The Work and Life of Jacqueline de Jong (Stedelijk Museum Amsterdam, February 8 – August 18, 2019)

Since the 1960s, Jacqueline de Jong has evolved a versatile body of work. The exhibition Pinball Wizard: The Work and Life of Jacqueline de Jong gives an overview of the historical development of this oeuvre in which she effortlessly switches between different styles: such as Abstract Expressionism, new figuration and Pop Art. Her work also ranges in scale, from small diptychs that chronicle a day in the life of the artist, to monumental canvases dominated by an absurd and often violent and erotic world. The show also highlights De Jong’s involvement in avant-garde networks inside and outside Europe, including the politically engaged Situationist International movement. The 13 exhibition spaces feature a selection of key works by De Jong and works from the Stedelijk collection, together with previously unseen archival material.



Curatorial statement:

A conversation between De Jong and Schavemaker:


Dr M. Schavemaker (1971) has been appointed professor of Media and Art in Museum Practice at the University of Amsterdam’s (UvA) Faculty of Humanities. This is a new chair in collaboration with Stedelijk Museum Amsterdam. Margriet Schavemaker will combine the chair with her role as Manager of Education, Interpretation and Publications at the Stedelijk Museum.

Based on an interdisciplinary approach, Schavemaker’s research will focus on the relation between art and museum practice and the emergence of television, video and digital media, amongst others. This ranges from the way in which artists reflect on the online visual culture (internet/social media) in their work to the impact this has on museum programmes and acquisition policies (what does displaying an online artwork in the museum and preserving it forever involve?). The wide range of ways in which new media technologies are used to enrich the museum experience and make it more accessible (e.g. multimedia tours and robots that allow people to visit the museum remotely) are also a key feature of Schavemaker’s research.

Schavemaker will teach on UvA’s Master’s and Research Master's programmes in the field of media, culture and art, including the Preservation and Presentation of the Moving Image Master’s programme.

Press release



16 december 2017 – 2022

STEDELIJK BASE is the permanent installation of highlights from the collection of the Stedelijk Museum. Nearly 700 works are on display, grouped around historical movements, social themes and iconic artists. For the first time at the Stedelijk, art and design are shown in a large integrated presentation, to reinforce cross-connections and shared narratives.

The exhibition display for STEDELIJK BASE is designed by AMO/Rem Koolhaas with Federico Martelli and enables visitors to experience the collection in an open-ended parcours. The perimeter walls offer a chronological overview of developments in art and design, while free-standing architectural elements create thematic zones of related artworks. The lay-out understands the collection as a network of relations rather than as a presentation of individual artworks.  To capture these networks, very thin walls define an almost urban environment of free association and multiple relations.

The ground floor of the museum building features even more art from the collection with a series of exhibitions under the heading Stedelijk TURNS. These exhibitions are fuelled by new research and topical themes, focusing on hidden stories and unseen or rarely exhibited works. These alternative perspectives will inspire changes in STEDELIJK BASE. Consequently, STEDELIJK BASE will be a dynamic, changing presentation that, over the next five years, will invite visitors to experience the transformation of the canon.


Stedelijk Museum Amsterdam

March 18- June 18, 2017

Nalini Malani is one of India’s most prominent contemporary artists. Born in Karachi in 1946, the Partition of India caused her family to become refugees in 1947. This disruption of the subcontinent affects Malani’s art and personal life to this day. Originally trained in Bombay as a classical painter, Malani broke out of the frame in the early 1990s when orthodox religion-oriented politics were on the rise. Malani critiqued this development by using a variety of media that were new to India, such as wall drawings/erasure performances, experimental theater, artist’s books, and video/shadow plays. A social activist artist, Malani structures her work with rich storylines permeated by themes such as migration, globalization, poverty, and feminism, often combined with motifs from classical literature and mythology.

The installation Transgressions forms the heart of this exhibition. It is a unique combination of painting, video, and moving shadows that Malani has coined a ‘video/shadow play’. A selection of additional works features diverse themes and references to the political, literary and classical narratives that have occupied her experimental artistic practice over the past 50 years.

This exhibition is part of the long-term research program STEDELIJK TURNS that sheds new light on the Stedelijk’s collection through the prism of current topics. It is the first of six presentations in 2017 that addressed the theme of migration.



Stedelijk Museum, October 1 2016 – March 5 2017

While Jean Tinguely’s spectacular machine sculptures may seem witty and playful, their charming absurdity has a dark side: he contrasts play, pleasure and irony with a fascination for aggression, self-destruction and death. It was precisely Tinguely’s ability to meld these polar opposites that makes his oeuvre so engaging and compelling.

