research @ ts2 - applied art and design

Location: Temporary Stedelijk 2, Auditorium
Language: Dutch
Entrance: free with a valid entrance ticket to the museum
Reservations: Reservations are necessary

Program

1:30 pm - Introduction by Hendrik Folkerts and Margreeth Soeting

1:40 pm - Lecture by Marjan Boot (curator Applied Art and Design, Stedelijk Museum, Amsterdam)

2:10 pm - Lecture by Ingeborg de Roode (curator Industrial Design, Stedelijk Museum, Amsterdam)

2:40 pm - Lecture by Monica Marchesi (restorer, Stedelijk Museum, Amsterdam) and Victoria Anastasyadis (assistant curator, Stedelijk Museum, Amsterdam)

3:10 pm - Questions and discussion

3:30 pm - End

Note: All indicated times are approximate.

More information on the lectures and speakers:

1. On Gijs Bakker’s dress (1967)

by Marjan Boot

In 1967 a sensational show in the auditorium of the Stedelijk Museum featured models presenting the futuristic creations of Gijs Bakker and Emmy van Leersum, close-fitting dresses with large metal collars as accessories, accompanied by electronic music. Almost 50 years later, those enormous aluminium and stainless steel collars, which were compared to instruments of torture by critics, are now part of Dutch design history. However, only one complete set of collar and dress survived, which is now in the Stedelijk Museum’s collection.

Marjan Boot is currently researching the dress and collar, as well as the show and its far-reaching influence on the development of the Stedelijk Museum collection. Her lecture looks at the relationship between these creations and contemporary fashion, which was strongly inspired by space travel at that time. She relates the show to changes in art that took place during the 1960s, when artists abandoned set forms in favor of time-based art, such as happenings and performance art. She also discusses the possibilities and impossibilities of reconstruction, re-enactment or re-presentation of those iconic performances, which is a subject of great interest at the moment.

Marjan Boot has been a curator of Applied Art and Design in the Stedelijk Museum, Amsterdam, since 1996. Before that she worked as a curator in Modern Arts and Crafts in the Municipal Museum, The Hague. She started her academic career specializing in 20^th-century art at the Kunsthistorisch Instituut in Amsterdam. Boot has organized numerous exhibitions, including Dutch Interior Art 1895–1930 (1997); The Turbulent Vessel: Babs Haenen, Ceramics (1998); 541 Vases, Pots, Sculptures and Services(1999); Ernst Ludwig Kirchner: Tahiti in the Alps [1918–1928] (2002); Grayson Perry: Guerrilla Tactics (2002); Revolution in the Air: The Sixties and The Stedelijk(2003); Metallic Yellow: Gold to Robert Smit (2004) and Heringa/Van Kalsbeek: Cruel Bonsai (2007–2008). Boot is currently preparing the permanent exhibition of the famous collection of applied art and design in anticipation of the re-opening of the Stedelijk Museum.

2. On the Amsterdam School Project

by Ingeborg de Roode

The Amsterdam School is known as a movement in architecture that took place between approximately 1915 and 1930, and was characterized by expressive forms in brick, with decorative elements in stone, glass and iron. Most of the architects associated with it also designed interiors and elements such as furniture. Furniture designs by architects such as Michel de Klerk, Piet Kramer, Snellebrand & Eibink and sculptors such as Hildo Krop are known to a greater or lesser extent, but for the most part, no in-depth research has been done in this area until now (except on the designs of De Klerk). Neither has there been research into the influence that this furniture had on a broader group of designers. Together with Marjan Groot (University of Leiden), Ingeborg de Roode investigates the furniture of the Amsterdam School, from pure stylistic examples to commercially derived pieces. De Roode’s research will result in an exhibition and publication, and she is calling on members of the public to help to complete the database created for this purpose by contributing illustrations of as-yet-unknown pieces of furniture.

Ingeborg de Roode (b. 1962) studied History of Art in Leiden and began her museum career as a curator at the Dutch Textile Museum in Tilburg. Since 2001 she has been the curator of Industrial Design at Stedelijk Museum, Amsterdam, where she has organized several exhibitions, such as Ontwerpen voor kinderen: Meubels / Speelplaatsen van Aldo van Eyck [Designs for Children / Playgrounds] (2002); Kramer vs Rietveld, contrasten in de meubelcollectie [Kramer vs Rietveld, contrasts in the furniture collection] (2004) and Nest: Ontwerpen voor het interieur [Nest: Designs for interiors] (2005). Last year she was commissioned by the Foundation Via Milano to organize the exhibition 10 years Via Milano: New Dutch Design, which was held in the Oude Kerk in Amsterdam. Since 2009 she has been the chairperson of Modernism Today, which comprises lectures and symposia. She has published articles on design inHet Financieele Dagblad and in various magazines, catalogues and other publications (including Amsterdamse School Textiel 1915–1930 (1999), Ron Arad: No Discipline, (2008/ 2009) and Simone van Bakel: Encounter (2010).

3. Research into a clock by H.P. Berlage, 1904

by Victoria Anastasyadis

This clock not only has an important place in the Stedelijk Museum collection, but also in Berlage’s work as a whole. In his book, Studies over bouwkunst, stijl en samenleving[Studies on architecture, style and society] (1922), the architect actually chose this clock to illustrate his views. It is a striking object: looking as though it has been sawn from a piece of timber, it must have seemed very primitive at the time it was made.

By 2009 its metal surface was very dirty and the clock was no longer a worthy representative of the collection. In order to decide on the best way to treat the clock, research was carried out by curators and restorers, which shed new light on the problem. For example, the clock face appeared to have undergone a transformation, and photographs came to light dating from the time that the clock was still in the sales hall.

Victoria Anastasyadis (b. 1985) studied art history in Amsterdam and Paris. She spent her practical year for her master’s degree for museum curator in the department of applied art and design in the Stedelijk Museum, Amsterdam. Following this year as a trainee conservator, she continued to assist with the work in setting up the design collection in the new museum building. At the moment, Anastasyadis is working for the museum on a design tour for the ARtours project, in which objects from the design collection are placed in the city via Smartphone. In addition, she is a freelance researcher and reviewer with a special interest in post-war textile art.