Imagining Museums Otherwise: An examination of the institutional and curatorial practices in Dutch art institutions

Abstract

Since the 1960s, art institutions and museums in particular, have been facing many changes regarding their function and position within society. By looking into three different case-studies, the Van Abbemuseum, Witte de With and the Stedelijk Museum, this research aims to generate an understanding of how these changes are being faced within the Dutch cultural scene. It does so through the analysis of three semi-structured interviews with individuals who occupy directorial and/or curatorial positions within each of the mentioned institutions. Fundamentally, the study seeks to provide an answer to the question "To what extent do these three institutions have different approaches regarding their role in society?” Furthermore, the analysis of the content will be conducted through the construction of a dialogue between the practices of these institutions and relevant literature concerning institutional theory, curatorial practices and the conception of art as dialectical. The findings suggest that all of the three institutions are attempting to develop a stronger connection to the local publics and societal issues that arise closer to them, rather than focusing merely in a more distant and international art world. Additionally, they have designed ways to create room for a pluralism of perspectives within the space of the museum, in an attempt to broaden the canon of art history and generate a more accessible and representative public space, where different voices can be heard and dissensus can be generated in order to stimulate dialogue and mutual comprehension. However, all of them are doing so through different strategies which differ according to their own context and vision. Overall, Van Abbemuseum devotes more attention to deconstructing modern art as a universal movement and to collaborating with local constituencies (often minorities or activist groups), whilst Witte de With is greatly concerned in assuring diversity within its own institutional structure while investing in the relationship with local younger publics. The Stedelijk, on the other hand, faces different challenges due to its much broader range of audiences to which it tries to connect by creating multiple layers of mediation and by consulting experts who can reassure a pluralism of perspectives. This suggests that Dutch institutions are developing interesting and diverse practices which can be of use to other art professionals and researchers, contributing to a more informed critical reflection on the existing theory.