DOCSLIB.ORG

STEDELIJK MUSEUM AMSTERDAM Annual Report 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STEDELIJK MUSEUM AMSTERDAM Annual Report 2016 STEDELIJK MUSEUM Annual Report 2016 AMSTERDAM THE STEDELIJK AS OPEN PLATFORM FOR DEBATE, CONTENTS REFLECTION, AND PERFORMANCE z38 Debate and reflection 38 Message from the Board of Directors 2 Performances and events 40 Report from the chairman of the Supervisory Board 4 THE STEDELIJK SUPPORT BASE: DIVERSE THE STEDELIJK AS LEADING MUSEUM 5 AND DEDICATED 42 Exhibitions and research 6 Support for exhibitions 42 Exhibitions: Stedelijk Museum Amsterdam 2016 9 Support of major donors: Stedelijk Museum Foundation Collection: preparing for a new presentation 18 and new support circles 44 Growing number of gifts 19 Corporate partners 44 Public outreach 20 Support of private patrons: memberships 45 Stedelijk Museum Bureau Amsterdam 22 Exhibitions: SMBA 2016 23 THE STEDELIJK: ENTERPRISING AND PROFESSIONAL 47 THE STEDELIJK COLLABORATES 24 Stedelijk as one 47 Living in the Amsterdam School 24 Focus on visitors 48 Collaborative education projects 25 Focus on (sustainable) enterprise 48 International partners 27 HR policy 49 Joint acquisitions 27 Partnership-based programs 28 GOVERNANCE 51 THE STEDELIJK IS FOR A BROAD, VARIED, Governance model 51 AND INTERNATIONAL PUBLIC 31 Schedule of rotations, changes, and appointments 52 Meetings of the Supervisory Board in 2016 53 Highly valued by visitors 31 Audit Committee 53 Stedelijk connects with new audiences 32 Cultural Governance Code 54 Influencer marketing 34 Smart and savvy marketing mix 36 Credits 55 1 REFINING OUR UNIQUE IDENTITY IN 2016 the first museum solo of American artist Jordan Wolfson in 2016, designed as a two-part presentation. The past year is one we can look back on with pride and satisfac- tion. A year in which the Stedelijk Museum Amsterdam continued The Stedelijk also emphasizes its role as a showcase for young to refine its unique identity and image, energetically pursued its talent. In 2016, the museum launched the series Stedelijk mission, and developed new plans. 2016 is also a year in which, Contemporary. For artists such as Jon Rafman, Cally Spooner, to our delight, we again connected with a great many artists, Avery Singer, Saskia Noor van Imhoff, Magali Reus, and visitors, and other stakeholders. Mohamed Bourouissa, this marked their debut at a Dutch institu- tion, while for others it was their very first museum show. The pre- We are also extremely proud to report that the city of Amsterdam sentations often went hand in hand with the acquisition of work whole-heartedly embraces our vision and ambition, and has for the collection, or the commission of new productions. pledged a grant to the museum within the framework of the 2017 – 2020 Arts Plan. This decision was warmly greeted by The museum responded to topical issues in other ways, too. the Amsterdam Arts Council, which lauded the Stedelijk for its The exhibition Dream Out Loud – Designing for Tomorrow’s audacity and innovation, room for experiment, engagement with Demands, asked how design can address socio-political and contemporary issues, and well-conceived, radical presentations. environmental issues such as sustainability. Another topical presentation featured De Stijl, which was founded 100 years ago. In 2016, we were delighted to see that our visitors also appre- The Stedelijk, which acted as the catalyst for the movement’s ciate what we do—for the last few years, our audiences have international breakthrough, highlighted this in a trio of presenta- consistently given us a score of 8. Our work is also widely tions that uniquely activated the collection. recognized by the media; from Dutch newspapers to prestigious international titles like Artforum and the New York Times, the In addition to its compelling exhibition schedule, the Stedelijk’s Stedelijk is in the news. distinct identity shines through in its active public program. With a dynamic calendar of performances, debates, symposia, and other Two examples of exhibitions last year with broad appeal were events, the museum connects with a broad and diverse audience. Living in the Amsterdam School and the comprehensive survey Jean Tinguely Machine Spectacle, which included a record num- In 2016, artists and collectors expressed their appreciation for the ber of moving sculptures in working order thanks to an extensive museum by enriching our collection with generous gifts. One such restoration project. We take pride in the fact that these presen- donation is the lavish selection of works gifted by the German tations were rich in content and scope: in both exhibits, which collector Thomas Borgmann, which will go on display in 2017. drew on many years of scholarly research, we were able to pres- Last year, we were also delighted to welcome a great many new ent new insights that make a valuable contribution to the canon. supporters a significant number of private patrons joined the The museum also invests in shows of mid-career contemporary Stedelijk Museum