• The Swing (after Fragonard), 2001.

    The Swing (after Fragonard), 2001.

    Yinka Shonibare

    Museum Boijmans Van Beuningen
    Museumpark 18-20
    February 21–April 25, 2004

    Curated by Jaap Guldemond and Gabriele Mackert

    A hot spot at Documenta 11, Yinka Shonibare’s three-dimensional tableau Gallantry and Criminal Conversation featured fucking mannequins dressed in ancien régime costumes sewn from exotic material not quite as “African” as it seemed. The installation fused the topics of sex and the (global) city, history and travel, fabrics and fabrication—and it was major, provocative fun. This Boijmans exhibition uses Gallantry as its point of departure, around which ten installations, two new groups of paintings, and a selection of photographs are organized. The catalogue includes contributions by specialists on the myriad issues raised by the artist’s ongoing affair with dandyism and difference.

  • House in Bordeaux, France, 1998.

    House in Bordeaux, France, 1998.

    Rem Koolhaas

    Kunsthal Rotterdam
    Museumpark, Westzeedijk 341
    March 27–August 29, 2004

    Curated by Andres Lepik, Kayoko Ota, and Cristina Steingräber

    Rem Koolhaas and his doppelgänger offices OMA and AMO (practice and research, respectively) are the subject of a retrospective that began its run at Mies van der Rohe’s Neue Nationalgalerie Berlin last November. A large number of projects and innovations from 1996 to the present are now installed in one of Koolhaas’s earlier buildings, the Kunsthal Rotterdam. The exhibition, designed by Jens Hommert of OMA, is curated by Kayoko Ota, also of OMA, and Andres Lepik and Cristina Steingräber, both from the Staatliche Museen zu Berlin. An accompanying publication about OMA-AMO is edited by Brendan McGetrick (from OMA and AMO). Critical distance is hardly expected, but the Koolhaas collective deserves a comprehensive treatment.