in the art world. She created a stir with her large installations in which the visitor was surrounded by thousands of small, colourful, stuffed – often phallic – textile objects. Her reputation was especially strong in the Netherlands: in the 1960s she exhibited more frequently here than in any other country.

Alongside many important works by members of the Nul and Zero groups and associated movements, Museum Boijmans Van Beuningen has an extensive collection of Pop art, Op art and Minimalism. Kusama’s work forms an excellent complement to these aspects of the collection.

Museum Hours

All Eyes on Kees van Dongen – Rotterdam – Netherlands

Kees van Dongen, A Finger on her Cheek, 1910. Oil on canvas, 65 x 54 cm, Museum Boijmans Van Beuningen, Rotterdam. Pictoright, Amsterdam

From September 18 2010 until January 23 2011 – Museum Boijmans Van Beuningen

This autumn Museum Boijmans Van Beuningen is staging a major exhibition of paintings by the internationally renowned artist Kees van Dongen (1877-1968). The thoughtful selection of eighty works -around sixty paintings- is being flown to Rotterdam from leading international collections. These highlights of his oeuvre come from both private and public collections, from as far afield as New York, Monaco, Geneva and Moscow. Many of the works have rarely been loaned out or have not been seen in the Netherlands for many years. A Finger on her Cheek, part of the museum’s permanent collection, has recently been restored and can be seen for the first time in its original state from 18 September. The colours are now as brilliant as they were in 1910.

Cornelis Theodorus Maria van Dongen was born on 26 January 1877 in Delfshaven, then still a small independent port near Rotterdam. After drawing lessons at what is now the Willem de Kooning Academy in Rotterdam, Van Dongen worked for several newspapers including Het Rotterdamsch Nieuwsblad. In 1897 he went to Paris for the first time to continue his training as a draughtsman. Van Dongen the left-wing illustrator became a celebrated artist by way of the avant-garde movements of his time.

Van Dongen was notorious for his contemporary use of colour, paint and electric light—and almost as much for his lifestyle. His lavish studio parties in the 1920s and 30s were attended by film stars, famous politicians and artists. What Andy Warhol was to New York in the 1960s, Kees van Dongen was to the Paris of the 1920s—a society artist and Bohemian who brought added colour and excitement to the city. The artist received various French awards, shared a studio with Picasso and took French nationality in 1929. In the Netherlands of his time, Van Dongen was essentially seen as the Dutch artist who was a success abroad.

The exhibition includes paintings Van Dongen made during a trip to Rotterdam in 1907, among them the vivid ‘Modjesko’, works inspired by the Folies-Bergères and the most daring Parisian works, including the monumental nude of his wife Guus. Important, too, are the works he painted during and after his trips to Spain, Morocco and Egypt. These alluring, experimental portraits of women, with Oriental influences, intense colours and decorative accents, are among his best works. The exhibition ends with acrobats, provocative women, nightlife scenes and paintings dating from his first years in Paris and Rotterdam. Alongside the sixty paintings there is a selection of drawings, ceramics, posters and a great many photographs.

Museum Hours

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