• Cosmina von Bonin, MISDEMEANOUR, 2008, cotton, wool, 91 x 113".

    Cosima van Bonin

    Witte de With Center for Contemporary Art
    Witte de Withstraat 50
    October 9, 2010–February 2, 2011

    Curated by Zoë Gray and Nicolaus Schafhausen

    Continuing a labor-intensive series of ambitiously scaled shows that began in July with “The Empire Fatigue” at Kunsthaus Bregenz, Austria, von Bonin now embarks on the “Lazy Susan Series”—a “Rotating Exhibition” (like the title’s rotating platter) starting at Witte de With and “looping” through 2011 at Bristol’s Arnolfini Gallery, Geneva’s Musée d’Art Moderne et Contemporain, and Cologne’s Museum Ludwig. Across the four turns, the Cologne-based artist will engage themes of indolence, exhaustion, and boredom, deploying sculptural and painterly strategies of cuteness, softness, and bigness and a deadpan humor reminiscent of Claes Oldenburg, Mike Kelley, André Cadere, and, of course, Martin Kippenberger. The accompanying catalogue will include contributions by Dirk von Lowtzow, Mark von Schlegell, and the curators, as well as a reprint of the special “Sloth” section from the spring 2008 issue of Cabinet magazine.

  • Kees van Dongen, Modjesko, Soprano Singer, 1907, oil on canvas, 39 x 32".

    Kees van Dongen

    Museum Boijmans Van Beuningen
    Museumpark 18-20
    September 18, 2010–January 23, 2011

    Curated by Anita Hopmans

    Art historians typically associate Kees van Dongen with French Fauve painting. His works from that period—images of circus acrobats and music-hall performers—are striking for their reductive and caricatural approach to modernist figuration. Yet like those of other Fauves (e.g., Braque, Derain, Matisse), van Dongen’s career extends far beyond that era. In recent times, he has been neglected, taken as a minor figure, a fatuous court painter of bohemian high society. But perhaps the contemporary reemergence of painterly figuration (Marlene Dumas, Elizabeth Peyton) allows us to reconsider the significance of his practice. This exhibition of nearly one hundred works made between 1895 and 1927, and its extensively illustrated catalogue in English and Dutch, will offer a welcome revisionist account and a chance to view not just paintings but also drawings, ceramics, posters, and photographs rarely seen.