The Stedelijk Museum has an eventful history with Tinguely, rooted in the exhibitions that Tinguely (co-)curated at the Stedelijk Museum: Bewogen Beweging (1961) and Dylaby (1962). Bringing to the Netherlands not only his interactive machines but also his international avant-garde circle, he made a lasting impression on the public, who visited these experimental exhibitions in unprecedented numbers. Thirteen of his works ended up in the Stedelijk collection, including his drawing machine Méta-Matic No. 10 (1959), the unique Gismo (1960) and his enormous Méta II (1971).

Twenty-five years after Jean Tinguely’s death, the Stedelijk Museum honors this extraordinary artist in a comprehensive retrospective. The works in the collection have been restored and will be combined with over a 100 loans from major museums and private lenders. The exhibition is a collaboration between the Museum Kunstpalast in Düsseldorf (the fist venue, opening on April 22 2016) and the Stedelijk Museum Amsterdam. Curatorial team: Beat Wismer/Barbara Til (Kunstpalast) and Margriet Schavemaker (Stedelijk Museum). A joined catalogue is published in collaboration with Walther König Verlag. 

De witte kubus als ‘lieu de mémoire’: moderne kunst musea en de toekomst van de geschiedenis    

Geschiedenis lijkt weer helemaal terug in musea voor moderne en hedendaagse kunst. Niet alleen door het werk van hedendaagse kunstenaars die zich tot het verleden verhouden maar ook door een allengs groeiende interesse van musea voor hun eigen historie. Spraakmakende tentoonstellingen en performances, roemruchte controverses en aansprekende verhalen over oud-directeuren leiden niet enkel meer tot publicaties maar ook tot tentoonstellingen vol reconstructies, archiefmateriaal en historische documentatie. Kortom: de museale reputatie is deel van de collectie geworden en verdient een prominente plek in de museale programmering.

 Wat betekent deze ‘historic turn’ voor het traditionele onderscheid tussen erfgoedinstellingen en de wereld van de moderne kunst? Nadert het einde van de eens zo exclusief op het heden en de toekomst gerichte witte kunsttempels die hun avant-garde objecten zonder context tot spreken wilden brengen? Of ligt de betekenis juist in het redden van de modernistische ‘white cubes’ door die te transformeren tot ‘lieux de mémoire’? Met het Stedelijk Museum Amsterdam als case study zal Margriet Schavemaker antwoord geven op deze prangende vragen. 

Datum: 17 maart 20.00 uur

Locatie: Reinwardt Academie Amsterdam

The lecture was in Dutch, the withcoming publication (appearing in 2017) will be in English.


 Organisers: The Louisiana Museum of Modern Art, Copenhagen, Stedelijk Museum, Amsterdam and Aarhus University

When: 3-4 December 2015

Location: Louisiana Museum of Modern Art, Copenhagen

The organizers aim to stimulate a critical debate on the potentialities of the art museum as a research-based institution. The conference will focus on the significance of hybrid forms of research and curating in modern and contemporary art museums, dealing with questions such as: How can exhibitions function as mediums for research? How can artistic research contribute to art museums? What is the research value of (immersive) exhibitions? What is the role of the sensory experience in gathering and disseminating knowledge in the museum? What is the function and position of ‘public programs’ as curatorial models for research and knowledge production? What does the public contribute to the museum’s knowledge production?


  • Francesco Manacorda, Director, TATE Liverpool
  • Maria Finders, Strategy and Developement, executive member Supervisory Board, LUMA Arles
  • Anselm Franke, Head of Visual Arts and Film, Haus de Kulturen der Welt, Berlin
  • Chus Martínez, Head of the Institute, FHNW Academy of Art and Design, Basel
  • Johanna Burton, Director and Curator of Education and Public Programme, New Museum (New York)
  • Molly Nesbit, Professor of Art, Vassar College
  • Thomas J. Lax, Associate Curator in the Department of Media and Performance Art, MoMA, New York
  • Abdellah Karroum, Director at Mathaf, Doha
  • Mark Wigley, Professor of Architecture, Planning and Preservation, Columbia University New York

See more at:

 4 JUL - 8 NOV 2015

Fire, light, movement, space, demonstrations and performances: an historic survey of the innovative avant-garde group ZERO. With work by herman de vries, Armando, Henk Peeters, Jan Schoonhoven, Jan Henderikse, Piero Manzoni, Lucio Fontana, Yves Klein, Jean Tinguely, Yayoi Kusama, Otto Piene, Heinz Mack, Günther Uecker and others.

