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permanent on view
The video installation entitled ‘Laat je haar neer’, a play on words that means both ‘let your hair down’ and ‘lay her down’, is on view in the stairwell in the entrance area.
To coincide with the successful exhibition ‘Elixir: the video organism of Pipilotti Rist’, Museum Boijmans Van Beuningen and H+F Patronage have commissioned Pipilotti Rist to create a permanent installation for the museum. The video installation entitled ‘Laat je haar neer’, a play on words that means both ‘let your hair down’ and ‘lay her down’, is constructed in the stairwell in the public foyer.
Visitors climb into a rope net in which they lie back and watch Pipilotti Rist’s latest video above them. The ‘Laat je haar neer - initiation video’ is drifting between reason and dream, like the installation is floating between ground and sky. It is also possible to zap to other video art from Karin van Dam, John Bock, Yu-Chin Tseng, Joost Conijn and Fischli & Weiss, which is part of the museum collection.
The H+F Patronage (H+F Mecenaat), founded in 2005, is an exclusive partnership between Han Nefkens and Museum Boijmans Van Beuningen in Rotterdam. The goal of the H+F Patronage is to stimulate contemporary art and artists on an international level, and to introduce them to a new audience. Click here for further information.
Cyprien Gaillard, Desniansky Raion, 2007, DVD with sound, Purchase: 2007
Gaillard’s work gives viewers the sense that they are looking at our society like an archaeologist in the future. The film shown here comprises three parts: a fight in Saint Petersburg between football hooligans that refers to 18th-century battlefields; the demolition of a modernist building near Paris; and aerial footage of Desniansky Raion, a suburb of Kiev, whose plan calls to mind groups of monoliths such as Stonehenge. The music by Koudlam adds to the apocalyptic nature of the footage.
Pipilotti Rist, You Called Me Jacky, 1990, Digitised Betacam, Gift: 2009
Pipilotti Rist’s early video works are characterised by a strong engagement with popular culture, music and television. The body and images of femininity are recurring themes. In ‘You Called Me Jacky’, Rist is the singer in a pop video. She lip-synchs a song by the British singer Kevin Coyne, giving the song text extra force with her exaggerated body language. Footage shot from a moving train is projected onto Rist and the wall behind her.
Richard Serra, Color Aid, 1971, 16 mm film, colour with sound, Purchase: 1980
The film ‘Color Aid’ consists of a sequence of monochrome colours. The colours are cards, which the artist pulls away with varying speeds and pauses. The action is filmed close-up and refers to nothing but itself. The same action is repeated many times so that we are immersed in the images and gradually begin to focus more on the artist’s fingers and their relation to the colour cards. This apparently objective film about colour has an unexpected sensory effect.
Louis van Gasteren, Waterwalk, 1970, 16 mm film, colour, with sound, Purchase: 1980
Louis van Gasteren’s film ‘Waterwalk’ shows a plastic artwork designed by Theo Botschuyver and Jeffrey Shaw that allows people to walk on water. Via a watertight zip opening, people can climb inside the pyramid-shaped bubble and walk across the water as the bubble topples.
Willem de Ridder and Paul van den Bos, Bon Appetit, 1965, 16 mm film, VHS and DVD,
‘Bon Appetit’ shows a dinner table from above. We see the hands of an impatient dinner guest, who is handed a plate of food. The dish has the form of a mountain landscape, including a palm tree and miniature house. The diner makes a crater in the mountain of mashed potatoes and pours gravy into it. With a knife and fork he then creates rivulets of gravy. It ends in a great mess. ‘Bon Appetit’ shows an everday action that gradually shifts further and further from normality.
A.R. Penck, Performance by A.R. Penck in his studio, 8 mm film, colour, no sound,
The artist A.R. Penck (pseudonym Ralf Winkler), who grew up in East Germany, is best known for his paintings and drawings. But he also makes video works, such as this film of himself in his studio. He tears up his own work and throws books, magazines and photos into a skip. The interior is typical of the former DDR, where Penck lived at that time. We see ‘Plattenbau’ apartment blocks and a Trabant car.