Layout 4 - Fondation Beyeler

Jahresbericht 2009
FONDATION BEYELER
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Table of Contents
Preface by the President of the Administration Board
Memorial Speech by Eberhard W. Kornfeld
at the Funeral of Ernst Beyeler
The Director’s Review of the Year
The Fondation Beyeler as an International Cultural Institution
The Year 2009 in Words
The Year 2009 in Figures
Notes on items in the Income Statement
Administration Board and Business Management
Colophon
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4
7
12
14
16
17
19
20
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Preface by the President of the Administration Board
Ernst Beyeler died on February 25, 2010. For some time, his gradually failing
health and stamina had prevented him from participating fully in the museum’s
affairs. This was a painful experience for Beyeler and those around him, because
it contrasted so strongly to the times when his presence was felt always and
everywhere, creating the atmosphere that was so intimately connected with
his personality.
This is not the place to pay homage to Ernst Beyeler and his achievements.
All we can do is emphasize once again how grateful we are for the opportunity
to work for and with him. A great gap has been left by this inspiring and
active man, yet we still cherish enriching memories of Ernst and Hildy Beyeler
and gladly accept the obligation to continue their work in their spirit.
We can look back on the year 2009 with pleasure and satisfaction. It began
under the cloud of gloomy economic prospects, and we were not sure how
strongly the widespread insecurity would affect our visitor numbers. In retrospect,
it would appear that the Fondation Beyeler with its rich exhibition
schedule was perhaps just the place people needed to provide a respite from
their day-to-day worries. Over 325,000 visitors found their way to our museum
in Riehen in 2009. The Fondation Beyeler remains one of the leading cultural
institutions in Switzerland and beyond.
Our series of outstanding presentations was continued with three exhibitions:
“Visual Encounters”, a reciprocal inspiration and dialogue between sculptures
and masks from Africa, Oceania and Indonesia on the one hand, and classical
modern art on the other. Then came “Giacometti”, focusing on Alberto’s art
and supplemented by works by members of his family. Towards the end of
the year, “Jenny Holzer” not only filled the museum spaces with her messages
in light but fascinated the public with her large-scale outdoor projections.
None of this would have been possible without the museum team, who,
inspired and led by Sam Keller, performed superbly under pressure of time and
success. We are extremely grateful to them all.
Thanks are also due to the communities that support us, the two Basels
and the Community of Riehen, to our sponsors, patrons, lenders and friends,
and not least to all of those art lovers whose visits encourage us to maintain
our traditional high level of quality.
On behalf of the Board of Directors
Dr. Georg Krayer
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Funeral Oration for Ernst Beyeler,
by Eberhard W. Kornfeld, March 5, 2010
We have come together today to bid farewell to Ernst Beyeler. We bow down
before a life’s work whose effect spread far beyond Basel and Switzerland,
and counts among the great achievements in the world of twentieth-century
art. His was a fine and rich life, crowned with successes of a kind granted to
few, and with accomplishments that will retain their significance far beyond
his death.
We met very early on in Basel; he was two years older. Our young years were
marked by great austerity, the privations of war, and long military service,
both of us in the Basel Regiment 22, confined to Switzerland, no contacts with
the visual arts in Europe, no trips abroad. The beginnings of our professional
activity ran almost in parallel. After graduating from high school, Ernst Beyeler
studied for a brief period, then became a trainee with a German emigré,
Oskar Schloss, who after his flight from Germany had become a quite successful
antiquarian bookseller in the space of only a few years. In my case, it was
Bern with August Klipstein, he too of German origin but resident in Bern since
1919. In the first year of our career, both of us earned the same wage, 100
francs a month. Supplementary income was sorely needed. In our first financial
transaction, we acquired an incomplete French Book of Hours and amicably
divided the miniatures and manuscript pages with an eye to selling them
to friends and small collectors. The miniatures were in fact quite good specimens
of mid-fifteenth-century painting.
