STEDELIJK MUSEUM ANNUAL REPORT 2015

AMSTERDAM STEDELIJK MUSEUM Separate: supplement to the Annual 2015 Report 7. 6. 5. 4. 3. 2. 1. The Stedelijk in 2015 Alexander Ribbink Board Supervisory the from Report Beatrix Ruf and Karin van Gilst fromMessage the Board of Directors 3 Contents Governance The Stedelijk Museum: increasing self-sufficiency and professionalism The Stedelijk base: support diverse and dedicated The Stedelijk as open platform for debate and reflection The Stedelijk is for abroad, varied, and international public The Stedelijk as partner The Stedelijk as leading museum

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AMSTERDAM STEDELIJK MUSEUM is curious is reconsidered the Stedelijk’s and reformulated DNA our aims in fivecore values: the Stedelijk In preparing for Plan the new 2017–2020, Arts thanks to the input of the entire organization, we vital role in the museum’s vibrant history. museums. The Stedelijk seeks to lead, not follow, and experimentation has always played a schedule. We are delighted to back be among the most thought-provoking, pioneering for repositioning itself as acultural institution of world-class level, with exhibition acutting-edge in every area. In its interim evaluation, the Amsterdam Council also Arts praised the Stedelijk museum for its unique and compelling artistic vision, and for reaching its targets performance In 2015, and Culture the Art department of the Municipality of Amsterdam commended the design. and of the heart Stedelijk’svery mission: to enrich people’s lives with modern and contemporary art told us they intend to make areturn visit. That is afantastic recognition that right goes to the for the Stedelijk Museum. In 2015, we welcomed to our museum 731,000 visitors, of which 90% It is agreat pleasure to look back on the past year, atime of enormous inspiration and success Message from the Board of Directors private benefactors went to acquisitions, including work by Avery Singer, and also allowed us to Ed Atkins also gifted three to artworks the museum. Substantial donations from funds and andartists their heirs, atestimony to their connection with our institution. his After exhibition, Coosje van Bruggen. We are especially touched by generous donations to our collection from including by pieces Andy Warhol, Karel Appel, and the collection of Claes Oldenburg and 2015 was also ayear in which we gratefully received anumber of remarkable donations, which earned particular praise from world the and art the press. was the thematically conceived retrospective of amodern icon, German Isa Genzken, artist was awarded 8of 10 by museumgoers. Another exhibition that reflected the Stedelijk’s DNA exhibition in the history of the Stedelijk. We are proud to say that vistor’s surveys show that it internationally. was Attended visitors, the by of Matisse most visited some 360,000 Oasis The the work of this much-exhibited artist, and attracted significant interestboth nationally and perspectives on the artist’s development. It was acompletely new approach to presenting celebrated works by Matisse’s contemporaries from our own collection, which offered fresh We supplemented the unique survey exhibition of aclassic master, of Matisse Oasis The dynamic. new moving, and collection: we strive to flexible be and transparent, presenting ourcollection within a fast- exhibition wholly dedicated to “live art.” It also heralded our new approach to using our building radical re-envisioning of the phenomenon of the retrospective, but also the first very major insights on his work with museumgoers. AYear was Sehgal not Tino only the at Stedelijk: a shared was throughout frequently exhibition—generously the present public, Atkins—who and Edartist Atkins. The museum always encourages conversations and between artists the The vast lower-level space gallery was populated by the unsettling avatars of young British World WarSecond survey of Tino Sehgal to the exhaustive research exhibition the and Museum Stedelijk The Our presentations were not only extremely varied, but also highly ambitious: from ayear-long ranging public, from generalist to more specialist audiences, along with experimental projects. In 2015, our exhibition program offered the ideal mix of presentations that catered to awide- policy. personnel our share how these core values are expressed in everything we do, from our exhibition strategy to , provocative . , open , ambitious and entrepreneurial , and 3 . In this annual we’d report, like to , with

AMSTERDAM STEDELIJK MUSEUM Directeur Beatrix Ruf year. successful a such We would like to express our sincere thanks to everyone who helped make 2015 here film in ashort unforgettable, enriching experiences people have in the Stedelijk. which And we have captured 100,000. Although these figures are impressive and rewarding, what matters most are the Matisse of outings, our tour guides gave tours, 2,500 and the online animation accompanying Oasis The itself in manifold ways in 2015. schoolchildren Almost 40,000 visited the museum on school Healthy, entrepreneurial, leading, provocative, accessible; the appeal of the Stedelijk revealed healthy financially a is institution. increased thatefforts percentage to 57% (2013 and 2014: 54%). We are proud that the Stedelijk generated profit has amply exceeded the municipality’sbenchmark of 25%, and in 2015 our our self-generated revenue and cutting back on expenses. For several years, our self- In fulfilling the museum’s artistic vision, we gear our entrepreneurial endeavors to increasing sustainable. ecologically and financially both museum sector and took steps to refine our IT infrastructure and create an organization that is In 2015, we also undertook preparations to join the collective bargaining agreement for the we strive to develop talents and skills and encourage many different kinds of collaboration. to realize our plans. To bring out the best in our and staff the people with whom we work, anAs enterprising museum, the Stedelijk is consistently looking for new and sustainable ways objects were acquired. that is currently under development. Atotal works of 506 were gifted to the Stedelijk and 170 Reiter Blaue Der of almanac an purchase jointly

attracted million two views. in And March 2015, our Twitter following reached . Managing Director Managing Karin van Gilst 4 by Kandinsky and aproject by Renzo Martens

AMSTERDAM STEDELIJK MUSEUM management structure, and the management team. management the and structure, management employer body followed and supervisory closely, of course, by supporting the new director, the In 2015, Board the devoted Supervisory particular attention to several duties. First, to its role as changing presentations. with dialogue in presented collection were fresh and exciting. The impact and depth of our collection is enhanced when of TinoThe artworks Sehgal, Isa Genzken, and the new approach to presenting the permanent meetings, and performances, the museum always had something new for a broad audience. The museum attracted alarge number of visitors. With arich and diverse range of exhibitions, occasions. frequent individually collectively—on and discuss Plan. the Arts Furthermore, Board the met informally Supervisory with both directors— Board heldThe five Supervisory regular meetings,convening for an additional meeting to focus on the longer term. but it imply does that the Stedelijk program fits within a broader agenda, which places greater future. not does “Ordinary” imply that there was little going on in and around the museum— others reached completion, we also gave careful consideration to our vision and plans for the the present, in amore fundamental way. While courses of certain action were continued and In contrast to previous years, this enabled us to reflect upon and discuss the future, as well as preparations for the funding application Plan for the 2017–2020. Arts tenure, bringing to fruition the governance discussions that were already underway, and the the full complement of directors two in 2015, when Beatrix Ruf commenced her first year of 2015 was an extraordinary “ordinary” year. Board was The Supervisory delighted to welcome Report from the Supervisory Board Deursen van Van in de Genzken Foto: van van zaal. werk Isa Foundation Ende het Ernst den Overzicht 5

AMSTERDAM STEDELIJK MUSEUM Chair, Supervisory Board, Stedelijk Museum Amsterdam Museum Stedelijk Board, Chair, Supervisory Alexander Ribbink each and every member of our enthusiastic team. our audiences were again excited about our offerings, which was due in no small measure to without the energy and dedication of the museum staff, to whom Iam deeply grateful. In 2015, eager to experience and enjoy our dynamic program. None of this would have possible been I would like to extend my thanks heartfelt to all the visitors who came to the Stedelijk Museum, 2015, Joyce Sylvester was appointed to Board. the Supervisory quarterly and the control measures are evaluated and adapted where necessary. May On 1, actively monitor risks. The risk analysis formulated by the Board of Directors is revised preparation of amendments to our charter. Board and The the Supervisory Board of Directors risk analysis, the introduction of aprocedure to prevent possible conflicts of interest, and the Self-Evaluation, the formulation Framework, of the Supervisory the further development of the introduction of an Irregularities Disclosure Scheme, the revision Board of the Supervisory regulations Board of the into Supervisory line with the Cultural Governance Code, the activities included, in no particular order and by no means an exhaustive list: bringing the long-term plans in the Plan form of the funding Arts application. The Board’s governance governance, finance and development, generalrisks, and, later in the year, to the museum’s Further, in its body, role as supervisory the Board also devoted the usual attention to phase. museum’s current Museum Foundation believes that this intended distribution of powers is appropriate to the this is the most widely followed management Board model. of the The Supervisory Stedelijk director must have the deciding voice in the decision-making process. In the museum world, will of course structured be within the agreed strategic and financial frameworks.With this, the driven by its mission and vision, with the operational aspects playing asupporting role. This that the day-to-day running of the museum to need reconsidered. be The museum must be reorganization are behind us and the team of directors is again to the complete—led realization The new phase of the which museum—in the operational risks of the reopening and the 6

