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Museums and Sculpture Michael Molter Document generated on 09/26/2021 5:24 p.m. Espace Sculpture Holland Museums and sculpture Michael Molter Number 32, Summer 1995 URI: https://id.erudit.org/iderudit/10193ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this article Molter, M. (1995). Holland: Museums and sculpture. Espace Sculpture, (32), 33–34. Tous droits réservés © Le Centre de diffusion 3D, 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ C^Ari Public ÂrF SmlRTiTiHHi useunns an a <z^>cufp/iijre Michael Molter Lee U-Fan, Relatum. Holland's recent five-year Delta Plan for hundred museum institutions in Holland. Den Haag's Mauritshuis Museum's sky-lit 1979-80: (à droite): museum research and care of collections This centre, operated by the Rabobank ceiling viewing into rooms below the Evert Strobos. is on schedule. This plan, formerly the Caisse Populaire, issues one and a half court-yard entrance. The latter, interest­ Palissade. 1973. Photo : Cary Delta Plan for dykes and dams developed million cards to new customers yearly ingly, permits the public to view restora­ Markennk. Kroller to hold back the sea, is currently designed while promoting sales of museum passes, tions for the important commemorative Muller Sculpture to allow Dutch museums to direct their from student, to family, to frequent user. In year Vermeer exhibition. Park, Otterlo. own budgets, while redirecting any surplus a nation whose population totals fifteen Museums in the Netherlands, aware of Holland. funds back into facilities. million, this centre is expected to reach an their past and their present, are in a pro­ In July, 1994, with the independence of additional target audience of another two cess of renewal, assessing contemporary the first six national museums, including million in 1995. values against a "Golden Age"past. At the Amsterdam's Rijksmuseum, the Van Gogh Maximum access is the goal, with same time, the memory of more lavish Museum and Stedelijk Museum, the Enk- admission fees redistributed throughout artist programmes from earlier, affluent huizen Zuiderzee Museum, the Maurit- the computerized user system to reflect socialist policies fades. Since 1987, Min­ shuis Royal Museum in Den Haag and the individual museum attendance. Sponsored istry of Culture reductions, privatization, Krôller-Mùller Museum, near Otterlo, a programmes at the Rijksmuseum include and the control of funding budgets outside policy of maximum independence was put restoration, renovation, family pro­ the ministry, have also resulted in the cur­ into effect. This policy is derived from the grammes, and a family lecture series. tailing of larger itinerant curatorial pro­ example of privatization achieved by The Since 1949, educational policy in jects. Netherlands Open Air Museum at Arn- Amsterdam schools has required actual With the model ofthe Mondriaan Foun­ heim, the first museum to gain indepen­ museum attendence six times during the dation of 1994, and the sucess of the ear­ dence. This institution, in a period of school calender for all eleven and twelve lier Van Gogh Foundation, both under the predicted closure due to government year olds. Currently this program targets direction of Mr. Frits Becht, today there is budget cuts in subsidies, is now seen to be the children of new immigrant families , in virtually a funding foundation behind showing the way of the future for state- an attempt to familiarze them with Dutch every discipline, with project management funded museums in The Netherlands. Pri­ cultural traditions. networks making decisions about artist vatization, due to its flexiblity, allows In terms of museums, there has never awards, funding abroad, acquisitions and budget allotments to remain intact, while been a time when more capital has been catalogues. The Foundation ofthe Visual at the same time the distribution of five made available for museums in the Neth­ Arts provides cohesive grants toward indi­ year budgets have become cost effective erlands. More museums are being built, vidual artist projects in Holland with a through a self-management process. refurbished, or expanded. The metaphor is continuity allowing for distinct, dynamic In the Netherlands today, sponsorship is that of the museum as the generator of cul­ Dutch museum and gallery programming seen as the way to realize extra projects, ture, as is witnessed by new museums that is remarkable for both intensive and only long-term corporate sponsors are under construction at the Groningen and research and coherent content. targeted