Appliciation of Paintings with Hands, Nose, and Ears: Experiencing the World of Diversity at the Van Abbemuseum

Touch, hear, and smell art. The exhibition “Delinking and Relinking” at the Van Abbemuseum in Eindhoven, the Netherlands, presents works of art that can be enjoyed with all five senses, providing a new experience for all visitors, not just the visually impaired. The works and artists on display are also selected carefully to encompass a diverse range of people and cultures. How can be museums to be truly open to all the people? Van Abbemuseum’s attempts can tell us something.

Bridge connecting the drinking district and the museum

“What a gloomy place!” Charles Esche, director of the Van Abbemuseum said when he looked at the old building of the museum upon the appointment of his position, according to a curator. The dimly lit interior was a snobby space where contemporary art was neatly displayed, and only a few art enthusiasts and elite students visited.

This contemporary art museum was founded in 1936 by Henri van Abbe, a cigar company owner and contemporary art lover. The museum’s collection now boasts 3,600 pieces. Due to the increase in the number of artworks, staff, and library holdings, a new building was added in 2003.

With the opening of the new wing, Director Esche focused on making the museum accessible to as many people as possible. He asked John K?rmeling, an architect and artist, to build a bridge at a point connecting the entrance of the new wing with the back alley full of pubs.

The "brug (bridge)" designed by K?rmeling is known as "the shortest covered bridge in the world". On its roof, a neon sign glows with the words "ECHT IETS VOOR U (Really something for you)", conveying the message that "the museum is for everyone."

Paintings for the visually impaired

Upon entering the new wing, visitors are greeted by the colorful lobby of the exhibition "Delinking and Relinking". Here, the exhibition's purpose is explained through videos with sign language and texts in braille. Additionally, a variety of colorful ponchos with different patterns are hung on the walls. Visitors can walk among the artworks wearing these ponchos, which are suitable for people of all sizes, and enjoy a slightly different feeling than usual.

From the basement to the fourth floor, contemporary art from the early 20th century onwards is displayed in chronological order. If there is a "green hand" mark next to the title, it indicates that it is a "touchable artwork". You cannot touch the artwork itself, but rather the reliefs or models displayed near the artwork.

Touchable paintings include Pablo Picasso's "Bust of a Woman" and Charley Toorop's "Portrait of an Actress". You cannot touch the artwork itself, but rather the reliefs or models displayed near the artwork. The reliefs are three-dimensional, reflecting color and shade, and when you run your finger over them, you can feel the expressions of the portrait faces and the textures of their clothing.

Some large three-dimensional objects are made into smaller ons that can be touched. Michael Rakowitz's large work “White People Have No Dreams” (see the cover photo at the beginning of this article), which reaches the ceiling, has been reduced to a size that you can wrap your hands around, and is displayed at a low position so that people in wheelchairs can touch it. The huge stage set designed by Piet Mondrian is also reproduced in a three-dimensional object to recreate its unique world view.

On the other hand, there are artworks that can be enjoyed through the sense of smell. In a room displaying seven pieces, including Marc Chagall's painting "Homage to Apollinaire", there are boxes containing scented papers placed next to the artwork titles. These long papers are infused with scents that evoke the imagery of the artworks, and they come with descriptions.

For example, for Constant Permeke's work "The Sower", the description reads, "The characteristic smell that rises from pavements or fields after a period of drought is also known as ‘petrichor’. It indicates water and therefore fertility."

According to Steven ten Thije, Head of Collections of the museum, these reliefs and scent installations were created with the cooperation of visually impaired individuals and related organizations. He said that they expressed their joy, saying, "Finally, there is possibilities for us to enjoy paintings."

Of course, these works are not limited to visually impaired individuals; they are designed for everyone to touch and smell. Visitors enjoy their unique art experience in various ways.

Spotlight on Black, Women, and Non-Western Artists

In this exhibition, diversity is reflected not only in the physical abilities of the visitors but also in the works on display.

For example, in the room displaying a work by Pablo Picasso, there is also a piece by Wifredo Lam, a Cuban artist who was active during the same period. Picasso and Lam were friends who influenced each other, but Lam has rarely been in the spotlight until now. In this museum, artists are exhibited on an equal footing, regardless of their origin or fame, highlighting their mutual influences.

In the room displaying works by Piet Ouborg, a Dutch painter active in the early 20th century, there are also Javanese masks, which influenced him during his stay in the island. It is unique not only that both the finished work and the motifs are on display, but it is also noteworthy that the Javanese masks, which have traditionally been placed in ethnographic museums, are now being displayed as art pieces.

Furthermore, the portraits are also conscious of diversity, with many black figures. The powerful portraits of women who stood up for their rights and the works that reflect the complex situations faced by immigrants are particularly striking. Behind several portraits, there are shelves displaying photos and documents that introduce the history and backstories related to these individuals, allowing viewers to further expand their imagination.

Regarding these exhibits, ten Thije explains, "We have reflected multiple voice so that viewers from different backgrounds can connect themselves with the stories of the works." He continues, "Through the beauty of art, we want to convey that we are all different and all equal. I believe that providing a space where diverse perspectives can create open relationships is a role that museums can play."

Looking at art = looking at yourself

Maiko Sato, who studies museum and cultural heritage in the master course at the Reinwardt Academy, an art college in Amsterdam, describes her impression of the exhibition.

"There are many features designed to stimulate people's hearts, such as ponchos you can wear at the entrance, colorful wall colors, and holes in the walls that children can crawl through. Near the portraits, the stories of the individuals are displayed, allowing viewers to appreciate the art from various perspectives, which I thought was really great."

Sato previously worked as an educator and curator at the Contemporary Art Gallery of the Art Tower Mito in Japan, where she taught people how to enjoy contemporary art in a free manner. Among her initiatives, she proposes "dialogic art appreciation", in which people enjoy art through conversation. Together with Kenji Shiratori, a totally blind art appreciator, she published a booklet titled "Viewing while Talking". While it's generally said that "art appreciation requires knowledge", she wants to tell people that they can also view art by how they feel, based on what they see.

"What you think subjectively is all correct. No one can deny or rank it, because each person's views and words reflect their life and background. Therefore, when we view art while having a conversation, there is no hierarchy and a flat relationship can be created.", says Sato.

Sato's thoughts are in line with those of Esche. He explained in an online video how to enjoy art during the lockdown in the Netherlands due to the Corona pandemic, showing the museum's work. “Whatever the context the artist gives you, whatever the context the museum gives you, you can always liberate yourself from those contexts."

When viewers reflect on their own values and experiences on art, they can freely expand their imagination. Viewing art is, after all, viewing oneself.

At the end of the exhibition, visitors return to the lobby, where they can return the ponchos. Here, a large mirror is placed, allowing visitors to see their own reflections. What did they feel about the works? After the little journey through the museum, they might see themselves a little differently.