AMSTERDAM STEDELIJK MUSEUM new Sehgal and performance re-hung afterwards with adifferent selection from our holdings. year-long survey also infused the museum with anew dynamic: galleries were emptied for each impressed some visitors that they returned several times to the re-experience work. Sehgal’s in various spaces gallery of the museum. Anew was piece each month, performed and so A Year was Sehgal atruly Tino experimental, the at Stedelijk: radical survey of live enacted art entire lower-level into gallery an immersive environment. Ouija –Recent Atkins andits unique affirmed andstyle distinctive voice.This vision waspowerfully stated in Ed director in November 2014 the museum underscored its mission to signal new artistic ideas, development of several innovative presentations. With the appointment of Beatrix Ruf as and purchasing their work at early stages of their careers. In 2015, this was reflected in the The Stedelijk has atradition of building enduring relationships with artists, and exhibiting Exhibitions young artists. to support mission issues raised by and society. artists, art, The Stedelijk also commissions of its as part artworks and beyond. The Stedelijk is the enthusiastic initiator of artistic debate that explores topical developed in partnership with and artists inspire both visitors and from peers the Netherlands and design. Exhibitions, performances, publications, research, and education projects are a week days and 365 ayear, can discover and experience modern and contemporary art international tradition. It is aworld-class museum in Amsterdam where everyone, seven days The Stedelijk Museum is apioneering institution, embedded in avibrant national and 1. The Stedelijk as leading museum van Jan Rooij Photo: Ouija. Gert Ed –Recent Atkins , when the young British was artist invited to transform the museum’s 7

AMSTERDAM STEDELIJK MUSEUM Posters of several Stedelijk Museum exhibitions in 2015 exhibitions Museum ofseveral Stedelijk Posters World War.Second new information about the history of the Stedelijk before, during, and after the were Jewish, who had forced been with to part their collections. art The research also yielded many archives unearthed the poignant stories of collectors and artists, agreat many of whom research project “Museum Acquisitions since 1933.” The survey of the museum collection and Journal Street programsDutch like and TV international Door Wereld De Draait papers such as the Wall World WarSecond The Stedelijk also explored its own history in the exhibition the and Museum Stedelijk The addition to shows institutions. by hosted non-Western partner Museum. Both the Stedelijk and hosted SMBA presentations in the context of the project, in Museum Bureau Amsterdam (SMBA) also brought the non-Western world into art the Stedelijk the Stars Let Explore Us survey of the life and work father of “the of and conceptual the thematic art” exhibition ZERO: Other high points in the exhibition roster were Seth Siegelaub: Beyond Conceptual the first Art, museum’s history. was the of Matisse most popular Oasis The visitors, exhibition in 360,000 the With concept. are also seeking fresh new ways of presenting their own collection, complimented the exhibit’s Matisse’s development in parallel with that of his contemporaries. Foreign museums, which affording new and fascinating insights. For the first time, museumgoers were able to follow Matisse of and historical research that shed new light on famous and lesser-known topics. Oasis The The Stedelijk also hosted acomprehensive exhibition based on the museum’s own collection exhibition at the in Genzken’s Martin-Gropius-Bau, hometown of Berlin. In what signified an important milestone for the museum, the Stedelijk then presented the retrospective dedicated to Genzken’s work was well received by world the and art media. invited early and recent works to enter into unexpected conversations. The largest-ever Conceived as ajourney through years of risk-taking forty and unstoppable renewal, the show from Genzken’s inventive oeuvre rich in social commentary and autobiographical elements. of tracing achronology, the exhibition was amontage of crosscurrents and thematic lines Genzken: wasIsa hübsch! aretrospective Dich Mach that was anything but traditional. Instead children, adults, dancers, economists, and the homeless. throughout the year. came from The performers all over Amsterdam and beyond, and included The performative nature of Sehgal’s work also meant that auditions and rehearsals were held interspersed works by Matisse with iconic from pieces the Stedelijk collection, , the exhibition was the product of in-depth research of the as part national . Applauded for its content and transparency by national newspapers and and newspapers by national transparency and content its for Applauded . Global Collaborations (2013–2015), Collaborations . Global the three-year project of Stedelijk 8

AMSTERDAM STEDELIJK MUSEUM Photo: Martijn van Nieuwenhuyzen. van Photo: Martijn Ouija for –Recent the exhibition Atkins Ed model scale the on working Ruf Ed Beatrix and Atkins Photo: Hanna Hachula War World Second the and Museum Stedelijk The . . 9 Photo: Gert Jan van Jan Rooij. Photo: Gert Days Seven in Chairs –Seven Hans II: Ineke Superbox .

AMSTERDAM STEDELIJK MUSEUM February 21 –May 31, 2015 Ouija –Recent Ed Atkins January 1–December 31, 2015 A Year Sehgal Tino the at Stedelijk: August 29, 2014 –February 22, 2015 New Acquisitions for Amsterdam Design. Photography Graphic and Contemporary in the MoveOn –Storytelling October 25, 2014 –February 15, 2015 Superbox – Design Acquisitions October 25, 2014 –February 15, 2015 2013 Books Designed Best The September 19, 2014 –February 1, 2015 HOW FAR World –The the Collaborations: Stedelijk in Global HOW NEAR November 30, 2014 –January 18, 2015 Tony XERGO Y Oursler: July 20, 2014 –January 11, 2015 Sanders Jeannette and Martijn –Collection Thoughts Bad September 6, 2014 –January 4, 2015 Burden as Image The Dumas: Marlene Stedelijk the Exhibitions at Amsterdam 2015: Museum Seth Siegelaub: Beyond Conceptual Art Photo Gert Jan van Rooij van Jan Gert . Photo 10

AMSTERDAM STEDELIJK MUSEUM December 12, 2015 –April 17, 2016 Art Seth Beyond Siegelaub: Conceptual November 29, 2015 –March 6, 2016 Genzken:Isa hübsch! Dich Mach October 31, 2015 –January 31, 2016 Type –Using Apeloig Philippe October 23, 2015 –February 29, 2016 Moving Thinking: Lanari Mariana September 19, 2015 –January 3, 2016 Pieter Sanders Marieke Addition: and Gift September 5–October 25, 2015 2014 Books Designed Best The September 5–October 25, 2015 II:Superbox –Seven Seven in Ineke Hans Chairs Days July 4–November 8, 2015 ZERO: the Stars Let Explore Us June 12 –September 6, 2015 Collaborations:Global Tromarama May –June 30 23, 2015 All-Imitate-Act Gillick: Liam May 21 –July 26, 2015 Do Can Design What March 27 –August 16, 2015 of Matisse Oasis The February 27 –May 31, 2015 World the War Second and Museum Stedelijk The Rooij (left) and Martijn van Nieuwenhuyzen (right). van Nieuwenhuyzen Martijn and (left) Rooij van Jan Photos: Gert hübsch! Dich Mach Genzken: Isa 11

AMSTERDAM STEDELIJK MUSEUM that was also warmly received by the Mondrian Fund. years. The Stedelijk also seeks to abeacon be for the latest currents and in design, art an aim pairing visual and design. art This approach will intensified be andcontinued in thecoming the impact of this new cross-disciplinary synergy was evident in the collection presentations the plan’s principal goals is to intensify collaboration between the different disciplines. In 2015, restructure its approach from amultidisciplinary to atruly interdisciplinary institution. One of collection plan, commending the museum for demonstrating the confidence and ambition to a radical shift in its collection and presentation policy. The Mondriaan Fund praised the new design in the Netherlands. In anew collection plan formulated in 2015, the Stedelijk defined objects, it is the largest and most important collection of modern and contemporary and art The Stedelijk’s international collection ranks among the best in the world. With over 90,000 Collection The Oasis of Matisse of Oasis The Philippe Apeloig – Using Type –Using Apeloig Philippe Photo: Gert Jan van Rooij van Jan . Photo: Gert Photo: Gert Jan van Rooij van Jan . Photo: Gert 12

AMSTERDAM STEDELIJK MUSEUM Supplement: Gifts Supplement: click gift, this about For information more addingbeen the work of numerous to artists its collection for many years. The donated works have aprofound connection with the Stedelijk holdings; the museum has archival and materials. correspondence as such documentation unique of items numerous collage, sculpture, and photography to work on paper, books, and posters, in addition to were among their personal friends. The works span awide diversity of media from installation, (former curator at the Stedelijk) and Claes Oldenburg, comprising 175 works by who artists 34 In 2015, the museum was also honored by amajor from gift the Coosje van artists Bruggen Stedelijk. We are delighted to add this important painting to our collection of his (early) work. has never on been public display. Appel’s oeuvre is closely intertwined with the history of the figure in Space, No. 3 deeply indebted to the Karel Foundation Appel for the of awork gift by Karel Appel— photographic work of this world-famous to artist enter the Stedelijk collection. We are also strengthens the group of the Warhol works already in the museum’s holdings, and is the first medium. Included are portraits of famous friends, still lifes, and landscapes. The gift seventeen photoworks Warhol’s from with photography experiments early autonomous as To commemorate the 25th anniversary of the Andy Warhol Foundation, the organization gifted represents asignificantrise compared to last year, when the museum received donations.466 museum gratefully received works from 506 of private art individuals and organizations. This have inspired alarge number of generous donations to the Stedelijk collection. In 2015, the Over the last few years, the close relationships between the museum and and artists collectors numberofAn exceptional gifts in 2016. van Jan Rooij presentation Photo: Gert ning collection the desig to approach apreview ofareconfigured is ofdisciplines fusion the Rietveld: with shoulders rubs Malevich —which was completed by the years two artist before his death and . 13 Standing Standing

