Unveiling Contradictions

Almost overnight, the art installations in this exhibit began flooding every news feed, offering varied glimpses of the current state of the architectural marvel that is the Van der Steur Building, designed by Ad van der Steur in 1935 to house the Museum Boijmans Van Beuningen. The original building, which received an extension wing in 1972 designed by Alexander Bodon, is now set to receive another modernized addition with a new entrance and enhanced accessibility. The monumental museum, boasting a collection of over 50,000 artifacts amassed over 170 years, holds a significant cultural and emotional place in the hearts of art enthusiasts in the Netherlands and worldwide. The longing for its reopening has been palpable. Craving for Boijmans effectively quenches this thirst by having a five-week-long nostalgic art campaign that brings the museum — briefly, yet joyously — back to life.

The operative word in Craving for Boijmans is "contradiction." The museum has fervently weaponized visual contradiction as an integral function of placing an exhibition within a construction site. Beyond the mere revitalization of an empty building through artistic interventions, a rich tapestry of contradictions unfolds in this unique stage set that is neither incoherent nor arbitrary. The museum presents a condensed art route that situates visitors between the echoes of the past and dreams of the future. Seven memorable events from Boijmans’ history (including excerpts involving Salvador Dali, Olafur Eliasson, and Richard Serra, among others) come to life through the lens of seven contemporary artists' reflections. This aesthetic of contrast, where distinct artworks command attention amid the rubble and raw infrastructure of the construction site, blurs the distinction between art and architecture.

The traces of ornate staircases, barriers guarding holes in walls, a purple mirror resting against a broken brick wall, green industrial arrow marks juxtaposed with vibrant mural lettering, sculptures of iguanas and exposed HVAC ducts running in tandem, and a nine-meter whirling installation redefining a staircase core — all ignite a dialogue uniting disparate elements in a symphony of contrasts. Through a diverse toolkit of techniques and creative choices, the exhibition accentuates the omnipresent complexity between the consciously curated artworks and the accidental construction remains. Above all, these diligent interventions, such as Adrianus Kundert's Labyrinth activating the courtyard and Maria Roosen's glass orbs reflecting the vaulted room, enhance the museum’s grandeur, poetically emphasizing the elements and spaces of the past and the future.

As casual observers, it is not necessary to delve deeply into the concepts of the artworks or the narratives of the documentaries. Yet, as the art route transpires before us, it becomes clear that the essence of the experience lies in the high-sounding interactions, maximum confrontations, and the synergy of compositions that permeate the spaces. These themes serve as the foundation for the encounter, captivating and enthralling all who traverse the museum's halls to marvel at both the raw beauty of its architecture and its rich artistic heritage — a truly one-of-a-kind experience. The campaign consistently maintains its intimacy and emotional resonance with both local and global audiences. It even includes a booth where visitors can share their personal stories about the museum, further enhancing the emotional engagement despite the building’s current state of obscurity. For those seeking to admire Vermeer, Rembrandt, or Picasso on this art tour, the museum’s esteemed art collection is currently not on display due to the building’s obvious state of disrepair. Nonetheless, these masterpieces are housed in the Depot Boijmans Van Beuningen, the world’s first publicly accessible art storage facility also located in the Museum Park. Designed by MVRDV to subvert the tradition of concealment, the depot’s reflective bowl-shaped volume is impossible to ignore.

According to a June 28, 2024, press release from the Municipality of Rotterdam, the original €223 million design for the new Mecanoo wing, described as a “surgical intervention,” has been scrapped due to excessive costs and failure to meet permit requirements. Instead, a scaled-down and renewed “future-proof” design will be implemented, focusing on enhanced exhibition spaces, improved logistics, attention to fire safety, sustainability, preservation, and a single new intervention: a sunken entrance connecting all parts of the building.

Curiously, this announcement comes just before Craving for Boijmans closes on July 7, leaving visitors in the dark about the missing details regarding Mecanoo’s contemporary addition. The anticipated wing’s absence left a disheartening impression. Now, with the full story revealed and the unresolved investment issues looming large, it is clear the museum is far from completion. If the design can change so drastically midway through the proposed renovation plans, the tour hardly reassures us about the future and the project’s stability. We are left eagerly anticipating the day when the lantern atop the tower will once again blaze, signaling Boijmans' vibrant resurgence in the city. As of now, the reopening is not expected until 2029.