• The Research Agenda 2008-2012 includes  five research programmes focussing on collection-management. Their binding factor is ‘valuation’.

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  • Program

    Value and valuation

    Development of methods and techniques to objectify the value and appreciation of cultural heritage.

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    Under 'valuation' in relation to heritage we mean making substantiated and verifiable statements about the value of an object or a collection, based on a question falling under an appropriate frame of reference and concerning certain stakeholders. Predetermined and predefined criteria are applied.

    This explicit defining of an assigned value is necessary to steer preservation, development and utilisation and to enable a societal basis for heritage to emerge. After all, who determines the value of the collection now that the 'expert' no longer counts as the sole authority? How do you valuate an object or collection if there is no objective measurable value? How do you provide sufficient societal support for heritage at a time when the cultural sector is under pressure?


    The Value and Valuation programme aimed to make the various players in the heritage field (owners, managers, policy makers and funders) aware of the importance of the intrinsic (non-financial) value and valuation of cultural heritage, and to develop methods and techniques to attribute value to objects and collections. As valuation benefits from a broad interdisciplinary approach, the emphasis lay on dialogue and collaboration with external partners. A new system was developed in close consultation with the museum world to facilitate the process of value attribution. This has resulted in the publication of On the museum scales: collection valuation in six steps.

    Independent valuation

    This practical guide takes the user through the valuation process step-by-step and results in a description of object/collection significance, a valuation ranking or grouping, or an investment plan. With well-founded arguments it is possible to explain to others the value of an object or collection and the reasons for the value. This facilitates decision-making on interventions, making conflicting interests negotiable and making stories behind the collection accessible.

  • Program

    Collection Accessibility

    Research into the effectiveness of methods and means to make heritage and related knowledge accessible online.

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    New media forms a tempting alternative to traditional analogue guides for the public as staff and resources in museums are generally scarce. But do they function as well or better than gallery texts, guided or audio tours?

    Are some applications more effective than others? Are there any applications that actually generate more visitors, and if so, which?


    The Accessibility programme focused on the effectiveness of virtual resources to make heritage visible and to interest new types of public. Possibilities include apps, 3D and AR techniques, and also social media like Facebook and YouTube. But what to choose from the overwhelming number of new techniques?


    The RCE carried out an inventory to provide collection managers with an understanding of the developments and possibilities of new media (and the institutions that can assist in developing applications). This also aimed to chart the applications most effective for specific objectives for both content and generating visitors. The projects on which these questions were tested were diverse in nature:

    • Conservation of two textile objects of polypropylene. In this project, the practical applicability of conservation knowledge about polypropylene was tested. In addition a conservation treatment of polypropylene was recorded for educational objectives and the conservation file placed online. As a result, both the object and the information are permanently accessible for consultation by collection managers and conservators.
    • Imago revisited: research into two installations in a case study using good practice (developed during the Inside Installations project) regarding the daily and long-term management of complex (multimedia) installations.
    • Generating and sharing knowledge online about the conservation of contemporary art in the two-year European project PRACTICs by museums, institutes and universities. Associated with this was a public testing of the film Installation Art: Who Cares? as an educational tool, to investigate how much visitors appreciated having a look 'behind the scenes'.
    • CARTA project, an inventory of documentation projects and documentation systems with which research findings are linked to locations and artworks.
    • Inventory of the operation of two thematic networks (INCCA Education and Postdoc Network) under INCCA.
    • Archiving the website with all details of the Inside Installations project, the preservation and presentation of Installation Art Project (2004-2007), a research into the re-installation and documentation of 33 complex multimedia installations.
    • Participation of the RCE as a research partner in the pilot project of MuseumApp, under which the effectiveness of this app for heritage institutions was studied.
    • Development of guidelines to increase the effectiveness of museum institutions online.
  • Project

    Archiving the website of Inside Installations.

  • Project

    Development of the website 'From Research to Restoration' (R2R) intended to help prevent the rapid degradation of polypropylene objects.

  • Project

    Evaluation of the function of two thematic networks under the INCCA platform.

  • Project

    Improving guidelines for the re-installation and long-term preservation of multimedia art.

  • Project

    Experiment on creating and deploying an app under the MuseumApp platform.

  • Project

    How to get in touch with a new online heritage audience - a guide.

  • Project

    Using social media to make a collection more accessible.

    Between 1949 and 1987 the Dutch government acquired over half a million works of art through the BKR scheme [Visual Artists Subsidy Scheme], most of which existed only minamal records. Would it be possible to increase the public accessibility and appreciation of this collection through social media?

    A touch screen displaying the Eindhoven BKR website and blog.

    A touch screen displaying the Eindhoven BKR website and blog.