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AMSTERDAM STEDELIJK MUSEUM Supplements: Restoration collections to also benefit from the insights gained by the Stedelijk team. working method. completed, Once the results of the research will published, be allowing other early and late works, this is an unprecedented opportunity to compare and contrast Chagall’s Self-portrait with Seven Fingers Self-portrait Heritage Agency (RCE). The works in question are key from pieces Chagall’s oeuvre such as nine paintings by the artist, including several on pieces long-term loan from the Dutch Cultural into the painting techniques of Marc Chagall. The museum has entrusted been with the care of In 2015, the Restoration Department of the Stedelijk initiated alarge-scale research project Jan Henderikse. the Dutch movement “Nul” (1960-1965) with Armando, Henk Peeters, Jan Schoonhoven, and and Günther Uecker, the exhibition and publication of the Stedelijk underscored the ties with presentation emphasized the German ZERO group (1957–1966) with Heinz Piene, Mack, Otto the exhibition had firstbeen presented Newin York andDusseldorf. Where theGerman exhibitionwell-attended ZERO: at the the Stars Stedelijk, Let Explore Us after avariant of such as land performance, and art, conceptual In 2015, art. the research resulted in the came to light revealed that ZERO has considerable influence on important artistic currents New York, the ZERO Foundation, Dusseldorf, and the Stedelijk Museum. The insights that conclusion of an international research project jointly conducted by the Guggenheim Museum, in producing exhibitions underpinned by thorough research. The ZERO the Stedelijkart, plays aprominent role in global museum research. We also lead the field and internationally and contemporary long-established renowned a museum for modern As World-class research Stars the Explore Us Let ZERO: Photo Gert Jan van Jan Rooij . Photo Gert The Pregnant Woman Pregnant , The 14 Bella in Green in , and Bella exhibition was the . Comprising both both Comprising .

AMSTERDAM STEDELIJK MUSEUM festival. festival. ended, people shared their results in ARTOBERFEST, version the art of the popular German The participants first shared their work in a closed Facebook group.When the workshops celebrities gave assignments and offered how-to artists tips. workshop young for thirty creatives from all over the country. In eight videos, short Dutch learning. In 2015, the Education Department joined the Blikopeners in offering an online by community the art and the students. The Stedelijk is also breaking new ground with online also created aprogram vocational for secondary college students, which was well received their researching After much-viewed the art!? What series new groups for their offerings, they teachers were also able to inspiration seek online. The Blikopeners made new two episodes of In 2015, thanks to the Blikopeners (young educators peer with aside job at the Stedelijk), requests were related subjects, to art although some were for math or Dutch. Passes (offering teachers free admission to help them prepare for classes). of Most the during the Matisse exhibition was sold out. we And received requests for over Teacher 400 activities also appeal school to teachers. secondary The special teacher evening organized study day was ahit with the group of teachers, who gave it ahigh score: 8.7 out of 10. Our in theat art classroom?”, organized by the Rijksmuseum and the Van Gogh Museum. The of 250 elementary school teachers who participated in the successful study day to “How look education team are innovative and reflect the needs of thetarget group.This is theconclusion The Stedelijk also plays apioneering role in the field education.of The projects designed by our Education Family workshop by architect Job Schroen. Photo: Schroen. Tomek Job Family by architect Aaron workshop Dersu 15

AMSTERDAM STEDELIJK MUSEUM Amsterdam. de Vries. Free copies of the were book circulated among pupils of every elementary school in panied by for abook children with atext by Schippers K. and illustrations by Daan Remmerts exploresbook acomplex chapter in the history of the Stedelijk. The exhibition was also accom on-wide research project “Museum Acquisitions since 1933.” Praised for its transparency, the research into the provenance of works in the Stedelijk of collection the as part nati performed alucidoffers and well-presented account of up-to-the-minute insights into asensitive subject: The catalogue published on the occasion of T about this influential movement—from the interested layperson to scholar.the academic exhibition catalogue and acomprehensive reference work for those wanting to learn more contributions from and experts awealth of visual material this volume is both awonderful the Stars Explore Us Research plays akey role in many of the publications, such as in the catalogue ZERO: Let Tangier of Matisse, under the title van van zee stad de de het en blauw blauw Het The Parakeet and the Mermaid. The Stedelijk also published Abdelkader Benali’s essay on the Annemarie van Haeringen tells the enchanting tale of how Matisse created his iconic cut-out selling over 15,000 copies. The children’s by the Snail and the Parakeet, Mermaid The book essay. The highly readable, attractively designed catalogue was acommercial success, accompanied by three publications: an exhibition catalogue, of abook prints, and aliterary published twelve books aimed at abroad range was of readerships. of Matisse Oasis The tone and price, to books introducing adults and children and to design. art In 2015, the Stedelijk volumes, richly illustrated, which are readily accessible to awide audience in terms of both of experimental always books—almost in collaboration with premier living artists—and The Stedelijk’s publications reflect the museum’s priority areas, and range from limitededitions Publications Grafiti artist Mick la Rock at the launch of the Make it with Artists Workshop Book. Photo:Landewee Book. Fabian Workshop Artists Make with it of the launch at the Rock la Mick artist Grafiti , made in collaboration with the ZERO Foundation in Dusseldorf. With he Stedelijk Museum and the Second World the War Second and Museum he Stedelijk 16 . - -

AMSTERDAM STEDELIJK MUSEUM Publications of the Stedelijk Museum in 2015 Museum Stedelijk ofthe Publications Supplements: publications All focus on the history of exhibitions, while edition three focused art. on performance appeared in 2015. The second edition was dedicated to the growing tendency history to of art and conservation, and current themes relating to visual and design. art Editions and two three mining topics such as the Stedelijk holdings, the museum’s history, education, management, debate for scholarly researchers and professionals. Acall for papers invites contributions exa The peer-reviewed online journal Stedelijk Studies functions as aplatform for reflection and their own right that visitors can take home with them. with the artists’ practices and, as collectors’ items in an unusual format, are in also artworks Genzken: Isa hübsch! and Dich Ouija Mach – Recent The more experimental side of the Stedelijk found expression in artist’s two books: Atkins Ed collectors. work and ideas, of the the 1960s art and 1970s, and the strategies of exhibition makers and urge to collect, and as an serves excellent foundation for further explorations of Siegelaub’s Martinetti, supplemented by interviews and essays on all aspects of Siegelaub’s irrepressible explorationchronological Siegelaub’s of and joint editor life, Sara by co-curator written as an “inexhaustible Art Beyond­Siegelaub: Conceptual treasury.” a The offers book Dutch daily newspaper Handelsblad NRC described the remarkable publication Seth 17 . Both publications are closely interwoven -

AMSTERDAM STEDELIJK MUSEUM Humanities (FGw). Humanities training program (UPvA), and the Research Cluster of Heritage the and Faculty Memory of Training Programs of the University of Amsterdam (ILO), the University of Amsterdam teacher endeavor of the Stedelijk, the Van Gogh Museum, the Rijksmuseum, the Interfaculty Teacher The doctoral research project “Rondleiden is avak” (Tour Guiding is aProfession), is a joint also run in 2016. terminated at the end of 2015, as scheduled, but thanks to synergistic the coach will efforts Stedelijk. The funding provided by the Turing Foundation, which kicked the initiative, off Museum, also provided thousands of schoolchildren with free transport to and from the This year, the Museumplein Coach, acollaboration with the Rijksmuseum and Van Gogh sustainability. institutions on Museumplein in sectors including security, marketing, HR, and, soon, very In organizational areas, the Stedelijk maintains active partnerships with the other cultural Museumplein Amsterdam in Partners programs, or involve long-term projects that are wholly based on joint efforts. our on focus international—can and national, Partnerships—local, others. exchanges with in the power of partnership on every level of the museum, and is open and generous in its From partnerships with cultural to partners corporate collaborations, the Stedelijk believes partner Stedelijk as 2. The Installation All-Imitate-Act Photo: Andrea Rosetti Festival). Photo: Andrea (Holland Gillick Liam from