by larger museum institutions. Maastricht Museums. These centres are Throughout the Netherlands, special exhi­ Holland has implemented a computerized attracting the public through new exhibi­ bitions and events in contemporary art, entry system, the Museumjaarkarte, which tion approaches, from the Stedelijk dance, poetry, music and theatre were held covers over half of the more than eight Amsterdam's " Couplet " rotations, to the throughout the 50th anniversary of Mon- ESPACE 32 ÉTÉ / SUMMER 1995 * î been preserved for sented in the extreme through works by Sculpture by site-specific work Bruce Nauman. Recent acquisitions include Martha Pan, 1961. created for the col­ pieces by Matt Melechan, who incorporates Polyester. H. : 2,13 m. Photo : Cary lection. virtual reality in the building of metaphorical Markerink Krôller Tilberg is easily cities, demonstrating a kinship with the Uto­ Mùller Sculpture reached from Rot­ pian ideals of de Stijl concerning the fusion Park, Otterlo, terdam, known for of art and life. The collection aims to con­ Holland. its many contem­ tinue to acquire works by artists for whom porary artist-run this fusion is of primary importance. centres and gal­ For this centre, one focus since the leries, and as home 1960's has been the development of an to the Kunsthal Rot­ extraordinary collection of contemporary drian's death. In centres where Mondriaan terdam. Located as well in Rotterdam is sculpture, linking past and present, with a had lived and practiced, exhibitions and the Boymans-Van Beuningen, with its con­ sculpture garden that unifies the landscape, events were scheduled, for example the temporary and modern art sculpture gar­ the former grounds and the horizon. exhibition of work by the artist's father and dens and the recently opened Kunsthal en Located within the historic Hoge Veluwe uncle in the Piet Mondriaan birthplace in Architectuurmuseum (Art Gallery and National Park, on former hunting grounds, Amersfoort. This recently renovated historic Architecture Museum). The 1994 Witte de the natural beauty ofthe park and sculpture site and research centre also houses a con­ With exhibition of installations by William areas may be visited during a tour on bicy­ temporary gallery and an art publication Ooerbeek is being presented at the Win­ cles provided at the park entrance. In a house in association with the University of nipeg Art Gallery in 1995. complex of areas extending over 21 acres, Utrecht. works created in situ for the sculpture The Krôller Mùller Museum and garden, sculpture park, and sculpture forest New Collections and New Venues Sculpture Park include Dubuffet's Jardin d'émail, 1972-73, At the Van Abbemuseum, Eindhoven, Across The Netherlands, the 50th anniver­ Serra's Spin Out, 1972, Five Columns by exhibitions planned prior to the 1996 sary of the death of Mondriaan inspired Hamilton Finlay and Penone's Faggio di opening of an expanion included solo exhi­ exhibitions and festivals in dance, music, Otterlo. Through these works, some of bitions of new work, featuring works theatre and poetry. The Krôller Mùller humanity's innermost expressions engage acquired by the collection since 1989. Museum, Otterlo, displayed some 200 in a continuous dialogue with nature. These include works by Didier Vermeiren, works by the artist Bart van der Leek, in a New realities challenge the museum to James Coleman, Miroslaw Balka, Marcel retrospective displaying the versatility of maintain an autonomous existence, with Broodthaers, Rodney Graham, Hanne Dar- Mondriaan's symbiotic contemporary attendance by five hundred thousand visi­ boven, Marlene Dumas, and Rebecca Horn. through drawings, paintings, design, tors a year. Twenty per cent of its budget is Montreal benefitted from links with the ceramic and stained glass. Van der Leek, raised in admissions and sales, while eighty Netherlands through the exhibition of using primary colors, is known as an applied per cent of its income is assured. Exhibition work by Pieter Laurens Mol at the Centre artist in his development of Utiopian models and acquisition budgets allow for two major d'art Saidye Bronfman in August 1994. for the fusion of art and society. exhibitions yearly, with a summer program This show was organized by curator and The most remarkable grounds and collec­ centred around the permanent collection acting director Frank Lubbers. One Room , tion of international contemporary and and open storage section. In the 1920's the an installation piece by Christina Iglesias, modern sculpture
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