Foundation, and the Young Stedelijk circle artists, for which it conceives special curatorial formats, such as continues to thrive and grow. 2 The Stedelijk is in an excellent position. Our healthy financial foundation (the museum generates a significant portion of its own income—over fifty percent) allows us to accomplish many of our ambitions. We are actively seeking to secure additional support and funding to implement our vision to the fullest, and are grate- ful to the many foundations, businesses, and private benefactors who support the museum so generously. In 2016, we took another step towards enhancing the organiza- tion’s professionalism by introducing integral project planning, an ICT network built for future demands, and an ongoing focus on hospitality and on sustainable enterprise. In brief, last year we made all the necessary preparations for a spectacular Stedelijk in 2017. One of the highlights—which was the focus of all our teams’ energies this year—is a unique new presentation of our collection that will go on public display. We are deeply grateful to everyone who helped to make this such a rewarding year. And to you, the reader, we’d like to say: visit us as often as you like, and discover inspiration! Beatrix Ruf, directeur Karin van Gilst, zakelijk directeur 3 REPORT FROM THE SUPERVISORY BOARD I would like to express my heartfelt thanks to all our visitors this year who were curious to see what was happening at the The Stedelijk Museum enjoyed an extremely successful 2016. Stedelijk in 2016. Thank you for your commitment and trust. In addition to an appealing and diverse program and a generous I am also sincerely grateful to all the Stedelijk staff who worked grant awarded in the framework of the 2017-2020 Arts Plan, so hard to make this happen: this year again, visitor experiences we were delighted to welcome a large number of visitors to the and reviews were resoundingly positive, and the contribution Stedelijk last year. of each and every employee is noted and valued. In 2016, five regular meetings of the Supervisory Board took This is my last message as chair of the Supervisory Board. place, in addition to which—individually and collectively— Thanks to the efforts of the staff of the Stedelijk and the support the Board frequently held informal consultations with the Board of the people of Amsterdam, the Stedelijk is an open and strong of Directors. museum once again. A museum that leads because it dares. That dares to be a beacon. That dares to challenge, to present Over the last year, the Supervisory Board devoted more than the unknown; a museum that teaches us all to look more closely average attention to several points. Firstly, in its role of employer and with that, helps us to understand each other better. It was and supervisory body, the Board supervised and offered advice always a privilege and a pleasure to be a part of the museum and to the directors. The Board also actively followed plans aimed I am proud to conclude that the Stedelijk again stands on firm at improving the functioning of the museum by redesigning the foundations, and can face the future with confidence. interior, and offered critical remarks or provided input where necessary. In addition, the Board maintained regular contact Alexander Ribbink with various parties regarding ideas to create greater visibility for Chair of the Supervisory Board the museum, or the collection, at different locations throughout Amsterdam. In this context, the Board consistently monitored the long-term feasibility of these plans, particularly with respect to the Stedelijk’s primary location on Museumplein. As befits its role as supervisory body, the Board also gave the customary attention to governance, finance and development, general risks, and, throughout the year, also focused on the museum’s long-range plans. The Supervisory Board and the directors keep an active eye on potential risks; the risk analysis drafted by the directors is revised each quarter, and the manage- ment strategies are assessed and adjusted where needed. 4 Guided by the motto “to question the canon rather than affirm it” and the ambition to constantly bring new narratives to art history, The Stedelijk the Stedelijk Museum in 2016 launched an adventurous program that appealed to a broad general public as well as specialists. The museum’s endeavors were recognized, and acclaimed, as leading at the national and international level. In 2016, the Amsterdam Arts Council spoke of the museum museum’s achievements in glowing terms: “The Stedelijk’s programming is distinguished by audacity and innovation. Experimentation is at the core of its exhibition program, and is manifest in major solo presentations such as (...) Isa Genzken. There is also a deeper engagement with contemporary issues. The Stedelijk program not only fea- tures a compelling choice of artists and topics, but presents them in a way that is both well-conceived and daring.” In 2016, the Stedelijk organized the largest-ever retrospective of the German artist Isa Genzken.
Load more

Recommended publications
  • Amsterdam Train Tickets from Airport to City
    Amsterdam Train Tickets From Airport To City Undazzling Adam coapts her maskalonges so thermometrically that Louie crate very antithetically. Wallace corner superciliously as lee Kareem reawakens her catfish tout perishably. Vick manent her Maghreb blasted, meteorological and heteromerous. For the city has licensed a db bahncard or exchange abd refund the city from amsterdam airport train to Leiden is from city council and train ticket will work? Leiden map is a vibrant university city located southwest of Schiphol Airport. Amsterdam Airport Schiphol AMS is by perhaps the largest airport in the. Besides all of that, release can have a store experience in Amsterdam with four card after I surely recommend it if you do not donate to use trains because past a short time trip. Discover art you proper open the ticket access during at Brussels Airport and all Dutch stations by using your queue ticket. To way right will constrain the date window. Keep your tickets to the signs to withdraw your first use the pilot realized that you have to leave home with all gvb operated services. From airport train tickets at brussels is to amsterdam are you use of our dedicated amsterdam to complete it again as airports. Thank you with advance off your help. The ticket from brussels to visit attractions and how far is available one of. Situated near the airport this hotel is 05 mi 0 km from Rijksmuseum Amsterdam Schiphol. Eindhoven Airport is located not hesitate from Amsterdam and is prominent second. Barack obama can also able to centraal and a wide range of seats of a taxi rank, or fill in culpa qui officia deserunt mollit anim id! There are trains from city centre? Travelling on a balance with whatever age law is i possible action a personal public transport chip card.
    [Show full text]
  • Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam
    FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image file to accompany publicity of this announcement will be available for download at http://press.thewadsworth.org. Email to request login credentials. Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam Hartford, Conn. (January 21, 2020)—Rembrandt’s Titus in a Monk’s Habit (1660) is coming to Hartford, Connecticut. On loan from the Rijksmuseum in Amsterdam, the painting will be on view at the Wadsworth Atheneum Museum of Art from February 1 through April 30, 2020. Rembrandt van Rijn (1606–1669), recognized as one of the most important artists of his time and considered by many to be one of the greatest painters in European history, painted his teenage son in the guise of a monk at a crucial moment in his late career when he was revamping his business as a painter and recovering from bankruptcy. It has been fifty-three years since this painting has been on view in the United States making this a rare opportunity for visitors to experience a late portrait by the Dutch master among the collection of Baroque art at the Wadsworth renowned for its standout paintings by Rembrandt’s southern European contemporaries, Zurbarán, Oratio Gentileschi, and Caravaggio. While this painting has been infrequently seen in America, it exemplifies the dramatic use of light and dark to express human emotion for which Rembrandt’s late works are especially prized. “Titus in a Monk’s Habit is an important painting. It opens questions about the artist’s career, his use of traditional subjects, and the bold technique that has won him enduring fame,” says Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth.
    [Show full text]
  • Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
    Fashionable Mourners: Bronze Statuettes from the Rijksmuseum by Amanda Mikolic, Curatorial Assistant Cleveland’s celebrated early fifteenth-century alabaster tomb Figure 1. Mourners mourners are part of a major exhibition at the renowned from the Tomb of Philip the Bold, Rijksmuseum in Amsterdam this fall (fig. 1). In exchange, the Duke of Burgundy (r. Cleveland Museum of Art has the rare opportunity to exhibit 1363–1404), 1404–10. Claus de Werve four bronze mourners—traveling to North America for the (Netherlandish, first time—from the tomb of Isabella of Bourbon (1436–1465) 1380–1439). Vizille ala- (fig. 2). The original carvings are attributed to Jan Borman the baster; avg. h. 41.4 cm. The Cleveland Museum Younger and the casting attributed to Renier van Thienen. of Art, Bequest of Leonard C. Hanna Jr., 1940.128, 1958.66–67. Figure 2. Mourners from the Tomb of Isabella of Bourbon, c. 1475–76. Attributed to Jan Borman the Younger (Netherlandish, active 1479–1520); casting at- tributed to Renier van Thienen (Flemish, ac- tive 1460–1541). Brass copper alloy; avg. h. 56 cm. On loan from the City of Amsterdam, BK-AM-33-B, I, D, F. 2 3 Figure 3. Portrait of for overseeing the construction of Isabella’s tomb in addition to Isabella of Bourbon, c. casting the bronze mourners from wooden models attributed 1500. After Rogier van der Weyden (Flemish, to carver Jan Borman, who often worked with Van Thienen and c. 1399–1464). Musée was known in Brussels as a master of figural sculpture. des Beaux-Arts, Dijon, France.