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AMSTERDAM STEDELIJK MUSEUM number of Talks Gallery on the topic. The Nationaal Comité 4en 5mei featured the Stedelijk auditorium to watch the film made by the Stedelijk of theas part exhibition, and to attend a on the Dam. Before of the the start procession, those taking were part invited to the museum Amsterdam began at the Stedelijk, then made its way to the National Remembrance service body that commemorates Dutch Liberation. For the first time, the annual Silent Procession in organized several events in conjunction with the Nationaal Comité 4en 5mei, acharitable In the context of the World exhibition the War Second and the Stedelijk Museum Stedelijk The exhibition Weekend:Art the opening of this weekend also coincided with the opening event of the organized reception. aVIP The Stedelijk entered into asimilar partnership with the Amsterdam Sanders The Amsterdam photo fair Unseen included the exhibition Pieter Marieke Addition: and Gift the Holland Festival ended, Gillick gifted the work to the museum. anyone photographed with their face in the of hole the became part museum’s history. When appearing on the panels were taken from works in the Stedelijk’s collection of graphic and art, Liamartist Gillick: 110 panels with a hole that visitors could put their heads through. The figures of the part HollandAs Festival, the Stedelijk presented the by installation Britsh All-Imitate-Act museum. the of outer facade While the church organized an exhibition, the Stedelijk unveiled aprojection of his work on the In early 2015, we teamed up with the Oude Kerk to highlight the Tony American artist Oursler. The Stedelijk also cultivates fruitful partnerships with institutions and initiatives in Amsterdam. inAmsterdam Other partners guides. tour museum of required competencies Besides yielding research tools to improve the quality of guided tours, the study identifies the be continued in the future. in the Photo: Jansen. continued be Mascha War. World will Second the and collaboration Museum The Stedelijk The exhibition ofthe context in the place took This time. first the for Museum Stedelijk the from left in Amsterdam May 4, 2015On Procession Silent yearly the in its program. The Stedelijk was co-coordinator of the fair’s opening, and also Isa Genzken: Isa hübsch Dich Mach . 19

AMSTERDAM STEDELIJK MUSEUM Amsterdam boroughs of IJburg and the Bijlmer and their parents. Photos: Tomek parents. their and Bijlmer the Aaron. and of IJburg Dersu boroughs Amsterdam in the schools elementary from children for to Stedelijk the admission free Together” offers “Looking project The Course. with Amsterdam Fashion Week, and asubstantive collaboration with the McKinsey Business public. Such events include ajoint campaign with the KetiKoti festival, aco-presentation of events and organizations aimed at knowledge-sharing and connecting with the general Appel, and The museum N8. also enjoys numerous incidental collaborations with adiversity with other Amsterdam organizations such as Iamsterdam, de Stadspas, We Public, Are de of adrive part As to engage with audiences, the Stedelijk maintains structural partnerships the needs of the education sector. created to act as asounding board to ensure that our educational activities continue to reflect of the schoolteacher, museum docents, and an education officer. In 2015, a work group was workshop. The Stedelijk programs offers education for secondary that draw on the expertise schools in IJburg and the Bijlmer visited the museum with their parents for aguided tour and initiative with Rabobank Amsterdam, the Stadsschouwburg, pupils and Artis, from elementary museumgoers when they grow up. For the project “Samen Kijken” (Looking Together), ajoint children who associate museums with positive experiences are more likely to regular become nature, and culture accessible to all schoolchildren. all, After research has shown that Working with schools, the Stedelijk is experimenting with new approaches to make art, Zuidoost. Amsterdam in intercultural and communities transnational temporaryoffers work and living space to developing artists projects engaging with the Centrum Beeldendebetween SMBA, Kunst Zuidoost, and Stichting FLAT. The residency Another successful venture is the artist-in-residency program BijlmAIR, acollaboration partnership. their continue to decided parties both that and the exhibition in its marketing and promotional materials. The event was such asuccess 20

AMSTERDAM STEDELIJK MUSEUM transportation crate.transportation détaché with Meijer Susanne conservator Sculpture Supplements: Annual report Library report Annual Supplements: addition scholarship to an important signifies worldwide. of these online resources. The connection of the library to an online global research network scanning process, it was discovered that 105,000 of the 190,000 titles were not yet listed in any which only admits libraries art able to the serve international scholarly community. During the resource), and the prestigious project “Art Bibliography of the Future” led by Institute, the Getty titles will available be in (the Picarta Dutch database of libraries), WorldCat (the international converting the 190,000 titles held in the Stedelijk Museum library database so that these 2015 when the library was connected to the world’s most noted databases. This involved and designart in Europe. Its value as an academic resource was internationally in affirmed The museum library ranks among the top five largest libraries for modern andcontemporary Library partnered with anumber of institutions, including the Tinguely Museum in Basel. materials that have lost been or deteriorated replaced? be For this project, the Stedelijk has challenging questions such as: if awork no longer kinetic, is it still aTinguely? And: can works by Tinguely in the Stedelijk’s collection. The vulnerable and often kinetic works raise the Stedelijk’s Restoration Department launched amajor project in 2015 to restore thirteen In anticipation of the large-scale survey of Jean Tinguely, which opens in the fall of 2016, Restoration partners International by Jean Tinguely, by Jean in 1954, its shown Elément 21 The public library of the Stedelijk Museum. Stedelijk ofthe library public The

AMSTERDAM STEDELIJK MUSEUM diverse group of eleven artists from Amsterdam and different parts of the world. Photo: world. ofthe van Deursen. Ernst parts different and Amsterdam from ofeleven group artists diverse of Kamarado Opening Supplements: All acquisitions All Supplements: Gemeentemuseum Haag, Den and the –Netherlands RKD Institute History, for Art The Hague. Stedelijk co-purchased the publication with Museum Boijmans van Beuningen, Rotterdam, of 1912 was purchased with the of support the Mondriaan Fund by four institutions; the work is currently in development). Acopy of Reiter the Almanach artist’s Blaue Der book Van Abbemuseum Eindhoven to purchase by Project Renzo AGentrification Martens (the 2015, the Stedelijk teamed up with the Frans Hals Museum Hallen |De Haarlem and the bringing the advantage of sharing acquisition, management, and conservation costs. In collection. Purchasing works jointly of art is becoming more widespread in the Netherlands, Longstanding partnerships are invaluable in helping us to realize unique acquisitions for the Joint Acquisitions Supplements: All exhibitions and activities of Global Collaborations and SMBA and Collaborations of Global activities and exhibitions All Supplements: solo show at the Stedelijk. The artists’ collective Tromarama, based in Bandung, Indonesia, mounted its first European institutionbetween an art and amosque and Islamic community. decorations for the Fatih Moskee on the Rozengracht. It was the first evercollaborative project In 2015, the weeklong exhibition You Come As presented Are three artists’ proposals for the conflict and genocide of the former Yugoslavia. project to take aclose look at ataboo topic: the ways in and which visual art culture dealt with theco-curated major group exhibition Resolution 827, This was staged at the SMBA. first whose exhibition travelled to the Museum in of Belgrade. Contemporary Art That institution ­ inSMBA 2015 was asolo show by the Amsterdam-based Formwalt, Zachary American artist the Stedelijk and Museum, non-Western SMBA, institutions. partner The first presentation at in cities across the world, primarily in emerging regions. The exhibitions were mounted at into the museum, based on collaborations with museums, institutions, art and initiatives artist The three-year project Global Collaborations (2013–2015) brought the non-Western world art Concluding phaseof GlobalCollaborations institutions partner with Programs , a collaboration between SMBA and Clark House Initiative in Bombay brought together a Initiative together brought in Bombay House Clark and SMBA between , acollaboration 22

AMSTERDAM STEDELIJK MUSEUM Closet’. Photo: van Deursen. Ernst ‘A Skelleton in the performance Ulay his during Artist organizations like (media LIMA art) and If ICan’t Dance art). (performance working with smaller initiatives such as capitalized less but substantively important specialist on ascaleperformance that would impossible be at de Appel. The Stedelijk also invests in Public Program production team to mount aprofessional symposium, workshop, debate, or young curators taking in the part Curatorial de Appel Program join forces with the Stedelijk opening at the Stedelijk with music and performances media installations. Each year, the IDFA, as well as along-term collaboration with Sonic Acts Festival that celebrates its annual We also cultivate partnerships with organizations such as the Holland Festival, Unseen, and a cycle of lectures and creativity on art in the wake of globalization and the financial crisis. lecture series in collaboration with the Amsterdam VU entitled Creative “The Imperative”: Stedelijk attaches to maintaining close ties with academia. Aconcrete example of this is a Amsterdam, the Amsterdam, VU and Leiden University are the result of the the importance and theories with audiences at the museum. Enduring partnerships with the University of external institutions, artists, curators, and scholars to share their recent academic findings Collaborations and partnerships are also the cornerstone of the Public Program. We invite Public Program 23 director of Moderna Museet. Photo: van Deursen. Ernst Museet. ofModerna director Birnbaum, Daniel and Ruf Beatrix between a discussion by was followed This 1960s. and 1950s ofthe practices art conceptual and visual in the found he inspiration the today and ofZERO relevance the on keynote speech Rotterdam) gave a (OMA, Koolhaas Rem architect “Topicality the ofZERO.” on Symposium Renowned

