14th Triennial Meeting ICOM-CC, Den Haag, 12 september 2005
Ladies and Gentlemen
As director of the Netherlands Institute for Cultural Heritage- the organiser
of this 14th Triennial Meeting - I am proud to welcome you here in The Hague.
This is a remarkable meeting of professionals, all active in the rich field of
conservation and restoration.
Many years ago, in 1969, the second ICOM-CC meeting took place in Amsterdam at
a much smaller scale than today, but with the same aim of meeting professionals
and sharing knowledge and experience. Continuing the tradition of previous
meetings, we hope we have again created an atmosphere that stimulates exchange
of ideas.
The seven objects we chose as emblems for this congress symbolize the
diversity of materials we use and the origin of our cultural heritage worldwide.
We are all responsible for preserving this cultural heritage for future
generations. At the same time we have to use our collections, show them to the
public and appreciate their value. This responsibility is shared by collection
managers, policy makers and the public at large.
We, the Netherlands Institute for Cultural Heritage, stimulate a shift from focus on individual objects to objects in their context. Individual objects often form parts of a set, in combination with the buildings in which they are kept.
Recently I visited Museum Amstelkring, one of the most cherished museums in
Amsterdam. The special atmosphere in this canal house with its 17th century
interior with a church in the attic is attractive and surprising.
This is a museum that faces an increase in visitor numbers each year. Which is
very fortunate for the museum, yet it poses a threat to the building and the
collections. The original 17th century staircase was closed to the public
because the museum fears unacceptable damage due to wear and tear. On Thursday
there will be a presentation about the risk assessment we carried out together
with the museum.
One of the subjects that need further research is this visitor impact. The
main questions being: 'what is the impact of large numbers of visitors on
building and collections?' and 'Is there a maximum carrying capacity for the
museum?'
If collections derive their value from public interest, than the public need access to collections. Yet, the public influences, often not consciously, the preservation of our heritage. Exhibition involves risks but 'freezing' collections and making them inaccessible is not the solution. How much risk are we willing to accept? That is the challenge we are facing!
Let me give you another example of the kind of questions that we at the ICN
try to answer:
In terms of scientific research, objects 'on the move' are a continual source
of interest to our Institute. For example, we study possible damage that
vibrations could cause to our objects during various forms of transportation.
We also look into the effects of vibrations caused by music or building
activities. Those of you who have visited the ICN in Amsterdam will know that
our premises are located on the Museumplein. This square is a regular setting
for large events, often accompanied by loud music. The Van Gogh museum, which
is also on this square, has asked us to investigate the effect that these
vibrations may have on their paintings. Thus, volume, sound, vibrations and
their effect on our cultural heritage have become a subject for discussion
between the organisers of events, the museum and the city-board.
Ladies and Gentlemen,
The themes we focus on are integrated preventive conservation and risk management. Kilometers of documents in an archive face different risks than multimedia equipment in a museum of contemporary art. In our view, risk management is an integrated part of collection management and collection policy. ICN is fortunate to be in the forefront of international developments in this field.
After giving you these examples there are still important questions left.
Why do we take such pains and do so much research to conserve our cultural
heritage for generations to come? How do we go from public awareness to public
involvement and participation? What role can a museum visitor play in
conserving our cultural heritage? What role can the World Wide Web play in the
sharing of our knowledge?
We as a profession must have to find answers in dialogue with society.
It is self-evident that it is impossible for us as ICN to have all the
expertise and the resources required to solve all preservation problems. It
is impossible to imagine how we could work without intensive co-operation
with other national and international institutions.
A good example of networking is the International Network for the Conservation
of Contemporary Art. INCCA is a network of professionals with access to
unpublished documentation, such as treatment reports and interviews with artists.
INCCA is a successful product from international partnership. Supported by the
European Union at its start it is now a truly international network, residing
proudly at the ICN.
International contacts are essential for the quality, development and diffusion
of new knowledge. This week too, your expert meetings are of central importance.
'Our Cultural Past - Your Future!' corresponds to our Institute's objectives.
For, increasing and broadening the knowledge about our cultural heritage,
enables us to successfully conserve and manage it in the future. We promote
the professional quality of conservation and restoration, and recognize the
need for strengthening public support for the protection of our common cultural
heritage.
On behalf of the ICN, I look forward to a productive exchange of knowledge.
I wish you all a memorable meeting.
