Back to the Future; under this banner, four new exhibitions are on display at the Groninger Museum. Launching all at once – that takes some nerve. This is precisely the Groninger Museum’s intention; a radically different wind is blowing, and although I can appreciate a wild and unpredictable storm, the recent press conference at the museum has not (yet) convinced me. Quite the opposite, in fact.
During the preview, we’ll be treated to a grilled cheese sandwich with Gouda cheese and kimchi: an interesting combination that brings East and West together and is intended to represent the cultural soul of Groningen – the Netherlands’ youngest city –: bold, dynamic and full of spirit. In addition, this new artistic direction is accompanied by a completely new corporate identity.
Building up or falling apart
According to some, the museum’s distinctive character has returned. The question is whether this is only achievable through conceptual art. Should the fascinating blockbusters In other words, are crowd-pullers not included? Art is a reflection that, consciously or unconsciously, conveys a message. The ‘beauty’ and/or ‘visual appeal’ of ‘traditional’ art does not detract from this.
The museum has been going through a rough patch for some time now. Financial losses, clashing co-directors, and discontent amongst the staff. The action plan presented by the new management in the spring – based on the three core values of ‘collective’, ‘interdisciplinary’ and ‘experimental’ – has been accepted by the municipality and the province of Groningen. The days of Waterhouse, Rodin and Bowie exhibitions seem to be over for good. However, it has been recommended that at least one major and high-profile exhibition be organised each year. Given the current direction, it is doubtful whether that will happen.
The inspiration for the new vision comes from former director Frans Haks (1978–1995) and Alessandro Mendini’s museum building; a masterpiece of postmodern architecture. The museum aims to apply the spirit of the times that prevailed during the design and construction phases to the present day and to captivate today’s visitors with it. Haks did not like white: the minimalist black-and-white press kits would probably not have met with his approval.
Out with the old, in with the new
The fact that Chihuly’s Grand Stairwell Installation – ‘most expensive purchase ever’ – has been taken down from the wall, which speaks volumes. It’s part of the big clear-out. Opening four new exhibitions at the same time is daring, but also overwhelming. The Architect & The Housewife: Cleaning the House, Building the Future: What is the situation regarding gender relations in the art world? Who builds the house and who is responsible for cleaning it? In the exhibition The Convent of Pleasure Ani Schulze presents an episode of her series in which she also draws attention to De Ploeg and, in particular, the artist Alida Pott. In Keramikos Carrier Bag The duo Matthew Lutz-Kinoy and Natasuko Uchino have selected works from the Groninger Museum that engage in a dialogue with their own ceramics. There were some interesting pieces and collaborations amongst them. Getting children excited about the new edition of the Children’s Biennale Playing House It’ll be fine. Colourful and with plenty of opportunities to touch, climb on and cuddle. Another positive: the original reception desk by architect Alessandro Mendini has been reinstalled, and the pavilions are being put to good use.
Cleaning or scrubbing away
A symbol of the major clean-up at the Groninger Museum came in the form of the museum’s own bar of soap in the press pack. The scent was a little clinical. Just as the new vision feels. Sometimes, in the rush to build something new, the past is treated too harshly. Groningen is full of examples of this: cleaning or scrubbing away something that can no longer be restored.
In an interview with former director Andreas Blühm during the coronavirus pandemic – when the museum was suddenly forced to close whilst the Rolling Stones exhibition was running – it became clear to me that crowd-pullers are expensive and risky. Director Roos Gortzak also describes them as unsustainable. Yet the Groninger Museum’s reputation does, to a large extent, rest on this sort of international exhibition. Visitors came from far and wide.
Can the new vision (still) live up to these high expectations? In recent years, Forum (Groningen) has gradually earned the title of most popular and most fascinating ‘museum’ and cultural hotspot taken over. It is also well known that museum-goers often give the museums in their own city or region a miss. Conceptual art may stimulate many a mind, but is that enough for the loyal, occasional or future visitor to the Groninger Museum?
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