AMSTERDAM STEDELIJK MUSEUM Guided tour “Onvergetelijk Stedelijk” for people with Alzheimer’s and their caregivers. Photo: Tomek caregivers. their and Alzheimer’s with Aaron. people Dersu for tour “Onvergetelijk Stedelijk” Guided Supplements: All activities of the Education Department of the Education activities All Supplements: They can also provide the medical world with insights into the life-enriching benefits of art. results of the research can aid museums in developing programs for visitors with special needs. Centre is conducting scientific research into the progress and outcome of the program.The To the assess program’s on participants, effect tour guides, and museum staff, the Medical VU opportunity for the museum to get staffs to know each other and enhance their skills. Laurel on Humble educational of the MoMA, programs for older visitors in May 2015. It was an and expertise beyond the context of the project, the Stedelijk hosted amaster class, led by Museum in Assen. To make sure that museums can also draw on each other’s knowledge Twente in Denekamp, Museum Boijmans Van Beuningen in Rotterdam, and the Drents was rolled out to four museums: the Zeeuws Museum in Middelburg, Natura Wonderryck Docet able to train ten other museums to implement the program. In 2015, the Alzheimer’s project With the of support the Gieskes-Strijbis Fonds, the Stedelijk and the Van Abbemuseum were questions, and take in creative part assignments. York. With the help of aspecially trained tour guide, participants together, look at art answer Van Abbemuseum, was launched in 2013 based on asimilar program run by in the New MoMA Alzheimer’s and their caregivers. The project, ajoint initiative between the Stedelijk and the programs. “Onvergetelijk Stedelijk” (Unforgettable Stedelijk) is aprogram for people with able to visit for physical, mental, social, or cultural reasons, the Stedelijk develops special of its mission part As to make the museum accessible to people who might not otherwise be Ten Dutch museums trained to implement successful Alzheimer’s program 24

AMSTERDAM STEDELIJK MUSEUM Preview of Arttube films of the Stedelijk Museum. Stedelijk of the films Preview ofArttube Stichting Restauratie Atelier Limburg (SRAL). of the Faculty of Aerospace Engineering), the Rijksmuseum, the University of Amsterdam, and Stedelijk is conducting this project together Technical with Delft University (Adhesion Institute on Consolidating Adhesives for Flaking and Fragile Paint Layers of Cultural Objects.” The Institute for Conservation, and Science) Art, for the two-year postdoctoral project “Research In 2015 anew research project with NWO funding was honored by the NICAS (Netherlands paintings, traditional “painting and glass.” gouache and behind oil 2016, focuses on developing new of adhesives types for the conservation of primarily modern and Utrechtcollaboration University. University with Leiden in which concludes project, The & Preservation. How to Save Photographic for the Future?”, Artworks conducted in Scientific Research, the Stedelijk takingis in thepart four-year research project“Photographs IIn the context of the NWO of program the Netherlands Science4Arts, Organisation for Science4Arts viewers. watched by 50,000 aired during the ARTtube hour on the Dutch digital tv-channel NPOCultura, aweekly edition public broadcast organization Aselection of NTR. videos made by the Stedelijk was also the ‘Kunstuur’ program for high partnership school students—a between ARTtube and Dutch Leiden. Clips from the videos were edited into the program “Kunstuur in de klas,” aremake of Uitmarkt Amsterdam, Museumnacht Haag, Den and during the Nacht van Kunst en Kennis in A special ARTtube program was presented at the Lowlands pop festival in 2015, and at the website receives hits. 20,000 The collaboration involves more than simply uploading videos. which are produced by the institutions themselves, drawing on their expertise. Each month, the number is still growing. The museums publish high quality videos and about design, art most of culturaltwenty institutions share their videos with the public on this joint platform and the Haag, Pont, De and Museum Boijmans Van Beuningen) launched ARTtube in 2012. Now, Five Antwerp, museums Gemeentemuseum (Stedelijk Den Art Museum, Museum of Modern ARTtube: museums present films online and at major events 25

AMSTERDAM STEDELIJK MUSEUM A ‘Blikopener’ gives a tour of the ZERO exhibition during Museum Night. Photo: Night. Museum Tomek during exhibition gives atour ZERO ofthe Aaron. A ‘Blikopener’ Dersu Blikopeners, our team of young people aged 15 to 19, and the youngest Stedelijk employees. Another highly successful way for the museum to connect with visitors is through the once). again for free, bringing as many friends and family with them as they like (the card is valid only They can use the card (written in Dutch, English, Turkish, Farsi, and Arabic) to visit the museum elementary schoolchildren who take aguided tour of the Stedelijk receive a“come back” card. The museum also opens an hour earlier every day (by appointment) for schools, and more visitors on public holidays like King’s Day and Whit Sunday than in 2014 and 2013. week. Our policy of days” being open “365 a year meant that, in 2015, we were able to welcome working people engage more with easily, art the Stedelijk is open until 10 p.m. one night each Card, Pass, City or Teacher Pass; students receive half-price admission. To help tourists and audience possible, we free offer admission to visitors under 18 and holders of an Iamsterdam In ensuring that the Stedelijk continues to accessible be to the widest and most diverse Open to all (cultural) partners. of educational activities, marketing campaigns, and effective partnerships with avariety of thanks to our rich and diverse exhibition schedule, varied public programs, and large range the and city people of Amsterdam. We continue to reach more audiences than ever before, make everyone feel at home at the Stedelijk. The museum cherishes aspecial relationship with audience, from schoolchildren connoisseurs, to art and from tourists to artists. We hope to The Stedelijk Museum seeks to connect with abroad and varied national and international 3.  international public international The Stedelijk is for abroad, varied, and 26

AMSTERDAM STEDELIJK MUSEUM Guided tour of “Stad en Taal. en tour of“Stad Guided Aaron Photo: Tomer Dersu historical research. historical Taiwan, China, the US, Russia, Sweden, Switzerland, and Spain) spent days involved in art Among researchers them, from forty all over the globe (Germany, France, Poland, Japan, (academics, students, artists, journalists, and other interested parties) made use of the library. We are also seeing arise in the number of visitors to the library. In 2015, over people 3,500 history of the Stedelijk. Avant-Garde in 2013, the Russian and Malevich making it the most popular exhibition in the broke in 2014 the Burden as attendance Image The Dumas: records of Marlene andKazimir visitors,attracted some 360,000 far in excess of the anticipated total of 250,000. This number the Stedelijk in the context of collaborations with schools. The exhibition of Matisse Oasis The visitors aged 18 and older, 40% lived in Amsterdam. Approximately children 40,000 visited than visitors. 730,000 In 2015, 70% of visitors came from the Netherlands and of the Dutch visits, and high scores from our audiences in visitor’s surveys. This year, we welcomed more exhibitions and events we offer, which is demonstrated by an impressive number of repeat In 2015 we had the highest visitor figures since the 2012 reopening.Visitors clearly enjoy the Visitor figures museum visitors found the approach to popular, be and the experiment will continue in 2016. different ways of activating the interaction between visitor and coach. Asurvey held among Utrecht School the for Education the Arts, Department developed apilot project to explore four relating to on show, the art or the museum in general. In collaboration with four students from approach to visitor outreach in which amuseum employee assists visitors with information developed and launched an experimental project under the banner “Stedelijk Coach,” afresh Blikopeners are also online and in 2015 reached 112,487 people. In that context, we also people to talk and about and connect design art, art with their own experiences. The usoffer advice and organize workshops and events for their They peers. help other young Coming from all over Amsterdam and from different academic backgrounds, the Blikopeners 27

AMSTERDAM STEDELIJK MUSEUM institutions, with atotal of 26 groups (which equates to people) 338 visiting the museum. and discover Dutch culture. In 2015, the Stedelijk was the most popular of the participating the Resistance Museum. It focuses on helping adult participants learn the Dutch language of the Municipality of Amsterdam, Amsterdam Museum, the Tropenmuseum, FOAM, and organizations involved in en “Stad Taal” (City and Language). en “Stad Taal” is ajoint venture The popularity of the Stedelijk is also shown by the collaboration with the fiveAmsterdam event once ayear. Move, when around athousand guests thronged to the festive opening. We plan to host the to come attend an opening. In August 2015 the “open opening” was for the exhibition the On group, the museum places an open invitation on Facebook to welcome everyone who wants The Stedelijk also introduced the “open opening.” Instead of an opening official for an invited connecting with anew public: 65% of participants hadn’t visited the Stedelijk before. huge hit—families even scored it a9out of ten. The event also turned out to agreat be way of canopy to the top of the grand staircase. Our research revealed that the Family Day was a taking in different part workshops. The museum was filled with activities, frombeneath the and family members were our guests of honor for an entire day, and had awonderful time In 2015 the second Rabo Family Day was all about Henri Matisse. Approximately 750 children groups. target particular (see Chapter 2: The Stedelijk as partner) and organizes events specifically designed to attract The museum constantly strives to expand its reach, and maintains avariety of partnerships reach our Increasing plants they’d seen earlier that day. they’dplants earlier seen Photo: Tomek Aaron. Dersu sketching and poles, bamboo long using down, ofTon help the With Matisse—lying drew like children Henri Meijer 28