14th Triennial Meeting ICOM-CC, Den Haag, 12 september 2005
Ladies and Gentlemen
As director of the Netherlands Institute for Cultural Heritage- the organiser
of this 14th Triennial Meeting - I am proud to welcome you here in The Hague.
This is a remarkable meeting of professionals, all active in the rich field of
conservation and restoration.
Many years ago, in 1969, the second ICOM-CC meeting took place in Amsterdam at
a much smaller scale than today, but with the same aim of meeting professionals
and sharing knowledge and experience. Continuing the tradition of previous
meetings, we hope we have again created an atmosphere that stimulates exchange
of ideas.
The seven objects we chose as emblems for this congress symbolize the
diversity of materials we use and the origin of our cultural heritage worldwide.
We are all responsible for preserving this cultural heritage for future
generations. At the same time we have to use our collections, show them to the
public and appreciate their value. This responsibility is shared by collection
managers, policy makers and the public at large.
We, the Netherlands Institute for Cultural Heritage, stimulate a shift from focus on individual objects to objects in their context. Individual objects often form parts of a set, in combination with the buildings in which they are kept.
Recently I visited Museum Amstelkring, one of the most cherished museums in
Amsterdam. The special atmosphere in this canal house with its 17th century
interior with a church in the attic is attractive and surprising.
This is a museum that faces an increase in visitor numbers each year. Which is
very fortunate for the museum, yet it poses a threat to the building and the
collections. The original 17th century staircase was closed to the public
because the museum fears unacceptable damage due to wear and tear. On Thursday
there will be a presentation about the risk assessment we carried out together
with the museum.
One of the subjects that need further research is this visitor impact. The
main questions being: 'what is the impact of large numbers of visitors on
building and collections?' and 'Is there a maximum carrying capacity for the
museum?'
If collections derive their value from public interest, than the public need access to collections. Yet, the public influences, often not consciously, the preservation of our heritage. Exhibition involves risks but 'freezing' collections and making them inaccessible is not the solution. How much risk are we willing to accept? That is the challenge we are facing!
Let me give you another example of the kind of questions that we at the ICN
try to answer:
In terms of scientific research, objects 'on the move' are a continual source
of interest to our Institute. For example, we study possible damage that
vibrations could cause to our objects during various forms of transportation.
We also look into the effects of vibrations caused by music or building
activities. Those of you who have visited the ICN in Amsterdam will know that
our premises are located on the Museumplein. This square is a regular setting
for large events, often accompanied by loud music. The Van Gogh museum, which
is also on this square, has asked us to investigate the effect that these
vibrations may have on their paintings. Thus, volume, sound, vibrations and
their effect on our cultural heritage have become a subject for discussion
between the organisers of events, the museum and the city-board.
Ladies and Gentlemen,
The themes we focus on are integrated preventive conservation and risk management. Kilometers of documents in an archive face different risks than multimedia equipment in a museum of contemporary art. In our view, risk management is an integrated part of collection management and collection policy. ICN is fortunate to be in the forefront of international developments in this field.
After giving you these examples there are still important questions left.
Why do we take such pains and do so much research to conserve our cultural
heritage for generations to come? How do we go from public awareness to public
involvement and participation? What role can a museum visitor play in
conserving our cultural heritage? What role can the World Wide Web play in the
sharing of our knowledge?
We as a profession must have to find answers in dialogue with society.
It is self-evident that it is impossible for us as ICN to have all the
expertise and the resources required to solve all preservation problems. It
is impossible to imagine how we could work without intensive co-operation
with other national and international institutions.
A good example of networking is the International Network for the Conservation
of Contemporary Art. INCCA is a network of professionals with access to
unpublished documentation, such as treatment reports and interviews with artists.
INCCA is a successful product from international partnership. Supported by the
European Union at its start it is now a truly international network, residing
proudly at the ICN.
International contacts are essential for the quality, development and diffusion
of new knowledge. This week too, your expert meetings are of central importance.
'Our Cultural Past - Your Future!' corresponds to our Institute's objectives.
For, increasing and broadening the knowledge about our cultural heritage,
enables us to successfully conserve and manage it in the future. We promote
the professional quality of conservation and restoration, and recognize the
need for strengthening public support for the protection of our common cultural
heritage.
On behalf of the ICN, I look forward to a productive exchange of knowledge.
I wish you all a memorable meeting.
