Women in the Museum symposium

Fabric of Fame: Materiality versus the canon

This edition of the annual Rijksmuseum conference Women in the Museum focuses on the materiality of the physical (art) object as a gateway into the history of women makers, users, and trendsetters. Studying the different spaces and contexts in which women produced, used, collected, and commissioned objects enables us to understand the essential roles women played in art and history. How do we interrogate, collect, and establish meanings from objects in institutions and what is the effect thereof on women’s (in)visibility? And how does researching the physicality of objects enable museums, institutions, and individuals to actively diversify and display - among others - women narratives?

Introduction: Jenny Reynaerts, chair ‘Women of the Rijksmuseum’

Keynote lecture: Hélène Delalex, Heritage Curator, Château de Versailles: Louis XVI style or Marie-Antoinette style? The Queen's influence on Decorative Arts in the 18th century.

Session 1. The material object: making the invisible visible

This session will delve into objects and the women makers, patrons or users. Is an interdisciplinary approach an effective way to challenge the established constructed histories that champion the exceptionality of the individual? Can material research of an object be instrumental in disclosing different narratives?

• Zara Kesterton, PhD. Candidate, Jesus College, Cambridge: Forget-me-not: rediscovering artificial flowers and women flower-makers from eighteenth-century France.
• Sara van Dijk, Curator of Textiles, Rijksmuseum: At home in the 17th century: Agneta Deutz’s table silver.
• Mercedes Azpilicueta, Visual Artist and Performer, Buenos Aires/Amsterdam: Multiplicity Through Materiality.

Session 2. The 18th century revisited

Your responses to the rewritten 17th century labels which we launched last year proved invaluable and will be taken into account in the next round. At this year’s symposium we invite you to look at and reflect on the new labels in the 18th century galleries, focusing on women actors.

• Naomi Bisping, Junior Curator of Decorative Arts, and Josephina de Fouw, Curator of 18th century painting, Rijksmuseum: The 18th century revisited.
  

Visit to the 18th-century galleries.

Session 3. The curating community

On the internet, women in art and history are far more visible than in museums. Knowledge is no longer only held by keepers of collections. Instead of experts, individuals and organisations control their own narratives and decide which objects are worthy of selection. Community participation seems a new methodology in curatorial practice, knowledge is shared and offers invaluable opportunities for art organisations to grow, diversify and become more inclusive. What is the effect on gendered (art)history within the walls of the museum?

Imara Limon, Chief Curator, Amsterdam Museum: Curating Women of Amsterdam – an ode at the Amsterdam Museum.

• Imara Limon, Chief Curator, Amsterdam Museum: Curating Women of Amsterdam – an ode at the Amsterdam Museum.
  
• Alia Swastika, Director Yogyakarta Biennale Foundation/ International Jury Biennale Art 2024: Geopolitical perspectives and internationalism in art.

Session 4. Deconstructing the canon

Research into women’s (art)history automatically challenges the traditional canon, still taught in many universities and on display in museums. How does this newly generated research stimulate new perceptions of quality? What is the consequence of the ensuing shift in artistic media practiced by women, which is not necessarily painting, sculpture or drawing? Is the consequence of writing women’s (art) history a deconstruction of the canon?

• Pieter Roelofs, Head of Fine and Decorative Arts, Rijksmuseum: Sense of Place and Inequality of Time. Gesina ter Borch’s Portrait of Moses Ter Borch as a Two Year Old.
• Marjan Sterckx, Associate Professor of Art History, Ghent University, and co-Curator of Untold Stories – Women designers in Belgium 1880-1980, Design Museum Brussels.
• Diana Campbell, Artistic Director, Dhaka-based Samdani Art Foundation, and Chief Curator, Dhaka Art Summit: What's in a Name?
• Rachel Esner, Associate Professor, University of Amsterdam, and Academic Director, National Research School for Art
• Jenny Reynaerts: Closing remarks

We thank

Women of the Rijksmuseum is made possible by CHANEL, the Susi Zijderveld Fund, the Familie Krouwels Fund, the Machteld Vos & Willem Sijthoff Fund, the Heleen Dura van Oord Fund, the Kind Courage Monique Maarsen Fund, the Familie Staal Fund, the Karin van Leeuwen Fund, the Dreesmann-Beerkens Fund, the Sofronie Foundation, the Linne & Marijn Pijnenborg Fund, the Jolanda Degen Fund, the Lara Timmerman Fund, the Antoinette Rolloos Hueber Fund, the Hendrikje Crebolder Fund, Amy Novogratz & Mike Velings, the Femke Dijkhuis Fund and the Women of the Rijksmuseum Fund.

Programme

Download the progamme below.