AMSTERDAM STEDELIJK MUSEUM Instagram channel for 24 for channel hrs. Instagram collective Stedelijks over took the artists’ Tromarama Left: campaign. Photo: RVDA. Xinfluencer Stedelijk Right: evening for their network. online and via social media by the six young influencers invited by the Stedelijk to curate an December 2015 and focused on young, busy Amsterdammers, was successfully distributed Although it had no media budget, the campaign “Stedelijk X,” which was launched in and Dutch printe media Het Parool and Adformatie, plus new 200 Instagram followers. This innovative approach to talking about exhibitions generated in articles the New York Times online platforms. In July, artists’ collective Tromarama set up the Stedelijk’s Instagram channel. In 2015, the Stedelijk also experimented by letting temporarily artists take over one of our networks. personal through training outreach to online expand 2015. In addition, under the motto “everyone’s acommunicator,” were staff given social media capacity meant that we were able to present our first filmic annual overview at the end of program toTV invite curator Anne Ruygt to appear on the program. Our new film production Andy Warhol, was shared avast amount of times online, prompting the team of the Pauw scenes glimpses to visitor testimonials. One of our films, marking the donation of a work by as video journalists, who then went on to produce scores of videos ranging from behind-the- The focus on producing high-caliber online content led to several members being staff trained Netherlands). the Museumplein, home to these four cultural institutions, as the cultural hotspot of the congratulate the Van Gogh Museum on its new entrance at the Museumplein (and to promote video, byoff co-produced the Stedelijk, the Rijksmuseum, and the Concertgebouw to Social media also proved to the be ideal channel for airing and sharing the original dance- viewers. million Matisse highlights of our online initiatives include the animation made for the exhibition of Oasis The tools, social platforms, and digital newsletters, resulting in our 100,000th Twitter follower. Other RealTimeBidding and Snapchat). resulted Our efforts in asteadily expanding reach via online marketing campaign, and paying particular attention to using innovative online tools (like reaching abroader audience. This led to embedding powerful online components into each In 2015, the Stedelijk also on expanding focused its efforts its online ideal reach—the tool for Digital outreach exceeds all expectations ; supported by amedia budget and strategic promotion, the clip gained at least two 29

AMSTERDAM STEDELIJK MUSEUM conclude the ZERO exhibition in exhibition 2015. ZERO the conclude Photo van Deursen Ernst to performed Opera, Nationale De and Stedelijk the between was acollaboration Ludens Homo performance The for performance art. for performance relationship between language and the moving body and the idea of anew (conceptual) space Alexandra artist performance Bachzetsis presented aspectacular performance, exploring the In 2015, in close collaboration with the curator performance of the Stedelijk, the Swiss thought. His compelling views on performance, identity, and representation offered much food for extremely popular program two-day with music, lectures, performances, and film screenings. made avital contribution to the Public Program. Atkins curated “Performance Capture,” an exhibition Ouija Recent Collaborating and interacting with is artists avital of the part Stedelijk program. During his practice, highlighting themes such as the relationship with non-Western and artists. art the work of artists, cultural theorists, and curators outside the Stedelijk’s standard exhibition insights and encouraging critical discussions. It also acts as abeacon, drawing attention to gain adeeper experience of the museum’s collection and exhibitions, offering information and is alively public platform for debate and reflection.The Public Program allows audiences to presentations, film screenings, lectures, and discussions.Thanks to this program, the museum The Public Program of the Stedelijk Museum adynamic offers roster of performances, media 4. The Stedelijk as open platform for debate and reflection and , British Ed artist Atkins was frequently present at the museum, and 30

AMSTERDAM STEDELIJK MUSEUM Na Capture: Photos Ernst van Deursen. Dat van Symposium on Matisse .... Matisse on eruit Wang van Dat moet Symposium Capture:Na van Photos Deursen. Ernst Supplements: Supplemental activities of staff activities Supplemental Supplements: by organization. the encouraged are and networks the museum. Their supplemental activities often present excellent opportunities for expanding Museum were staff also involved in symposia, conferences, and debates at venues outside Program of the Public activities All Supplements: of the Stedelijk Museum). of adiscussion with curators New York) Karl Buchberg (MoMA, and André (formerly van Oort challengeconsiderable to the world restorers over. was the highlight restoration This process animals, figures, and silhouettes. because Partly of their sheer size, these cut-outs a posed gouache. With scissors, he transformed the painted paper into world acolorful of plants, of his life, Matisse ingeniously created lavishly colored works using only white paper and complicated restoration projects involving works by Henri Matisse. During the last decade In the the context Public of Matisse of the Program Oasis The looked back on of two the most relationships. behavior, personal our and status, social examined prevailing notions of sexuality, identity, and ethnicity, and their defining impact on performance. In this rendering at the Stedelijk with new, integrated video work, the artist In her first museum debut, the young Chinese artist Taocheng Wang gavetale a fairy 31

AMSTERDAM STEDELIJK MUSEUM focuses on the key areas set out below. to our vibrant and varied program of exhibitions and events. The Development Department and maintain relationships with the 250 members of Young Stedelijk. This was due thanks to the Stedelijk, and continue to so. be In 2015, we were delighted to welcome new Patrons, Despite declining budgets in the corporate sector, partnerships have traditionally crucial been Ammodo, Fonds21, by Netherlands. financed Outset Mondriaan Institut, and Goethe Fund, profound, the exhibition viewers offers aunique experience of live The project was artwork. was Sehgal alsoTino embraced by avariety of foundations. Both ephemeral yet immensely to the substantial contributions of foundations and private sponsors. AYear by the at Stedelijk keyoffer education projects like the Blikopener program and “Onvergetelijk Stedelijk” thanks of Matisse of acquisitions, and educational projects. We were able to mount exhibitions such as Oasis The museum. in 2015 Our efforts were primarily dedicated to raising funds for exhibitions, art corporate bodies, and private benefactors represents avital third strand of revenue for the the Municipality and income generated by the public, the funds we receive from foundations, 2015 was an excellent year for the Development Department. In addition to our grant from achieving in ambitions. us our basis,to-day we continually to seek increase revenues and encourage benefactors to support Development Department. In delivering our core tasks and maintaining the museum on aday- benefactors and stakeholders, foundations, and private and corporate sponsors through the The Stedelijk connects, deepens, and expands relationships with existing and potential 5. The Stedelijk support base: diverse and dedicated Visitors at the entrance of the Stedelijk Museum. Photo: Museum. Museum. Stedelijk Stedelijk ofthe entrance at the Visitors , ZERO: the Stars Let Explore Us , and Ouija –Recent Ed Atkins

32 , and to continue to

AMSTERDAM STEDELIJK MUSEUM the canopy of the Stedelijk and in the Teijin Auditorium. Supported by Stichting Stokroos, the event Do: Can Taste Design What It! beneath was held hugely popular exhibition. the Mondriaan Fund, Zabawas, and the K.F.Hein Fonds for their generous of support this We would like to express our gratitude to the Turing Foundation, the BankGiro Loterij, Fonds21, was the of Matisse largest ever Oasis The retrospective of Henri Matisse in the Netherlands. supported by the Vfonds and the Nationaal Comité 4en 5mei. World the War Second and exhibition Museum Stedelijk The Marking the 70th year since the liberation of the Netherlands, the Stedelijk presented the Netherlands. Fund, Outset Institut, and Mondriaan Goethe the Sehgal Ed Atkins’ inaugural presentation in the Netherlands, as well as AYear Tino the at Stedelijk: program. In 2015, asubstantial contribution from Ammodo gave us the opportunity to stage project “Onvergetelijk Stedelijk.” The Gieskes−Strijbis Fonds also remained involved in the Stichting RCOAK and Fonds Sluyterman van Loo renewed their of support the Alzheimer’s Foundation. Blikopener project also receives funding from aprivate sponsor through the Stedelijk Museum young people took over. Fonds 21 has the been project’s main benefactor The since 2008. The Blikopener project was generously supported by Fonds 21: in 2015 the seventh team of sum. substantial a provided and museum, successfully continued. Half of the proceedsraised by the sale of ticket each lottery went to the addition to three panels. The BankGiro Loterij’s member acquisition campaign in the foyer was of the Loterij. Their also support financed the purchase of a video work by Ed Atkins, in BankGiro Loterij for the Matisse exhibition; we hosted anumber of receptions for members the of We presentation. support the gratefully generous also the acknowledge the Mermaid Parakeet and The restore anumber of pieces. Thanks to the Loterij’s support, we carried out restoration work on The contribution euro for of 2015 300,000 enabled us to acquire several key and artworks In 2015, the BankGiro Loterij entered into afive-year partnership with the Stedelijk Museum. connecting with international and EU funds. term projects and stage exhibitions. The development team is currently looking into ways of Without the help of existing and new funds, the museum would not able be to continue long- Funds key areas The Photo: Ernst van Deursen. Photo: van Deursen. Ernst installation. dinner multisensory his presents Atala Alex chef Do: Taste master Can Brazilian It! Design What

. The Sehgal survey was also possible with the generous of support Fonds21, the , one of the iconic works in the Matisse exhibition, especially for 33 Photo: To caregivers. their and Alzheimer’s with people for tour “Onvergetelijk Stedelijk” Guided Right: mek Dersu Aaron Dersu mek . This major exhibition was

