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later the business could eventually no longer compete with corporations abroad; operations were discontinued. This conveniently coincided with the foundation's search for suitable building. The property was acquired for a symbolic amount, and four of the six remaining employees of the mill were hired by the foundation.
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artist's outlook. In order to achieve that, distinct choices had to be made; and so the collection has grown in a relatively slow manner. Over the years the museum has come to own roughly 800 works, more than half of which is photography or work on paper, by eighty different artists. A number of them— including
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was appointed to refurbish the mill and the De Pont opened its doors on
September 12, 1992. Since then, the museum has expanded both its collection and its building. Since 2016 photography and video art have been displayed in the museum's new wing specially designed for this purpose (also designed by
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Architects, however, maintained the factory's original character as the point of departure. The firm's six-month renovation resulted in a distinctive and widely praised museum building with both a spacious exhibition space and small wool-storage rooms, suitable for a more intimate encounter with the
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De Pont had decided that part of his estate was to be used to stimulate contemporary art, but left it up to the board of the new foundation to determine how and where that would take shape. This created the exceptional situation of a private ‘museum’ (director
Hendrik Driessen avoided this term for
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Since De Pont
Foundation had no collection from the start, its acquisition policy could be determined beforehand. It was decided that there would be no focus on a specific generation, art-historical movement or social ideology, nor on a specific art form. The only stipulation was that the artworks
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Since the opening, the museum has been expanded several times: with the addition of a project space and an auditorium in 2002, and with a completely new exhibition space of 1100 square meters in 2016. This ‘New Wing’, once again carried out by
Benthem Crouwel Architects, was specially designed to
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The museum had set a goal to collect in terms of depth rather than breadth, meaning that the acquisition policy involved following a limited number of artists over a longer period of time, with the intention of collecting 'key works' within a body of work that could represent the essence of that
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The museum's location of
Tilburg was also related Jan de Pont. He was a former resident of this city, and concerned about the fate of the vanishing textile industry. During the 1960s, de Pont had helped the Thomas de Beer wool-spinning mill to get back on its feet after bankruptcy. Twenty years
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the first couple of years, in the belief that one has to earn such a title) that did not begin with a collection bequeathed by the founder, and which made no appeal for support from government organizations or funds. That financial independence continues to exist to this day.
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in London. The building had all the distinguishing characteristics of a Dutch factory: functionally and technically, it comprised no more than was absolutely necessary. This is why the roof and the floor of the large hall were completely renovated and all the walls restored.
202:, the decision was made to transform a Tilburg wool-spinning mill into a museum. Since its opening in 1992, the collection has grown to include more than 800 works by approximately eighty nationally and internationally known artists, among them
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after the founder. On the occasion of the museum's twentieth anniversary in 2012, the municipality of
Tilburg adorned its street side with an entrance gate consisting of several connected passages. Five years later, Anish Kapoor designed
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in
Schaffhausen, De Pont was among the first museums to be housed in a formerly industrial space, thus setting an example for future museums, most notably serving as an inspiration during the planning stages of
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accommodate film, video art, photography and works on paper. The same renovation also included an expansion of the restaurant and a new salon designed by Anton
Henning.
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were to be created by living artists. The visual strength of the artwork itself was the sole focus.
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by
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Museum of modern and contemporary art in North Brabant, Netherlands
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After the acquisition of a small painting of Rob Birza (
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400:(2018-2019)
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324:Luc Tuymans
196:Netherlands
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101:Coordinates
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66:Established
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866:2024-07-03
830:2024-07-03
806:2024-07-03
781:2024-06-22
757:2024-06-22
753:(in Dutch)
731:2024-06-22
644:2024-06-22
619:2024-06-22
615:(in Dutch)
598:References
446:Bill Viola
416:Dan Graham
246:Collection
208:Bill Viola
186:museum in
111:51°34′03″N
885:ArchDaily
825:depont.nl
776:depont.nl
745:Grrr.nl.
540:Jeff Wall
534:Roni Horn
480:Fiona Tan
428:Ai Weiwei
371:Wachsraum
312:Fiona Tan
308:Anri Sala
304:Roni Horn
155:Architect
114:5°04′30″E
347:Palpebre
147:Director
81:Location
963:De Pont
664:22 June
339:Vertigo
284:in situ
218:History
188:Tilburg
165:Website
86:Tilburg
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488:(2002)
476:(2004)
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430:(2012)
418:(2014)
388:(2019)
335:Grapes
194:, the
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182:is a
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