    The Visual Artists Subsidy Scheme (BKR) could be called the largest-ever Dutch art collection project. Between 1949 and 1987 this scheme provided Dutch artists with income in exchange for works of art.  Such a collection of modern and contemporary art is unique in the world, but the collection is difficult to access because many works had been distributed amongst public buildings. Some are stored in depots, like that of the RCE (formerly ICN) in Rijswijk, which administers the BKR collection of the national government. 

    Social media

    As part of the exhibition series Play Van Abbe, the ICN (now RCE) considered the possibility of making the BKR collection of Eindhoven more accessible over one year (July 2010-July 2011). Various approaches were explored together with the Van Abbemuseum.  One of the initial questions was, 'where are all the BKR works?'. Hence various institutions holding works as loans or possessions were visited, such as the GGZ hospital, Maxima Medisch Centrum and the ROC education centre. As many as possible of these artworks were photographed and placed on the extensive Eindhoven BKR catalogue on Flickr, which was one of the social media that was part of the research into a greater accessibility of the Eindhoven BKR collection. A blog, Vimeo, Facebook, Twitter and Wikipedia were also used.

    But still more 'paths to accessibility' were explored.


    How much say does the public have about works that are purchased and managed in their name? Play BKR Eindhoven experimented with democratization by inviting 'outsider' input on the collection. Staff of the Collections Department of the ICN (now RCE) played an important role in the project, as did visitors of the Van Abbemuseum. Both groups are important stakeholders and indispensable for the functioning of collections, but the prevailing 'principles of collecting' generally limit their say over the use of these collections. According to these principles the exclusive right to determine what art is exhibited and what art remains in the deposit rests with the curator.

    In the private home

    The roles were reversed with In Play BKR Eindhoven. Depot staff and museum visitors chose works from the collection BKR Eindhoven to be exhibited not in the museum, but in visitors' homes. A total of 17 works were loaned to private art enthusiasts. They opened their homes to the public during an open day on 16 January 2011. In April and May of the same year all the selected works were assembled in the exhibition Uit de Doeken [Exposure] at the art institution De Krabbedans (closed in 2013 due to subsidy discontinuation). This exhibition formed an overview of art in Eindhoven from 1950 to the mid 1970s.

    prev  /  next Curators visiting the RCE-storagerooms. Discussion about the results of the textiledyes during the expert-meeting in Amsterdam. Artist Herman van den Boom met Diana Franssen and Peter Claassen. Het touchscreen met de Play BKR-website en blog. The exhibition Uit de doeken (De Krabbedans, 2011).


    Lees hier het uitgebreide verslag van het project.

    Lees hier over het vervolgproject De smaak van het publiek - Emmen.


    Blog Play BKR Eindhoven

    BKR Eindhoven Kunst Pool op Flickr





    Arjen Kok

    Team members

    Hanneke van der Beek, Evert Rodrigo, Fransje Kuyvenhoven, Yuri van der Linden, Ronald Nijssen, Mark van Overbeeke, Eric Domela,Hans Schraven,Floo Jurriaan Vreeburg, Zeph Benders, Ronald Bakker, Sandra Van Kleef, Paul van Wel, Anita Hinfelaar, Anja Smits Schouten, Ron Kievits, Danielle Rueck, Steven Braat, Tatja Scholte, Michaela Hanssen, Henriette van der Linden, Blair Kneppers, Maartje Swinkels, Alba Campo Rosillo


    Van Abbemuseum, De Krabbedans, Muicipality of Eindhoven, local institutions posessing BRK Eindhoven artworks (Parktheater, Fontys Hogescholen, SVVE De Archipel, Regionaal Opleiding Centrum, Geestelijke Gezondheidszorg Eindhoven, Maxima Medisch Centrum en severalprivate lenders.



  • Project

    A guide for measuring the effectiveness of apps and websites.

  • Project

    Generating and sharing knowledge about the conservation of contemporary art by museums, institutions and universities.

  • Project

    Evaluation of the documentary Installation Art: Who Cares? as information medium.

  • Project

    Inventory of documentation systems to link research results to locations on artworks.

  • Program

    Object in context

    Enrichment of the object in its context on the basis of technical art history and research, for the benefit of its conservation and restoration.

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    Objects that have been handed down to us from the past can tell a story of their history of creation and how they have changed over time.

    The Object in Context programme makes such stories accessible through research on the material object and its contextual clues (historical evidence). In addition, the program focuses on questions concerning the restoration and conservation of a range of objects, from classical antiquity to contemporary art, from paintings and textiles to metal and plastics.


    Under Object in Context, analytical chemistry researchers and forensic specialists delve into cause and effect. Besides a keen eye for detail, they employ a research laboratory and technological methods that enable the visualization of evidence visible only at a molecular level. Although analytical research often forms the basis for research, collaboration with other disciplines, such as art and cultural history, is always sought as well.

    Arts meets sciences

    A connecting link between the many projects under Object in Context is the extent to which ageing is regarded as acceptable. That limit of acceptance is subjective and cannot be considered purely from the material-technical perspective. Thus the theme of 'perception of the surface' is key in several projects. This involves coupling the scientific 'looking' through apparatus with subjective, human visual perception.

    Download here the comprehensive introduction to the Object in Context program, including an introduction to the projects in PDF.

  • Program


    Quantitative research on composition, use and policies concerning museum collections.

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    In the museum sector, procedures and processes of collection management are analysed using figures and indicators to only a limited extent. As a result, decisions are often based on impressions or tradition.

    Ad hoc quantitative analyses have been performed in recent years. Again and again it has proved difficult to generate reliable figures.


    When comparing museums it was also revealed that the number of variables arising form an almost insurmountable barrier for benchmarking. The RCE therefore opted for a structural, long-term program with the focus on a statistical approach to research questions concerning collection management.


    Under the Museometry programme, quantitative research is conducted on the composition, use and exploitation of museum collections. Trends and developments are distilled from the collected facts and figures on museum collections (museometry). The resulting figures and analyses are made available for the museum professionals and managers responsible for museum collections. In turn, they use this quantitative data for the formulation of various policies concerning these collections. In this way museometry contributes to evidence-based management (EBM) in the museum sector.


    Projects under this program include:

    • The Loan Monitor: a website that visualises on a map loan movements between national and international museums for exhibitions.
    • The Modern Art Collection Audit (CMBK), a statistical analysis of how Netherlands museums have collected modern art from 1999 to 2009. The database, comprising acquisition data from about 40 museums with relevant collections of modern art, makes statistically based statements possible about the collection policy of the museums.
    • The 20th century Artist Index, in which major artists are inventoried from the period 1870 to the present.
    • Completion and verification of available data on international collection mobility, accessibility and cultural participation arising from the implementation of the indemnity scheme.
    • An inventory and analysis of museum annual reports.
  • Program

    Collection Risk Management

    A user-friendly method for heritage managers to assess and manage risks themselves.

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    The Collection risk management (CRM) program is aimed at minimizing the loss of value at the interface between preservation and use. The existing CRM methodology has been tested in different situations, developed and simplified in order to bring it within reach of smaller institutions with limited time and resources.

    To this end, new instruments were developed and information necessary to quantify the various risks was generated and made available in the convenient form of a digital manual. The program concluded with an international meeting on risk management.


    Risk management examines all the threats to which collections are exposed and combines preventive conservation, security and facility management. This forms the next step in the professionalization of collection preservation and management. In applying this strategy, the risks for a collection are identified, analysed and evaluated. These risks can then be compared on the basis of the expected value loss over a given period (risk assessment) and ranged to set priorities for measures to reduce this loss of value. This aids the collection manager in making informed and substantiated choices in the deployment of the often limited resources available to collection management.


    Under the CRM program, the methodology was tested in case studies, courses and workshops, then further developed and simplified so that smaller institutions with limited time, resources and knowledge can also gain insight into their own situation. To this end knowledge must be generated to qualify or quantify the various risks and ultimately made available in a usable form. This process was carried out in a number of projects under the program. Knowledge development and deployment of the indemnity scheme also fell under this program. The field of security risks and calamities was covered in collaboration with the Safe Heritage programme.


    The before-mentioned knowledge and instruments are for the most part collated in the Digital Collection Risk Management Manual. This describes the methodology step-by-step, provides instruments for conducting a risk analysis and sets out the available information on the ten most important damage factors. In this way, the user is able to carry out a risk analysis with their team. The Manual helps in formulating the right questions for external experts.

    Risk analysis

    Two projects under the program were intended to generate data to aid in assessing risk scenarios and to determine extent of risk. On the one hand quantitative information was collected for events that could lead to loss of value (damage factors of fire, theft and vandalism, mechanical forces and water), and on the other, degradation processes (damage factors of climate, light, mechanical forces vibration and air pollution/dust). In addition, a model was developed under the Cost Effectiveness project for determining the cost-effectiveness of conservation measures.

    Research on Paper

    Finally the Metamorfoze project (National Programme for the Conservation of Paper Heritage) sought solutions for the preservation and treatment of original paper documents. The research focused on inherent deterioration such as ink corrosion, the usefulness (or uselessness) of air purification in depots and the development of a portable instrument for the on-the-spot determination of light sensitivity of objects.

    The CRM programme concluded in 2012 with the meeting Reducing Risks to Heritage in collaboration with ICCROM and CCI.