AMSTERDAM STEDELIJK MUSEUM Photo: van Deursen Ernst ofMatisse.” “Making Club, breakfast, Business Supplements: Members of the Stedelijk Club 2015 Club of the Stedelijk Members Supplements: Amsterdam Museum of the Stedelijk funds and benefactors, of sponsors, Overview Supplements: BV. Interchem Aromatics and 2015, we welcomed the following new members: Deloitte Accountants B.V., Goldman Sachs, compelling exhibitions and projects that enrich the museum and the of city Amsterdam. In With the of support our circle of business sponsors, Stedelijk Club, we were able to mount museum. The Stedelijk also formed new relationships with companies that deliver to the services The contract with Freshfields was also extended for another three years. the museum was able to secure new two sponsors: G&S Vastgoed and Vos De and Partners. Although corporate sponsorship budgets are also feeling the pinch of tough economic times, children living in Amsterdam, and the Rabo Business Day that focuses on the exhibitions. for avariety of target groups. Among the events are the Rabo Family Day for parents and Working with main sponsor Rabobank Amsterdam, the Stedelijk develops different programs Corporate sector 2015 of sponsors exhibitions Overview Supplements: thanks to the of support the Mondriaan Fund. first The very exhibition on the work Sethof Siegelaub at the end of 2015 was alsopossible Fonds. Claus Prins the funding from Near and Tromarama took place at the Stedelijk in 2015. Tromarama received additional supported by the Mondriaan Fund and Ammodo. In the context of this project, How Far How 2015 was the final year of the three-year project “GlobalCollaborations” that was generously Germany. of Republic Kunststiftung NRW, ProHelvetia, Foundation, Daimler Art and the Embassy of the Federal Institute the (ifa), with Auslandbeziehungen fur Institut, conjunction in Goethe the Cultuurfonds approached international foundations. The exhibit was supported by the Prins Bernhard international foundations, which was remarkable given that the Stedelijk had never previously and international group of avant-gardes. This exhibition was supported by numerous ZERO: presented the Stars Let Explore ahistorical Us overview of the experimental, radical, Switzerland. Museum Foundation, including the Ringier Collection and the Walter Bechtler Foundation, A. was supported by Stadsdeel Zuid and several private benefactors through the Stedelijk The installation of Liam Gillick on Museumplein, aco-production with the Holland Festival, 34 family looking at Claes Oldenburg, Saw (hard version II). version Saw (hard Oldenburg, at Claes looking family ­ Rabobank main with organized sponsor year,Each Family Rabo the Day, visit of families hundreds Amsterdam. A Amsterdam.

AMSTERDAM STEDELIJK MUSEUM birthday with, among others ambassador Ramsey Nasr, Ramsey ambassador others among with, birthday 31, January On Young first its celebrated Stedelijk successful”—dynamic, open, “hip,” and with astrong cultural focus. the same demographic were launched in the city, Young Stedelijk was considered the “most considerable media attention. Despite the fact that anumber of new cultural circles aimed at other half are entrepreneurs or active in the business sector. In 2015, Young Stedelijk garnered Roughly half our Young Stedelijk members have an artistic or creative background, while the artists, many of whom joined in 2015, taking advantage of the special membership artist fee. year, has already attracted 250 young fans of culture. This diverse group includes anumber of contemporary and design. art Our dynamic program, which more offers than ten activities a loversfor art aged between 25 and who 40 want to deepen their knowledge of modern and The year to got afestive off to with celebrate start aparty the debut of Young Stedelijk, created fairs. art at receptions and previews openings, during by its own membership fees and privileges such as receptions in the context of exhibitions, Family, Stedelijk Donor, Young Stedelijk, and Stedelijk Patron. Each is distinguished category In 2015, the museum offered fivecategories for private sponsors: Stedelijk Friend, Stedelijk Friends patrons Private

35 followed by dancing. Photos: Jesaja Hizkia byfollowed Photos: dancing. Jesaja

AMSTERDAM STEDELIJK MUSEUM Museum Fonds 2015 Fonds Museum Stedelijk of the Beneficiaries Supplements: funding the Stedelijk’s work. either organization will wholly be devoted to and death tax gift duties. Any monies gifted to as such, are completely exempt from paying Organizations (known in Dutch as ANBIs) and, Museum Fonds are both Public Benefit The Stedelijk Museum and the Stedelijk institutions.and private collectors, directors, gallery artists, recipient of atotal of 679 gifted by artworks In 2015, the museum was the grateful Fonds Museum of the Stedelijk report Annual Link: 2015 Museum Patrons of the Stedelijk Supplements: annual report. Further details about the work of the Stedelijk Museum Foundation can found be in its separate Sehgal of Tino survey and “Tailor-Made Tours” and alarge number of exhibitions including of Matisse Oasis The was also instrumental in helping us to realize educational projects such as the Blikopeners aid of the Fonds we were able to purchase works by such artists as Avery Singer. The Fonds projects. Our most generous benefactors are united in the Stedelijk Museum Fonds. With the provided us with significant funds that went towards acquisitions, exhibitions, andeducational In the first full year since its foundation, thebody of support the Stedelijk Museum Fonds Stedelijk Museum Fonds Day programArt in Zurich. collector Ulla Dreyfus, owner of collection, an eccentric art and in took the part Contemporary also visited the Marlene Dumas exhibition in Fondation Beyeler in Basel. Fellows visited with art to previews of the Frieze Fair Art in Basel. London Accompanied and Art by Beatrix Ruf, they October 2015 and, with apass provided by the Stedelijk Foundation, also gained admission curators. This secured 26 new Patrons. Several benefactors visited the Venice Biennale in was developed for them, including avisit to the FIAC in Paris in the company of Stedelijk The Patrons were invited to attend all exhibition openings. Aprogram of receptions and events Patrons throughout year. the followed that by was aparty also attended by all who had performers 293 enacted Tino’s works Beatrix Ruf, and curator Martijn van Nieuwenhuyzen held alively conversation with the fans, During the special event hosted for Tino Friends on November 30, 2015, the artist, director joined as aTino Friend, including 9Patrons, Young 33 Stedelijk members, and 154 Friends. a text written by Tino Sehgal, and themselves. of the hence became part artwork 196 people and Tino Sehgal exhibitions. People who became aTino Friend received aword taken from Two successful events to broaden our Friends were category organized around the Matisse Isa Genzken:, Isa hübsch! Dich Mach 36 partners in 2015. Photo:partners van Deursen. Ernst presentation of the exhibition program for and sponsors annual the thanked are during funds and Sponsors , ZERO , and Ouija –Recent Ed Atkins , the .

AMSTERDAM STEDELIJK MUSEUM Collection Plan and the first steps towards introducing a valuation system for thecollection. ways of enhancing the museum’s One of the outcomes artistic was DNA. the creation of anew the museum. To do so, we established anumber of work groups, which also provided input on Planfor the 2017–2020, Arts 2015 largely focused on formulating anew mission and vison for Now that the museum has anew director in post, and as we prepare our funding application Focus on Artistic DNA efficiency.cost improves contract management, maximizes the added value of the supplier, and enhances the strategy for each contract group. The heightened professionalism of the in-sourcing policy with guidelines and procedures. Phase involved two the rollout of the policy, and determining phase consisted of conducting an expense analysis, and drawing up an in-sourcing handbook In 2015 we also took steps to increase the professionalism of our in-sourcing policy. The first and the storage, and encourages greater flexibility and efficiency within the organization. enhances information flowwithfloorstaff andconnectsstaff, office volunteers, tour guides, represented avital step in adapting our internal communications. The platform significantly In December 2015, the launch of an entirely reconfigured intranet and Yammer platform mid-2016 after which the museum will have aflexible, safe, and future-proof IT infrastructure. and implementing anew structure management. for service The project will rounded be in off an audit of the present infrastructure, upgrading the core applications, replacing the hardware, museum’s main processes. The project focuses on formulating an IT strategy for the future, In the project grows “IT with you,” strategic sessions pinpointed the IT developments within the levels (objects, galleries, time, budget). renewed. This gives aclearer staff idea of the status of the year’s exhibition roster at various have been system ‘360’ management document and intranet the that now straightforward deployed and refined throughout organization.the Sharingmore informationbecome has an executive summary. Using the project management method Prince-2, documents are other projects is to reported the directors, Management Team, Board in and Supervisory management.and portfolio Every month, the status of strategic projects, exhibitions, and “Stedelijk is One” builds on the work of the project bureau in the context of project, program, One Stedelijk is 2015. in milestones on Entrepreneurship. These areas encompass an array of projects that reached important five four elements: Stedelijk One,is FocusVisitors, on and FocusDNA, Focus Artistic on the organization and to generating greater revenues for itself. concentrate These efforts on In 2015, the Stedelijk devoted considerable attention to enhancing the professionalism of Stedelijk The 6. Museum: increasing self-sufficiency and professionalism and 37