Establishing a career basis was not easy for either of us. Both Oskar Schloss
and August Klipstein died prematurely; both of us, barely over 25, had to
assume the management of the firms and their development. From humble
beginnings, Beyeler’s “Librairie du Château d’Art” (a bookshop named in allusion
to Schloss), had by 1951 burgeoned into “Galerie Beyeler,” which enjoyed
great international acclaim on account of annual, increasingly important
exhibitions – each accompanied by one of his beautiful and elaborately designed
catalogues. One great name followed another, yet not only established
artists but the contemporary scene in Basel and Switzerland was taken into
account, leading to many lasting friendships between Ernst Beyeler and Basel
artists.
Everything began at Bäumleingasse 9, where the antiquarian bookshop
occupied one floor. Beyeler remained faithful to this venerable historical
house, ultimately extending his operations to every floor and into every nook
and cranny. This was the seed of many great activities and accomplishments.
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Over the long decades, he was an ardent observer of the international auction
scene in Europe and New York, always with an eye to acquiring fine pieces
for the gallery or his private collection, focusing on the period from Impressionism
to Classical Modernism, and down to the present day. He was a welcome
guest in London, Paris, New York, not to mention Bern and Zurich.
A love of and devotion to nature was an early determinant in his life. In
the forties and early fifties it was still mountaineering that provided compensation
for the stresses of business. We often went out together. I recall our
ascent of the Balmhorn in the Berner Oberland, accompanied by our brothers,
both of whom were sadly destined to die at an early age. Further peaks would
follow. Then there was the great devotion to rowing in Basel and environs
from the forties onward, and in later years the weeks of recuperation in
an out-of-the-way part of the island of Ios, one of the southernmost islands in
the Cyclades, far from all social obligations. There, Ernst devoted himself to
one of his quiet loves, watercolor painting.
He was extremely committed to the environment. He never owned a private
car in his life. His great concern for the rain forests is unforgettable; he
assumed many responsibilities and established a highly successful foundation
in order to contribute effectively to their protection.
The early fifties saw Ernst Beyeler’s first considerable commercial successes.
The books had vanished from the shelves and drawings and prints now hung
on the walls; the first important paintings began to find their way into the
gallery, gradually taking on the place of prominence in his activities. The auditing
and a great part of the business operations lay in the competent hands of
his unforgotten wife, Hildy. The increasingly high sales figures never became
public; the problems that arose were solved within the family. It was this highly
successful combination of art and commerce that formed the basis for the
philanthropic activities that dominated Ernst Beyeler’s later years. Again and
again, a major painting could be set aside and earmarked for his envisaged
private collection, which would ultimately take on phenomenal dimensions.
The first presentation of the entire private collection took place in 1989, in the
recently inaugurated Centro de Arte Reina Sofia, within the walls of an old
Madrid hospital converted into a museum, where Goya had already been
inspired to works in his Disasters of War cycle. The quality and richness of the
exhibition came as a great surprise to the art world, and whetted the appetite
of many museums. In the end, however, the idea of his own institution in Riehen
won out in Beyeler’s mind, after his entire holdings had passed to a foundation
years before. The choice of Renzo Piano as architect was a stroke of
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luck; yet still, the well-nigh perfect museum building was strongly influenced
by its patron and bears his personal touch.
In October 1997, with the inauguration of the Fondation Ernst and Hildy
Beyeler, came the culmination of his career. Ernst was 74 years old at the time,
but still in full possession of his powers. For many years he managed the business
operations himself. Magnificent and still legendary exhibitions drew the
international acclaim still enjoyed by this unique institution. Likewise unforgettable
is the installation Wrapped Trees created by Christo and Jean-Claude
in the spacious Fondation park.
Due to worsening health in the last two years of his life, Ernst Beyeler gradually
passed on the management of gallery and foundation to talented staff
members, who deserve profound gratitude for their devotion to his life’s work
and its continuation. The future now lies in their hands.
Four weeks ago, on the occasion of the opening of the “Henri Rousseau”
exhibition, we still sat over lunch together in the exhibition, whose perhaps
most beautiful picture, a Jungle Painting, is in Fondation Beyeler. Although
marked by his declining health over the past two years, Ernst still took an
active part in the event and obviously enjoyed this further high point in the
foundation’s history. It was destined to be our last meeting.
Now we must relinquish the mortal remains of this great man, yet his work
and his name will continue to profoundly influence us and generations to
come.
Eberhard W. Kornfeld
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The Director’s Review of the Year
The Fondation Beyeler was extremely successful in 2009, managing to reach
its goals in both qualitative and quantitative respects. Fortunately we remained
unaffected by accidents, damage and scandal. Fruitful co-operations were
entered with various local and international cultural institutions, helping
us to further cement our position among the leading art museums in the world.
The year 2009 began with an admissions record. A total of 226,000 art lovers
found their way to the exhibition “VENICE – From Canaletto to Turner and
Monet,” which opened on September 28, 2008, and ran to February 15, 2009.
Under the supervision of guest curator Martin Schwander, the exhibition
devoted to the great city of art and its influence on the development of modern
art comprised about 150 paintings, watercolors, pastels, and etchings from
three centuries.
“Visual Encounters – Africa, Oceania and Modern Art” focused for the first
time on the extra-European art in the Beyeler Collection. The dialogue between
cultures, wonderfully staged by curator Oliver Wick, comprised over 180 objects.
The exhibition was organized in conjunction with the Museum der Kulturen,
Basel, the Museum Rietberg, Zurich, and the Musée Barbier-Mueller, Geneva,
and attracted 127,359 viewers.
Our summer exhibition, “Giacometti”, was devoted to perhaps the most significant
of all Swiss artists. Curated by Ulf Küster, it traced Giacometti’s development
by reference to about 150 sculptures, paintings, and drawings, while
shedding light on his relationships with family members. Thanks to a cooperation
with the Giacometti foundations in Zurich and Paris, an impressive retrospective
was mounted, which also paid respect to the outstanding merits of
Ernst Beyeler as a supporter of Alberto Giacometti. A total of 152,894 visitors
were counted.
The last large exhibition of the year was devoted to the American artist Jenny
Holzer. On view were LED installations, paintings, and sculptures. A total of
47,682 visitors saw these pieces, in which personal and political statements
combine with fascinating effects of color and light to engender poetic works
of art.
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The tradition of art projects in the public space, initiated by Ernst Beyeler, found
a continuation in Jenny Holzer’s large-scale projections on the Fondation Beyeler
museum building, Basel City Hall and Minster, SBB Station, Margarethen Hill,
and on the Limmat and Lindenhof in Zurich, which were enjoyed by a wide
audience. In collaboration with the mobile communications company Sunrise,
the artist mounted her first virtual project, which enabled a million users to
download Holzer’s works on their mobile phones free of charge. In addition, a
cooperation with the Basel-Land culture bureau enabled a workshop for
school classes with Jenny Holzer.
The Fondation Beyeler held artistic responsibility for Il tempo del postino,
an artists opera in which a range of leading contemporary artists participated.
The project was organized in cooperation with Art Basel and Basel Theater,
and supported by both Basel cantons.
Interesting exhibitions of the work of contemporary artists were held on the
lower floor of the Fondation. Franz West showed his “possessable” objects,
Marc Quinn four self-portraits composed of his own frozen blood, and Günther
Förg created an atmospherically compelling installation composed of
photographs and murals.
In 2009 the Fondation Beyeler had a stand at the most important European
art fair, Art Basel, and its American counterpart, Art Basel Miami Beach,
with an eye to disseminating its exhibition schedule and attending to lenders,
museums and patrons. In addition, in my capacity as director I was invited to
moderate conversations with artists James Rosenquist, Dan Graham, and
Pierre de Meuron in Miami.
The Fondation Beyeler organized a multifarious program of cultural events
in 2009, which began with a collaboration with the Basel Theater and
Opera on the occasion of the “Venice” exhibition. In connection with “Visual
Encounters”, an international scholarly Nukuoro symposium, an African concert
with Bassekou Kouyate from Mali, and an Oceanian film soiree at which
philosopher Stefan Zweifel and film expert This Brunner introduced Friedrich
Wilhelm Murnau’s South Seas melodrama Taboo were held. In addition, we
hosted an artist’s talk with Yinka Shonibare and the former Documenta head
Okwui Enwezor. Hans Ulrich Obrist moderated an artist’s talk with Franz West,
followed by a musical performance by Philipp Quehenberger. A further conversation
brought together architect Jacques Herzog and artist Jenny Holzer.
In cooperation with the Kulturbüro Riehen, the renowned choreographer
William Forsythe showed his Monster Partitur/Score in connection with the
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“Giacometti” exhibition. Together with ACT Entertainment a concert by The
NITS took place, and we also contributed once again to the festival les muséiques.
Our museum night at the Fondation attracted a crowd of over 7,000.
The Rendez-vous series continued with prominent art lovers such as choreographer
Richard Wherlock, jazz musician George Gruntz, author Ingrid Noll,
acrobat David Dimitri, cabaret performer Viktor Giacobbo, the band Lovebugs,
and carnival committee president Felix Rudolf von Rohr.
In parallel with the “Giacometti” exhibition, readings were held by the author
Tahar Ben Jelloun and actress Marie-Christine Barrault, and a cabaret evening
with Massimo Rocchi took place.
In collaboration with Ringier, an installment of “Arguments” was held for the
first time in Basel, on the Fondation Beyeler premises. Moderated by editor-inchief
Hannes Britschgi, the topic of the “Economic Miracle Basel” was discussed
by Basel government councillor Christoph Brutschin, theater director Georges
Delnon, Baloise president Rolf Schäuble, and Novartis president Daniel Vasella.
The event was highly acclaimed by the approximately 200 invited representatives
of business and commerce. The invitation of governments and parliaments of
the two Basels, and the community council of Riehen, to attend a spring reception
at the Fondation Beyeler has by now become a good tradition.
An illustrious addition to the Beyeler Collection came in the shape of a tinuaitu
figure from the Micronesian Nukuoro Atoll, a rare piece marked by its
abstracted form. Moreover, the collection was presented in two, entirely unprecedented
ways. Numerous loans to the “Visual Encounters – Africa, Oceania
and Modern Art” exhibition, and Cube (1933-34) from the collection of the
Alberto Giacometti Foundation, were obtained on extended basis. Further
significant extended loans from private collections – including works by Picasso,
Arp, Barnett Newman, and Jackson Pollock – were entrusted to the museum
for a time. Last year, all insurance values for the loan of works in the collection
were audited and brought up to date.
Our restoration team investigated 55 works and conducted a further 22
conservation measures, as well as supervising the presentations of the collection
and exhibitions. Together with Nationale Suisse, we began an ambitious
research project planned to last several years: Acanthes, devoted to the eponymous
large-format paper cut-out work by Henri Matisse. Since the beginning
of the year, the team’s efforts can be followed in a special museum studio or
online by experts and the public alike.
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A total of 54 works from the Beyeler Collection were lent for major exhibitions
at renowned museums around the world, including the Albertina in Vienna,
the Hamburger Kunsthalle, the Centre Georges Pompidou and Musée d’Orsay
in Paris, the National Gallery and Tate Modern in London, the Galleria Borghese
in Rome, the Gemeentemuseum in The Hague, the Museo del Prado in Madrid,
the Los Angeles County Museum, the Philadelphia Museum of Art, and the
Metropolitan Museum and Guggenheim Museum in New York. The van Gogh
show at the Kunstmuseum Basel was enhanced by two of the artist’s landscapes
from the collection which, as a rule, are not available for loan.
In accordance with the Foundation’s purpose, a number of programs designed
to bring art to the public and especially to awaken young people’s interest
in modern art were offered. The team of twenty-five guides conducted a total
of 1,233 private and public guided tours, and organized 575 museum visits
for school classes with workshops to follow. A total of 20,286 audio guides in
German, French and English were issued to visitors.
A scholarly catalogue in German and English (with a French translation
of the essays) was published to accompany each large exhibition. In the series
“Museums in Switzerland,” a book about the Fondation Beyeler in four
languages was published in conjunction with the Swiss Institute for Art SIK
and sponsored by the BNP Paribas Foundation. The magazines DU and
Beaux Arts Magazine devoted special issues to the “Giacometti” exhibition.
The Fondation Beyeler joined Hatje Cantz Verlag to publish an audio book to
accompany this exhibition, becoming the first Swiss museum to do so. The
labels and descriptions of works in the entire museum and park were revised
or supplemented in several languages.
Many artists and other personalities honored the Fondation with a visit in
2009, including Federal Councillor Moritz Leuenberger, Christoph Blocher, Kofi
and Nane Annan, Jacques Chirac, Georg and Elke Baselitz, Elke Heidenreich,
Ed Ruscha, Francesco Clemente, Günther Förg, Franz West, Jenny Holzer, and
Renzo Piano.
A total of 3,132 journalists visited the Fondation Beyeler in 2009, and their
over 3,000 articles in the print and electronic media marked a new record. This
amounted to a considerable contribution on our museum’s part to the marketing
of the Community of Riehen and the Basel Region as a prime location.
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We are grateful to the Beyeler- Foundation and Hansjörg Wyss Foundation
for their generous support. We owe a debt of gratitude to the Canton of
Basel-Stadt and Community of Riehen for their subsidies and to the Canton of
Basel-Land for their contributions to our projects. The Fondation Beyeler thanks
its sponsors, namely Basler Kantonalbank, Fondation BNP Paribas Suisse,
Sarasin & Cie AG Bank, Bayer Consumer Care AG, Maybach, Nationale Suisse,
Hatje Cantz Verlag, UBS AG, Kuhn & Bülow, Novartis, Helvetia and ISS Facility
Services AG for their cooperative partnership in the year 2009. We are grateful
to Sibylla M. and Christoph M. Müller for the valuable support they provided
for our youth work, and the Coromandel Foundation for its commitment.
Heartfelt thanks to our supporters group, the Friends of the Fondation Beyeler,
our corporate members, and the members of the Art Club, who annually
provide significant moral and financial support. Finally, our thanks go to our
entire staff, who commit themselves with passion and a sense of quality to
putting the Foundation’s goals into practice.
Sam Keller
Director, Fondation Beyeler
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The Fondation Beyeler as an International Cultural Institution
The Fondation Beyeler is not only an internationally recognized collection and
active as an exhibition venue in Riehen. Its presence as a cultural institution
has long begun to extend far beyond the borders of Basel and Switzerland.
This development has been especially facilitated by loans from the Ernst and
Hildy Beyeler Collection to other museums’ exhibition projects. In our view,
a loan request is always an indication of the significance of our collection,
whose many key works can form high points in the presentations of other
institutions. Of course, each loan request raises the question of whether the
work concerned is capable of traveling at all. Once this is settled, we can turn
to the themes of the planned exhibitions and the institutions involved, the
great majority of which are themselves lenders to our own exhibition projects.
Over the years, the exchange of loans among museums has given rise to a
sort of international diplomatic network, in which the Fondation Beyeler plays
a significant role. The exchange involves many museum departments, the
curators, restorers, registrars, and art handling. The presence of the Fondation
Beyeler at the world’s two most important art fairs, Art Basel and Art Basel
Miami Beach, contributes to the museum’s international reputation as an outstanding
cultural institution.
Yet the Fondation Beyeler is active outside its “own four walls” not only as
regards loan exchanges. We are becoming increasingly involved in the organization
of cultural events outside Riehen. During Art 40 Basel in 2009, the artists
opera Il tempo del postino, staged by Hans-Ulrich Obrist, Rirkit Tiravanija
and Philippe Parreno with the participation of a group of prominent contemporary
artists, had its highly successful premiere at the Basel Theater. In collaboration
with the theater and Art Basel, the Fondation Beyeler functioned
as co-producer of the event.
Of increasing significance for the Fondation Beyeler – in both artistic and
financial respects – are co-productions of exhibition projects and the passing on of its
own exhibitions to others. As a rule, each Fondation Beyeler show draws
inquiries from a number of museums who would like to take it over. Though
this is often not possible due to complicated loan situations, it does succeed
quite frequently. Our highly successful “Venice” exhibition, for instance,
will be on view in modified form at the renowned Musée Jacquemart-André in
Paris from October 2010 to February 2011. The “Rousseau” exhibition will be
shown at the Museo Guggenheim in Bilbao, and our “Basquiat” retrospective
will travel to the Musée d’art moderne de la Ville de Paris.
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The “Jenny Holzer” exhibition was a joint production with the Museum of
Contemporary Art in Chicago. Its further venues include the BALTIC Centre for
Contemporary Art in Gateshead, from March 5 to May 16, 2010, after already
having appeared at the Whitney Museum of American Art in New York. The
exhibition will likely travel to Montreal, Canada, at a later date. On invitation
from the Musée d’Orsay, in 2010 the Fondation Beyeler will additionally curate
the exhibition “Paul Klee – La collection d’Ernst Beyeler” at the Musée de
l’Orangerie in Paris. The Fondation Beyeler’s international activities make
a considerable contribution to its international networking and renown as a
leading museum of modern art.
Dr. Ulf Küster
Curator
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The Year 2009 in Words
The year 2009 was an extremely successful year in every respect for the Beyeler
Museum AG. It brought a total of 325,759 art lovers to the Fondation Beyeler
and its exhibitions. As this indicates, the museum continues to be one of the
most popular art institutions in Switzerland. From the financial point of view,
we are proud to say that the annual results before loss coverage showed a
considerable improvement by comparison to the previous year. The increase in
all profit areas, with the exception of the contractually guaranteed subsidies,
totalled approx. 17.4 million Swiss francs, nine percent higher than 2008.
One contributing factor was an approx. nine percent growth in visitor numbers.
The Art Shop reported a turnover of 3.8 million Swiss francs, comprised of
46 percent art books and 26 percent art postcards, posters, editions and DVDs.
The museum Restaurant Berower Park was also popular with the public and
increased its turnover by 15 percent.
In addition, we were able to increase sponsoring income – despite the loss of
one sponsor but thanks to two new ones. The yield from “Art Club and Friends”
showed an increase as well. Especially worth mention, finally, is the generous
support for various exhibition projects provided by a range of foundations and
private persons, which led to a full doubling of the amount of donations.
We were fortunately able to reduce operating expenses by about 1.4 million
Swiss francs, amounting to a decrease of about seven percent. Savings were
made especially in the areas of art transport, insurance (for the “Jenny Holzer”
exhibition, no insurance costs arose), public relations and advertising, but also
in the area of energy consumption. The general exhibition expenses rose in
2009, due to higher architectural costs for the presentation of sculptures and
LED installations.
In sum, the Beyeler Museum AG succeeded in slightly exceeding the budgeted
overall results. About two-thirds of operating expenses were covered by operating
yield, and a further one-sixth by subsidies and donations. The remaining
3.5 million Swiss francs were borne, as per budget, by the Beyeler-Stiftung
and Hansjörg Wyss Foundation.
