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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’ in 2009, 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's above them. 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.
I’m Not the Girl Who Misses Much, 1986
The work of Pipilotti Rist (Grabs 1962) is characterised by a strong connection with popular culture, music and television. In ‘I’m Not the Girl Who Misses Much’ we see Pipilotti Rist dancing and singing. She repeatedly paraphrases John Lennon’s opening line from the Beatles song ‘Happiness Is a Warm Gun’ (1968). Rist’s video seems like a parody of music video culture.
(Entlastungen), Pipilottis Fehler, 1988
Pipilotti Rist’s early works quickly became classics of video art. Popular culture and the human body are recurring themes. Rist often plays the principal role in her video works. In ‘(Entlastungen) Pipilotti´s Fehler’ she repeatedly collapses to the music of the female rock band Les Reines Prochaines, of which Rist was the vocalist from 1988 until 1994.
Als der Bruder meiner Mutter geboren wurde, duftete es nach wilden Birnenblüten vor dem braungebrannten Sims
Footage of childbirth is framed by a winter mountain landscape. The cut, delivery and suturing are presented in an almost scientific manner. The matter-of-fact quality of the imagery contrasts with the title, which evokes the birth as a highly personal memory. The song is sung by Rist herself.
Please note: this video contains explicit images.
In this video Pipilotti Rist zooms in on individual parts of the body. Bold perspectives, breasts, eyes, toes, and pubic hair, swell to oversized and uncustomary dimensions. The camera assumes the perspective of the sexual partner, and with her macro-shots the artist pursues the question of how to make sexual feelings visible. Close-ups of the body are combined with images of nature and the universe. The placement of a globe between a woman’s legs calls to mind Courbet’s famous painting ‘L’origine du monde’ (The Origin of the World, 1866).
The human body and notions of femininity are also central to this work. The principal role is played by Rists’s own body and her menstrual fluid. As in ‘Pickelporno’, here too Rist combines close-ups of a naked body with images of nature and outer space. This links the female body to fertility, the origins of the world and the miracle of human existence.
I’m a Victim of This Song, 1995
Rist’s work is characterised by a strong connection with popular culture, music and television. In several of her works she ‘covers’ a pop song in her own unique way. ‘I’m a Victim of This Song’ is such a work. Towards the end the artist screams the line ‘I don’t wanna fall in love!’ with increasing volume. At first, this shrieking female voice suggests a sense of panic and anxiety, but it also represents a powerful moment in an otherwise rather sentimental song.
In the stairwell in the direction of the Print Room.