AMSTERDAM STEDELIJK MUSEUM museum. aimed at accelerating their chances of finding another job, while they are still working at the became mandatory to spend the transition payment for outgoing on acourse or staff training The museum also invested in courses for leaving staff the Stedelijk’s In service. July 2015, it seminars and congresses to courses lasting several months that culminate in adiploma. members followed of staff acourse, training, or development program. This varies from The museum also invests in training and professional development. In 2015, some 60 projects. demanding manpower additional particularly during or knowledge specialist with levels. This strategy enables the museum to manage personnel-related risks and equip teams In addition to its permanent staff, the museum also works regularly with flexible at staff all Council. Works (including labor conditions) could made. be This will fleshed be out in early 2016 with the new this trajectory to organize meetings for all in order staff to discuss where further improvement museum sector as of January 1, 2016 and, together with the Works Council, took advantage of inAlso 2015, the museum took steps to join the collective bargaining agreement for the end of 2015, and all have staff since apprised been of their job categories. descriptions required renewal and re-grading. This project largely reached completion at the The museum has radically changed since then, due to in the part reopening in 2012; the job goals. The job profiles of all thepositions at the Stedelijk Museum also dated back to 2007. whether or not the member staff has acted in line with the core values when achieving his/her newly formulated core values. However, the appraisal allow does the manager to indicate Unlike the previous system, the new procedure not does require aseparate evaluation of the agreements and broader offers opportunities for discussing the member’s staff progress. which gives managers andgreater staff for scope making appropriate result-oriented Department designing to start anew system. The group developed anew appraisal form, work group consisting of managers, the Works Council, and the Personnel &Organization overdue for renewal. circulating After aquestionnaire among all staff, we put together a system of personnel appraisals and progress interviews dated from 2007 and was long In 2015, we continued to roll out the policy HR that was launched in 2014. The Stedelijk’s Policy HR campaign throughout the internal organization. organization. internal the throughout campaign accreditation, the feasibility studies of various sustainability projects, and an awareness project comprises three elements: Musea sustainabilityIn-Use qualification forBREAAM In terms of sustainability, our flagship project is Stedelijk Green.Launched in 2015, the insucceeded growing that figure to 57%, on the basis of ticket sales and sponsor packages. our first full year of in opening—and 2014, our self-generated revenue 54%.was In 2015 we of activities. The municipality’s benchmark for self-generated income is 25%. Both in 2013— financial foundation is not sufficient to scope the ofsupport the Stedelijk’s ambitions scaleand the quadrennial Plan is, Arts and continues to remain, our financial mainstay.However, this expenditure. The funding provided by the Municipality of Amsterdam in the framework of program is underpinned by our drive to increase our self-generated revenue and minimize of private donors and businesses. Our ambition to realize arich and inclusive exhibition fulfill our vision to its fullestpotential, fromcost-saving collaborations to the generous support The Stedelijk is an enterprising museum, always striving to find new and sustainable ways to entrepreneurshipFocus on 38

AMSTERDAM STEDELIJK MUSEUM institutions Museumplein. on panels storage on the art depot, and connecting thermal energy storage systems with other control systems, the installation of LED lighting in all museum galleries, the placement of solar the of performance feasibility studies. These monitor such things as CO2-managed climate are determined on the basis of energy recommendations, performance and also involve preparations were made by out carrying abaseline measurement. The sustainability projects Amsterdam museums, with the aim of achieving status Good” “Very in 2016. In 2015, Musea scheme certification In-Use beingis jointly implementedThe BREAAM with other 39

AMSTERDAM STEDELIJK MUSEUM taken into account. into taken When (re)appointing members, the relevant stipulations of the Cultural Governance are Code MayOn 1, 2015, Joyce Sylvester was appointed for aperiod of 4years. NovemberOn 7, 2014, Rita Kersting was appointed for aperiod of 4years. December 13,On 2013, Madeleine Buning de Cock was appointed for aperiod of 4years. OctoberOn 12, 2012, de Bruin Cees was appointed for aperiod of 4years. January 4, 2015 for aperiod of 4years. JanuaryOn 4, 2011, Willem de Rooij was appointed for aperiod of 4years and reappointed on December 13, 2013 for aperiod of 4years. JanuaryOn 1, 2010, Rob Defares was appointed for aperiod of 4years and reappointed on period, and were reappointed on April 14, 2013 for aperiod of 4years. AprilOn 14, Alexander 2009 Ribbink and Constantijn van Oranje were appointed for a4-year appointments and changes, rotations, of Schedule remuneration for their work. members Board of the are Supervisory reimbursed for their expenses but receive no other charter, which permits each member to elected be for amaximum of 2terms of 4years. The functioning as regulators. Board members’ The Supervisory terms is stipulated of office by the The members are independent of each other and of the Board, which promotes their Joyce Sylvester (since May 1, 2015). Buning,Cock Rob Defares, Rita Kersting, Prins Constantijn van Oranje, Willem de Rooij, and Board comprises:The Supervisory Alexander Ribbink (chair), de Bruin, Cees Madeleine de Members of the Supervisory Board in 2015 a week, and meets with the Works Council at least six times ayear. duties by performed the Stedelijk Museum Amsterdam. The Board of Directors convenes once Amsterdam. Board also The Supervisory takes account of the risks that may arise from the of its role, Board the is always Supervisory guided by the interests of the Stedelijk Museum Board of Directors by offering advice and making active recommendations. In the fulfillment and the activities carried out by the Stedelijk Museum. Board assists The Supervisory the the Board of Directors, the general day-to-day running of the Stedelijk Museum Amsterdam, of its board Board members. is also The Supervisory charged with overseeing the policy of Municipality of Amsterdam. Board seeks external The Supervisory advice in the appointment and dismissal of the Board of Directors, after consulting with the Municipal Executive of the Board is chargedThe Supervisory with all decisions relating to the appointment, suspension, members (the directors). and policy. The Board of Directors of the Stedelijk Museum Amsterdam consists of two Board. TheSupervisory Board of Directors is responsible for the Stedelijk Museum strategy Board model,a Supervisory which means that the museum has aBoard of Directors and a Since becoming aprivate institution the in Stedelijk 2006, Museum Amsterdam has followed Governance model of the Stedelijk Museum Amsterdam 7. Governance 40

AMSTERDAM STEDELIJK MUSEUM supervises the budget and the quality of the museum’s financial organization and reporting. The Audit Committee, with representatives Defares R. (chair), C. de Bruin, Ribbink, and A. Director, and the Stedelijk Museum controller were present at the Audit Committee meetings. the annual figures and once prompted by the management letter.Director,The the Business 2015, one of which was conducted by phone, with and twice the auditor: once to discuss The Audit Committee designated by Board the held atotal Supervisory of five meetings in Committee Audit pending the approval of the Municipal Executive of the Municipality of Amsterdam. the Code. Aproposal to amend the charter to bring it into alignment with the is Code currently website, annual and report, regulations comply with the Code, and involves in applying staff Museum Amsterdam undertakes periodic checks to verify that its working methods, charter, authorities between the Directors Board. and the Supervisory In this context, the Stedelijk and responsibilities of distribution equal the accountably, ensuring and transparently on and Amsterdam. The Stedelijk Museum places great on importance implementing its mission principles of the is Code in line with the mission, nature, and scale of the Stedelijk Museum entails applying the principles and recommendations of the Code. The application of the The Stedelijk Museum Amsterdam endorses the Cultural Code Governance (“Code”) which Governance Cultural Code Foundation. Museum Stedelijk Board met once withSupervisory the Works Council to discuss the general affairs of the Ribbink attended aconsultation meeting with the Works Council and all the members of the The appointment of Joyce Sylvester Board member as Supervisory was approved. Alexander term.longer years ahead with the Board of Directors, and tooks the first steps towards the mission in the 2017–2020, Board the discussed Supervisory the mission and vision of the museum for the the external accountant PriceWaterhouseCoopers. Partly in the context Plan of the Arts with the Board of Directors in conjunction with the 2015 annual accounts, in the presence of the Stedelijk Museum Foundation. The budget for 2015 and the risk analysis were discussed Among these topics were: long-term developments, governance, the development policy, and discussed various points of business. meetings, individual members Board of the and the Supervisory Board of Directors regularly regard to applying for the funding in the context Plan of the 2017-2020. Arts Outside the comprising Beatrix Ruf and Karin van Gilst. additional An meeting was also required with In 2015, Board the held five Supervisory scheduled meetings with theBoard Directors,of Meetings of the Supervisory Board 2015 Amsterdam. The Stedelijk Museum publishes its business plan on the website. regarding its implementation. These agreements are monitored yearly by the Municipality of Amsterdam has drawn up abusiness plan and has made agreements with the municipality the grant the museum receives from the Municipality of Amsterdam, the Stedelijk Museum and the relevant stipulations set down in the Cultural Governance Code. In connection with museum and were formulated on the basis of the charter of the Stedelijk Museum Foundaton The profileBoard of andtheBoard Supervisory Directorsof can be found on the website of the Profile of the Supervisory Board and Board of Directors 41

AMSTERDAM STEDELIJK MUSEUM - - - - - This takes the form of supervising the following, among other things: The Board of Directors’ salaries. The relationship with the external auditor, with aparticular emphasis on independence; Compliance with the recommendations and comments of the external auditor; The provision of financial information by theBoard Directors;of regulations; relevant with and pliance legislation The working of the internal risk management and audit systems, including supervising com 42 -

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