ANBI Design Museum Dedel
Stichting Design Museum Dedel (Design Museum Dedel Foundation)
C.O.C. number: 70409714
RSIN nummer: 858309324
Prinsegracht 15 2512 EW The Hague
P.O. Box 176 1250 AD Laren
Martijn F. Le Coultre, chairman
Max-Pieter Fränkel, secretary, firstname.lastname@example.org
Robert Neeleman, treasurer
Anna Zinkweg, board member
The Managing Board members are not remunerated.
The foundation was founded at the end of December 2017. Therefore, there is no financial statement for the year 2017.
The realisation and preservation of a museum in the Netherlands, and in particular in and near Huis Dedel at the Prinsegracht 15 in The Hague, for applied art, design and decorative art as well as for expressions of advertising; the organisation and care of exhibitions, both nationally and internationally; the issuing and care of publications, also in a digital sense; the organisation of meetings and lectures in the field of art and culture; the restoration and maintenance of the national monument Huis Dedel, partly with a view to its sustainable exploitation as a museum.
View the collections
The story of design and advertising
The museum has opted for a recognisable focus on the theme of advertising and design. This results in a sharp profile that distinguishes the museum from all other providers in the country. The subject of the museum, design in the broadest sense of the word, includes a very extensive, multifaceted and significant history. Sharing it can serve a variety of purposes and audiences.
The museum brings the history of advertising, graphic design and design to life for as large and diverse an audience as possible. The museum challenges visitors to deepen their relationship with the history of advertising, graphic arts and design. Key words in this mission are:
- bringing history to life; the museum conveys the experience (so not only knowledge) of advertising, graphic arts and design.
- for as large and diverse an audience as possible: the museum is not only for the traditional museum visitor or the specifically interested party, but for everyone involved in advertising and design.
- Authoritative: the museum presents itself both in terms of content and museology as a (knowledge) institute of international stature.
- Inviting: the museum is open and transparent, making a wide and diverse public feel welcome and at home.
- Narrative: the museum uses attractive technology and methods to present the history of advertising, graphic arts and design.
- Binding: the museum enhances the visitor’s bond with design and invites them to repeat visits by means of offering different programmes.
- Tourists: this target audience includes both Dutch and foreign tourists, in all grades and levels of knowledge, as well as other visitors who need a summary overview: individual tourists, groups (through intermediaries such as tour operators and guides), congress attendees and guests of the municipal government and the business community in The Hague.
- Design professionals: historians, design lovers, etc.
- People in education: To develop a broad educational offer and the active involvement of the citizens from The Hague of all ages, for students of every age group (or 4 - 18) there is a suitable programme. The museum is an educational institute for students and professionals, with an emphasis on University of Applied Sciences (Higher Vocational Education (HBO)) higher professional education or university internships including an active collaboration with the Reinwardt Academy.
- The traditional museum audience including the art, culture and history interested Dutch people who regularly visits exhibitions.
- Young people in educational programmes. To introduce young people to the historical and cultural background of design.
Exhibitions and exhibition programme
In 7 halls, a semi-permanent overview of 150 years of design and advertising. This set up is changed once a month, hall by hall. In these 7 halls there will always be masterpieces to be seen that show an image of this 100-year period, but each time with alternating focuses. Each month there will be a small opening (including Press conference) to bring the newly outfitted hall to the attention of the public. Suitable peripheral programming will be prepared around this set up.
Temporary exhibitions and rotating exhibitions
A wide variety of exhibitions and events of different sizes can be organised on the available square metres. The success of temporary exhibitions is relatively limited for the average museum in terms of visitor numbers. One of the reasons for this is that the average museum is mainly visited by (foreign) tourists and there are relatively few repeat visits. This observation results in strategic exhibition programming. The museum wishes to attract its own and loyal exhibition audience. The programming will gradually become more and better tailored to the needs of the public. The museum is also open to shared use of the museum by other institutions and the organisation of extramural exhibitions. Temporary exhibitions will be organised in the three larger halls, sometimes one exhibition taking up three halls, sometimes in each hall an exhibition of its own. One of the halls will have to guarantee space for ad-hoc exhibitions. The exhibitions can vary in length, but the aim is to organise six exhibitions a year, each accompanied by a publication, opening and peripheral programming. The different preferences of the audience will be taken into account in the programming.
The themes of these exhibitions will be very diverse; from monographic exhibitions on one particular designer to exhibitions on one theme, such as travel, smoking, car advertising or politics. But also exhibitions related to a certain period (‘Fin the siècle’, ‘Seventies’, ‘World War II’), a certain country (‘Cuban Posters’, ‘100 years of advertising in France’, ‘Ostalgie’ (nostalgia for aspects of life in Communist East Germany), or movement (Russian Avantgarde, psychedelic design, minimal design). When composing the exhibition programme, it will be decided whether to join in with local or national themes, commemorations or other events (100 years of De Stijl, North Sea Jazz, 400 years of relations with Japan, etc.). If possible/desirable, we will work together with other institutions. The rotating exhibitions will predominantly be organised in the period September-April in order to generate public and publicity during this quiet period of museum visits. The summer months (May-August) will focus mainly on the semi-permanent set up and a summer set up in all other halls.
The museum does not aspire to be the only knowledge centre in the field of advertising and design, but wants to share, improve and continuously increase the spread of knowledge about the history of design and advertising. For this purpose, joint research programmes are drawn up and supported in consultation with external parties such as universities, Universities of Applied Sciences, cultural institutions, archives, etc. In addition, the museum aims to be an excellent market leader in the field of specific museological knowledge, such as transfer and presentation methods and preservation and management of graphic cultural heritage. This knowledge is shared nationally and internationally through a (pro-)active approach at conferences, in workshops and with publications.
The collection forms the basis of the museum and is an important part of the story we want to tell. The museum manages a very large and diverse high-quality collection and is one of the largest in Europe. In addition to the obligation to store and preserve, the museum also has the obligation to make the collection available to the public: the exhibition of the collection. Mainly in the museum, but also outside and digitally. An important step is the complete access to the collection through the internet. The museum strives to offer its collection online as much as possible through a partnership with https://www.iaddb.org. The museum encourages the mobility of the collection. If possible, the collection can also be exhibited externally at partners in The Hague, in the region and in museums in the Netherlands and abroad. In the future, it may also be possible, under strict conditions, to lend to non-museum relations (semi-public buildings, to parties such as sponsors or other stakeholders). (Through foreign exhibitions and the provision of loans, the rich collection may eventually contribute to the museum’s income generation (loan allowance)).
As part of the rationale behind the choice of this house at the Prinsegracht, there are two basic ideas: the building itself already has a great attraction of its own; by housing a dynamic museum here, a cultural combination is created that is not yet present in the Netherlands. In addition, tourists are not only served within the museum walls, but are also referred to interesting places in the city and beyond, for example to other heritage institutions, museums and archives.
The museum will frequently collaborate in exhibitions in the Netherlands and abroad, especially by granting free and ad hoc loans. This selfless approach on the part of the museum, combined with the high quality of the collection, can create a negative balance in terms of loan traffic: many more pieces will be loaned than will be borrowed from elsewhere for in-house production. The museum thus co-finances the in-kind productions of fellow institutions in the Netherlands and abroad. The museum will put together its own productions that will be leased to museums all over the world: foreign exhibitions on themes that have an international appeal, with objects that attract a lot of people. Some of these and other projects will be set up with fellow institutions and other partners. In this way, agreements can be made with a number of international fellow museums on thematic exhibitions.