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: https://www.stedelijk.nl/en/digdeeper/pinball-wizard-introduction

A conversation between De Jong and Schavemaker: https://www.stedelijk.nl/en/digdeeper/pinball-wizard-conversation-between-margriet-schavemaker-jacqueline-jong




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. 

 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: http://www.stedelijk.nl/en/exhibitions/zero-let-us-explore-the-stars

Exhibition trailer: https://www.youtube.com/watch?v=h15mvca-9-4

Arttube: http://arttube.nl/en/video/Stedelijk/ZERO



Comments (74)


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.

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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.

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