    [Show full text]
  • Changing the Game Museum Research and the Politics of Inclusivity Margriet Schavemaker
    Changing the Game Museum Research and the Politics of Inclusivity Margriet Schavemaker First published in The Curatorial in Parallax, edited by Kim Seong-Eun, Choi Jina, and Song Sujong (Seoul: National Museum of Modern and Contemporary Art (MMCA), 2018), 89–105. Introduction Over the past two decades, the notion of a “discursive turn” has been shaping museum research all over the world. Instead of focusing on exhibitions as key “output,” museums now seem bent upon transforming themselves into networked organizations, which entails (co-)conducting research of all possible shapes and forms. In the theoretical discourse surrounding the aforementioned discursive turn, one finds a strong focus on institutional critique and antagonism, bringing counter-voices inside the museum. The museum criticizing itself from within has been a familiar description of the changes that were taking place. However, one might also argue that despite their potential for criticality and depth, these practices ultimately remained somewhat unchallenging and homogenous when it comes to both audience and outreach. Currently, a more radical turn towards diversity and inclusivity seems to be shaping our field. Not only in museums but across all of our institutions and social interactions, new and suppressed voices are demanding access, fundamental research, a rewriting of conventional narratives, and the deconstruction of the hegemonic powers that be. Is now the time when museums will actually begin to open up and museum research will finally liberate itself from the constraints of “preaching to the choir”? 1/14 In this essay, I will discuss some core programs and programmatic trajectories that have been developed by the Stedelijk Museum Amsterdam, firstly in order to bridge the gap between the museum and the academic world (including peers and professionals), and secondly to implement a more radical and self-critical opening up of the Fig.
    [Show full text]
  • The Rijksmuseum Collection As Linked Data
    Semantic Web 0 (0) 1–10 1 IOS Press The Rijksmuseum Collection as Linked Data Editor(s): Harith Alani, The Open University, UK Solicited review(s): Eetu Mäkelä, Aalto University, Finland; Dana Dannélls, University of Gothenburg, Sweden; Mariana Damova, Mozaika, Bulgaria; One anonymous reviewer Chris Dijkshoorn a;b;∗, Lizzy Jongma b, Lora Aroyo a, Jacco van Ossenbruggen c, Guus Schreiber a, Wesley ter Weele d, Jan Wielemaker a a Department of Computer Science, The Network Institute, VU University Amsterdam, the Netherlands b Rijksmuseum Amsterdam, the Netherlands c Centrum Wiskunde & Informatica, the Netherlands d History Department, VU University Amsterdam, the Netherlands Abstract. Many museums are currently providing online access to their collections. The state of the art research in the last decade shows that it is beneficial for institutions to provide their datasets as Linked Data in order to achieve easy cross-referencing, interlinking and integration. In this paper, we present the Rijksmuseum linked dataset (accessible at http://datahub.io/dataset/rijksmuseum), along with collection and vocabulary statistics, as well as lessons learned from the pro- cess of converting the collection to Linked Data. The version of March 2016 contains over 350,000 objects, including detailed descriptions and high-quality images released under a public domain license. Keywords: Linked Data, Open Data, Image Collections, Cultural Heritage, Museums 1. Introduction sult of a joint effort between the museum, CWI and VU University Amsterdam and has evolved with input Publishing cultural heritage collections as Linked from many research projects [13,16,17]. Nowadays, Data improves reusability of the data and allows for employees of the museum are in control of the pub- easier integration with other data sources [1,14].
    [Show full text]
  • Van Gogh Museum Journal 1995
    Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.
    [Show full text]
  • Curriculum Vitae Table of Contents
    CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy .................................................................................
    [Show full text]
  • Studio Drift
    GHOST IN THE Written by Stacy Seiler MACHINEART EDITOR STUDIO DRIFT Shylight in the Rijksmuseum, Amsterdam, Netherlands. 34 ofShylight photos courtesy Drift. Studio 35 In 20 Steps from Glasstress 2015 Gotika, Murano, Italy. Bringing Shylight to fruition was a labor of love that required 5-years of research. The process included the development circuit boards and software, along with roughly 60 paper prototypes Just as a child Maybe the experience manner. Yet the true magic appears as Shylight floats comes from our childhood downward filling its layers of precisely constructed silk giggles with fears or having watched facets with air. The expansion of the silk simulates the excitement one too many scary movies, ephemeral experience of a flower transitioning to full when chasing but as you walk into an bloom before your very eyes. unfamiliar room shrouded lightning bugs in darkness and fumble for Bringing Shylight to fruition was a labor of love that on a dark sum- the light switch, there exists required 5-years of research. The process included a moment of uneasiness in the development circuit boards and software, along mer’s evening, which we feel vulnerable. with roughly 60 paper prototypes used to determine with Shylight we Such an experience poses a mathematical pattern that would allow the layered the question, what is pieces of silk to open. Yet, as technical as Shylight understand that missing? Look around you. appears to be on paper, to experience Shylight is we are no lon- How many products or to witness an intangible medicine that heals the In 20 Steps is a homage to flight.
    [Show full text]
  • Speurwerk 7996
    Colloquium Vervoersplanologisch Speurwerk 7996 Bundeling van bijdragen aan het colloquium gehouden te Rotterdam op 28 - 29 november 1996 Redactie A.M.T. Mouwen N. Kalfs B. Covers Deel 3 Kaftontwerp: Jos’ Ontwerp Studio, Breda COLLOQUIUM VERVOERSPLANOLOGISCH SPEURWERK Het doel van het Colloquium Vervoersplanologisch Speurwerk is een ontmoetingsplaats te vormen waar nieuwe inzichten en ideeën met betrekking tot de vervoersplarming en de raakvlakken hiervan met de ruimtelijke planning worden gepresenteerd en besproken. De auteurs bezitten auteursrechten van hun bijdragen. Bestelling van boeken: Dit verslag, dat uit drie delen bestaat, kan worden besteld door overmaking van f 150,- op girorekening 58.0621 ten name van de penningmeester van het Colloquium Vervoers- planologisch Speurwerk, Legmeerstraat 62/2h, 1058 NG Amsterdam, onder vermelding van “CVS 1996” en de naam en adres van de besteller. Aanbevolen literatuurverwijzing: A.M.T. Mouwen, N. Kalfs & B. Govers (red.). “Colloquium Vervoersplanologisch Speurwerk - 1996 - Beheersbare mobiliteit: een utopie?“. Delft, C.V.S., 1996. 111 TRANSPORTATION PLANNING RESEARCH COLLOQUIUM The purpose of the Transportation Planning Research Colloquium is to provide a meeting ground for the presentation and discussion of new insights and ideas in the field of transportation and its relationship with spatial planning. Authors retain al1 rights in their papers. Orders for books: Copies of this publication CVS-1996, which exists of three volumes, can be ordered from the treasurer of the Transportation Planning Research Colloquium, Legmeerstraat 62/2h, NL-1058 NG Amsterdam, The Netherlands. Suggested citation: A.M.T. Mouwen, N. Kalfs & B. Govers (red.). “Colloquium Vervoersplanologisch Speurwerk - 1996 - Beheersbare mobiliteit: een utopie?“. Delft, C.V.S., 1996.