14th Triennial Meeting ICOM-CC, Den Haag, 12 september 2005
Ladies and Gentlemen
As director of the Netherlands Institute for Cultural Heritage- the organiser
of this 14th Triennial Meeting - I am proud to welcome you here in The Hague.
This is a remarkable meeting of professionals, all active in the rich field of
conservation and restoration.
Many years ago, in 1969, the second ICOM-CC meeting took place in Amsterdam at
a much smaller scale than today, but with the same aim of meeting professionals
and sharing knowledge and experience. Continuing the tradition of previous
meetings, we hope we have again created an atmosphere that stimulates exchange
of ideas.
The seven objects we chose as emblems for this congress symbolize the
diversity of materials we use and the origin of our cultural heritage worldwide.
We are all responsible for preserving this cultural heritage for future
generations. At the same time we have to use our collections, show them to the
public and appreciate their value. This responsibility is shared by collection
managers, policy makers and the public at large.
We, the Netherlands Institute for Cultural Heritage, stimulate a shift from focus on individual objects to objects in their context. Individual objects often form parts of a set, in combination with the buildings in which they are kept.
Recently I visited Museum Amstelkring, one of the most cherished museums in
Amsterdam. The special atmosphere in this canal house with its 17th century
interior with a church in the attic is attractive and surprising.
This is a museum that faces an increase in visitor numbers each year. Which is
very fortunate for the museum, yet it poses a threat to the building and the
collections. The original 17th century staircase was closed to the public
because the museum fears unacceptable damage due to wear and tear. On Thursday
there will be a presentation about the risk assessment we carried out together
with the museum.
One of the subjects that need further research is this visitor impact. The
main questions being: 'what is the impact of large numbers of visitors on
building and collections?' and 'Is there a maximum carrying capacity for the
museum?'
If collections derive their value from public interest, than the public need access to collections. Yet, the public influences, often not consciously, the preservation of our heritage. Exhibition involves risks but 'freezing' collections and making them inaccessible is not the solution. How much risk are we willing to accept? That is the challenge we are facing!
Let me give you another example of the kind of questions that we at the ICN
try to answer:
In terms of scientific research, objects 'on the move' are a continual source
of interest to our Institute. For example, we study possible damage that
vibrations could cause to our objects during various forms of transportation.
We also look into the effects of vibrations caused by music or building
activities. Those of you who have visited the ICN in Amsterdam will know that
our premises are located on the Museumplein. This square is a regular setting
for large events, often accompanied by loud music. The Van Gogh museum, which
is also on this square, has asked us to investigate the effect that these
vibrations may have on their paintings. Thus, volume, sound, vibrations and
their effect on our cultural heritage have become a subject for discussion
between the organisers of events, the museum and the city-board.
Ladies and Gentlemen,
The themes we focus on are integrated preventive conservation and risk management. Kilometers of documents in an archive face different risks than multimedia equipment in a museum of contemporary art. In our view, risk management is an integrated part of collection management and collection policy. ICN is fortunate to be in the forefront of international developments in this field.
After giving you these examples there are still important questions left.
Why do we take such pains and do so much research to conserve our cultural
heritage for generations to come? How do we go from public awareness to public
involvement and participation? What role can a museum visitor play in
conserving our cultural heritage? What role can the World Wide Web play in the
sharing of our knowledge?
We as a profession must have to find answers in dialogue with society.
It is self-evident that it is impossible for us as ICN to have all the
expertise and the resources required to solve all preservation problems. It
is impossible to imagine how we could work without intensive co-operation
with other national and international institutions.
A good example of networking is the International Network for the Conservation
of Contemporary Art. INCCA is a network of professionals with access to
unpublished documentation, such as treatment reports and interviews with artists.
INCCA is a successful product from international partnership. Supported by the
European Union at its start it is now a truly international network, residing
proudly at the ICN.
International contacts are essential for the quality, development and diffusion
of new knowledge. This week too, your expert meetings are of central importance.
'Our Cultural Past - Your Future!' corresponds to our Institute's objectives.
For, increasing and broadening the knowledge about our cultural heritage,
enables us to successfully conserve and manage it in the future. We promote
the professional quality of conservation and restoration, and recognize the
need for strengthening public support for the protection of our common cultural
heritage.
On behalf of the ICN, I look forward to a productive exchange of knowledge.
I wish you all a memorable meeting.