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.