The exhibition is the conclusion of a research project that aims to shed new light on the significance of the international ZERO network that emerged between 1957 and 1967 as the nucleus of critical and avant-garde art in postwar Europe. Jointly undertaken by the Solomon R. Guggenheim Museum, New York, the ZERO Foundation, Düsseldorf, and the Stedelijk Museum, the project sought to achieve a greater understanding by asking questions such as how can we re-read ZERO, looking beyond its image as “the movement of the white paintings?” What new insights about the movement have come to light in the last few decades? What are the unifying threads running through the plethora of the ZERO artists’ practices and their involvement in the network? The project resulted in three unique exhibitions in New York, Berlin, and Amsterdam which propose considering ZERO as the missing link in avant-garde art of the twentieth century. 

More information:

Exhibition trailer:




Comments (74)



Share This! Art and Social Networks – a collaborative project between the Instituut Beeld en Geluid in Hilversum, Het Nieuwe Instituut in Rotterdam and the Stedelijk Museum Amsterdam – has reached completion. To see more, visit Tumblr:

The project was launched to clarify and explore the relationships between art and social media. Its research and related events were inspired by questions such as: How do artists use social media? How is social media used to create art? How can you preserve the culture of social media for later generations?



In january 2015 a collection presentation at the Stedelijk Museum was devoted to the art of the 1960s and 1970s. In one of the galleries the work of Dutch Fluxus artist Wim T. Schippers was highlighted. The Stedelijk has no less than 101 works in its collection.

See more at:



The exhibition The Stedelijk  Museum and the Second World War is based on recent research into the provenance of artworks conducted by the museum. What emerged were moving stories of collectors and artists, many of whom were Jewish, who were coerced into parting from their works of art. The research also brought to light stories about the transfer of the Stedelijk collection to a huge bunker in the dunes near Castricum (together with almost 500 collections including that of the Royal Family, the heirs of Van Gogh and many Jewish collectors) and art gifted to the museum by Jewish collectors and artists after the war. Another fascinating tale tells of the museum’s involvement in helping to recuperate stolen art after by the ‘Monuments Men’ after Holland was liberated. These incredible narratives are told through a presentation including a selection of famous and lesser-known works from the collection, alongside archival material and documentation.

More information:


Facing Forward: Art and Theory from a Future Perspective

Edited by Margriet Schavemaker, Hendrik Folkerts and Christoph Lindner

 This spirited exploration of the interfaces between art and theory in the 21st century brings together a multidisciplinary range of viewpoints that converge on an imagined future of the ´contemporary´. The authors in this volume examine contemporary visual culture based on speculative predictions and creative scientific arguments. Focusing on seven themes – Future Tech, Future Image, Future Museum, Future City, Future Freedom, Future History, and Future Future – the book shows how our sense of the future is shaped by a visual rhetoric of acceleration, progression, excess and destruction.

The essays reflect the collaborative work between the Stedelijk Museum Amsterdam, the Amsterdam School for Cultural Analysis at the University of Amsterdam, de Appel arts centre, W139–Space for Contemporary Art, Stedelijk Museum Bureau Amsterdam (SMBA), and the art magazine Metropolis M in the shaping of the seven themes that formed the structure of the successful lecture series Facing Forward: Art & Theory from a Future Perspective (2011/2012) and this eponymous volume of essays.  Discussing these provocative themes, Facing Forward is an energetic look at how our visions of the future affect how we depict the world around us today.

Authors: Amber Case & Manuel Delanda (Future Tech), James Elkins & Jalal Toufic (Future Image), Iwona Blazwick & Hans Belting (Future Museum), Rem Koolhaas & China Miéville (Future City), Paul Chan & Hito Steyerl (Future Freedom), Amelia Jones & David Summers (Future History), and (Future Future).

 Order your copy:


Stedelijk Studies is a free academic online journal that is made in collaboration with the University of Amsterdam, the VU University of Amsterdam, Utrecht University, Leiden University, Radboud University and Maastricht University. Stedelijk Studies publishes high-quality peer-reviewed academic research for international audiences of (upcoming) art professionals and those with an interest in art theory and history.

Stedelijk Studies presents research related to the Stedelijk Museum collection, institutional history and topical themes in an accessible, attractive manner. The Stedelijk has a time-honored tradition of research and (academic) publications. It has published many catalogues and, in 1957, founded a library (which today ranks among one of Europe’s most noted libraries of modern and contemporary art and design). 

See more at:




 From September 2013 – January 2014 Margriet Schavemaker was affiliated as research fellow at the Netherlands Institute for Advanced Study in the Humanities and Social Sciences in Wassenaar (NIAS).

For reflections on this period see: