Dré Wapenaar 2001

Museum Boijmans van Beuningen,
Rotterdam, the Netherlands.

Sauter la palissade; jumping the boarding; over de schutting springen: the artist has taken advantage of two monumental designs commissioned by the City Collection to suit the deed to the word.

For the tower of the Boijmans Van Beuningen Museum Wapenaar has designed monumental banners which transform the building into a flagship, especially in this period of expansion and change. The banners are meant to catch the fresh wind that is needed to blow the cobwebs off the museum's unjustified image as a static, dusty institute. Or, as Wapenaar puts it: 'It's time for the museum to stop the rot.' His banners resemble not only billowing sails but mould, too: mildew seeking a way out of the new building before its completion.

Free of blemish, the re-opened museum will be able to focus on its reputation for being more than a 'utopian meeting place' for art and the public in the 21st century. By that time, mid-2002, only the garden at the back of the museum will have a view of the questionable utopia that Wapenaar first revealed on the fence. His design for the lake destroys the illusion of an unruffled stretch of water. The surface will be constantly disturbed by movements bubbling up from the depths. Ever-increasing circles on that surface will perpetuate the memory of the soil - both treacherous and fertile - on which the Boijmans Van Beuningen Museum is built.

Wilma Sütö,
curator of the Rotterdam City Collection
(translation: Ruth König)

Studio GloriusVandeVen