As far as Amsterdam goes...
22.11.1985–05.01.1986
Stedelijk Museum, Amsterdam
Stedelijk Museum, Amsterdam
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Wim T. Schippers, Schippers over de vloer I
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Wim T. Schippers, Schippers over de vloer II
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Wim T. Schippers, Schippers over de vloer III
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Wim T. Schippers, Schippers over de vloer IV
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Guillaume Bijl, Tapijtenhandel I
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Guillaume Bijl, Tapijtenhandel II
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Guillaume Bijl, Tapijtenhandel III
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Guillaume Bijl, Tapijtenhandel IV
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Barbara Bloom, Installation I
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Barbara Bloom, Installation II
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Barbara Bloom, Installation III
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Barbara Bloom, Installation IV
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Floris Guntenaar, Rectus / Inversus I
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Floris Guntenaar, Rectus / Inversus II
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Floris Guntenaar, Rectus / Inversus III
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
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Floris Guntenaar, Rectus / Inversus IV
© Ben van Duin, Amsterdam
© Ben van Duin, Amsterdam
‘The museum as decor was the point of departure for De Appel’s contribution to the Stedelijk Museum's exhibition from November 21 to January 6, 1986 for which Wim T. Schippers, Guillaume Bijl, Barbara Bloom and Floris Guntenaar were invited to participate. Each person organized room 209a for a period of two weeks. Schippers opted for a display of his own works taken from the collections of Amsterdam's municipal museums. Bijl, in line with his ‘art liquidation projects’, transformed the museum room into an elegant shop selling Eastern carpets. Bloom gave the exhibition space a voyeuristic character by hanging her erotically tinted photos behind the curtains and by placing the railing that normally protects art works close to the work. Guntenaar finally, made the space theatrical by providing one of the short sides of the space with various stage frames, the wings created a perspective in which a figure constructed from coloured wooden blocks pursued its course leaving, here and there, some blocks behind. The As far as Amsterdam goes... exhibition thus had one room that took on four different appearances within the show's duration.’
(‘The museum as a decor’, De Appel, 6 (1986) 1, p. 20.)