    [Show full text]
  • 08 Stiger CD
    UvA-DARE (Digital Academic Repository) To replace or not to replace? Photographic material in site-specific conceptual art Stigter, S. Publication date 2005 Document Version Final published version Published in ICOM Committee for Conservation: 14th Triennial Meeting The Hague, 12-16 September 2005. - I Link to publication Citation for published version (APA): Stigter, S. (2005). To replace or not to replace? Photographic material in site-specific conceptual art. In I. Verger (Ed.), ICOM Committee for Conservation: 14th Triennial Meeting The Hague, 12-16 September 2005. - I (pp. 365-370). James & James. http://www.inside- installations.org/OCMT/mydocs/STIGTER%20To%20replace%20or%20not%20to%20replace .pdf General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by
    [Show full text]
  • URBAN SHARING in Amsterdam City Report No 1 by URBAN SHARING TEAM 2019: 1
    URBAN SHARING URBAN in Amsterdam City report no 1 by in URBAN SHARING in Amsterdam City report no 1 by URBAN SHARING TEAM “Urban Sharing in Amsterdam” explores the landscape of the sharing economy in the city context. This research is a result of a Mobile Research Lab conducted by 7 researchers from Lund university in 2019. Specific focus is on three sectors: sharing of space, mobility and physical goods. For each sector, we discuss the drivers and barriers to the sharing economy, the associated sustainability impacts, the potential impacts on incumbent sectors, and the institutional context of sharing. Then, attention is turned to the role of the city council in engaging with the sharing TEAM SHARING URBAN economy and specific governance mechanisms employed by the city council are described. Since the sharing economy is not sustainable by default, urban sharing organisations, city governments and incumbents all have important roles to play in ensuring that the sharing economy positively impacts cities and their citizens. In the face of negative perceptions and possible impacts of the sharing economy, we may need to be more deliberate in thinking in terms of scaling the sharing economy to the size, needs, and capacities of cities. 2019: 1 Insights contained within this report may support the City of Amsterdam and other Sharing Cities, as well as urban sharing organisations and third-party actors in Amsterdam and beyond in their strategic work with the sharing economy for sustainability. URBAN City report no 1 SHARING www.urbansharing.org tweeter: #urbansharing 953202 Principal investigator: City report no 1 [email protected] in AMSTERDAM URBAN SHARING TEAM 789178 ISBN 978-91-7895-320-2 9 URBAN SHARING IN AMSTERDAM City report no 1 URBAN SHARING TEAM: Oksana Mont, Andrius Plepys, Yuliya Voytenko Palgan, Jagdeep Singh, Steven Curtis, Lucie Zvolska and Ana Maria Arbelaez Velez.
    [Show full text]
  • 2020-About-Concise-CV-Studio-Drift.Pdf
    ABOUT DRIFT 2020 BIOGRAPHY DRIFT BIOGRAPHY Dutch artists Lonneke Gordijn (1980) and Ralph Nauta (1978) founded DRIFT in 2007. With a multi-disciplinary team of 64, they work on experiential sculptures, installations and performances. DRIFT manifests the phenomena and hidden properties of nature with the use of technology in order to learn from the Earth’s underlying mechanisms and to re- establish our connection to it. With both depth and simplicity, DRIFT’s works of art illuminate parallels between man-made and natural structures through deconstructive, interactive, and innovative processes. The artists raise fundamental questions about what life is and explore a positive scenario for the future. All individual artworks have the ability to transform spaces. The confined parameters of a museum or a gallery does not always do justice to a body of work, rather it often comes to its potential in the public sphere or through architecture. DRIFT brings people, space and nature on to the same frequency, uniting audiences with experiences that inspire a reconnection to our planet. DRIFT has realized numerous exhibitions and projects around the world. Their work has been exhibited at Victoria & Albert Museum (2009, 2015); Met Museum (2010); Stedelijk Museum (2018); UTA Artist Space (2019); Garage Museum (2019); Mint Museum (2019); Biennale di Venezia (2015); Pace Gallery (2017) amongst others. Their work is held in the permanent collections of the LACMA; Rijksmuseum; SFMOMA; Stedelijk Museum; and Victoria & Albert Museum. In 2014, Drift was awarded the Arte Laguna Prize, Venice. www.studiodrift.com Photo by JW Kaldenbach CURRICULUM VITAE DRIFT SELECTED MEDIA Wallpaper: “Drones flock, concrete hovers and lamps bloom as Studio Drift reimagines science and nature” Whitewall: “The Fragile and Fierce ‘Coded Nature’ of Studio Drift” Elephant: “Dreams of Nature and Concrete with Studio Drift” The New York Times: “In Miami, It’s a Bird.
    [Show full text]