At this juncture we wish to thank everyone who contributed to the success of
the business and exhibition year 2009, especially our staff. Our heartfelt
thanks to the Administration Council, the councils of the Beyeler-Stiftung,
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our colleagues at Galerie Beyeler, and of course to all lenders and colleagues
in other museums who contributed to making our exhibitions successful
and internationally attractive. We greatly appreciate the generous support
shown by our partners, subsidy providers, patrons, supporters, members and
business friends. Finally, we wish to thank our visitors for the great interest
they showed in our activities, and representatives of the press and media for
their competent and exhaustive coverage.
Many people contribute to taking the legacy of our founders, Hildy and
Ernst Beyeler, securely into the future, and we are working to ensure the
continuation of the Fondation Beyeler and its success.
James Koch
Deputy Director
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The Year 2009 in Figures
Overview income statement 2009
Figures in TCHF
Income from visitors
Income from sponsoring
Income from Art Club and Friends
Other museum income
Operating income
Cost of materials
Personnel expenses
Art transports and lending fees
Art insurance
General exhibition expenses
Public relations and advertising
Art education and events
Buildings, security and energy
Security personnel and facility management
Other operating and administrative expenses
Expanses for
museum operation and exhibitions
Operating expenses
Operating income
Subsidy from Community of Riehen
Subsidy from Canton Basel-Stadt
Contributions
Subsidies and contributions
Result before financial
income and depreciation
Financial income and depreciation
Annual result before covering loss
16
Current Year
2009
11'312
1'626
502
305
13'744
2'508
5'586
1'634
1'156
1'744
1'825
765
2'056
1'891
1'593
12'665
20'759
–7'015
915
1'865
872
3'652
–3'363
183
–3'546
Previous Year
2008
10'606
1'563
458
168
12'796
2'801
5'305
3'039
1'808
1'068
2'047
747
2'112
1'839
1'428
14'089
22'195
–9'401
906
1'865
428
3'199
–6'201
139
–6'339
Difference
2009/2008
+705
+63
+44
+136
+949
–293
+281
–1'405
–652
+675
–222
+18
–55
+52
+165
–1'424
–1'436
+2'385
+9
+0
+443
+452
+2'837
+45
+2'793

Remarks on Individual Items in the Successful Balance 2008 / 2009
Admissions yield
The increase in admissions yield stands in direct relation to increased visitor
numbers.
Yield from sponsoring / yield from “Art Club and Friends”
We enjoyed a slight increase in yields from sponsoring and membership fees
despite the financial crisis year.
Other museum yields
Other museum yields increased due, among other things, to yields from
museum services
Materials expenses
The difference from the previous year was due especially to better restaurant
figures.
Personnel expenses
Personnel expenses of the Fondation Beyeler are relatively stabile; the increase
for the report year was due especially to increased turnover in the restaurant
and the concomitant additional (variable) employment of staff.
Art transports and lending fees, art insurance, and general exhibition costs
Each Fondation Beyeler exhibition is unique not only from an artistic point of
view but with respect to cost structure. In the report year, relatively low transport
and insurance costs arose in connection with “Visual Worlds” (African
and Oceanian works of art), “Giacometti” (fragile sculptures, mainly from
the collections of a few principal lenders from France and Switzerland), and
“Jenny Holzer” (LED installations and projections in the public space). By
contrast, expenses for exhibition architecture were higher by comparison to
the previous years.
Public relations and advertising
Here, savings were seen in various areas by comparison to the previous year.
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Art appreciation and events
The figures in these fields remained basically unchanged.
Buildings, security and energy
Especially notable in this area were slight decreases in energy consumption
costs by comparison to 2008.
Museum supervision and building management
These costs were relatively stable. The disposition of supervisory personnel
had to be adapted to visitor numbers and security situation for each
exhibition.
Other operational and administration costs
These were higher than in the previous year especially in the restaurant,
due to postponed maintenance needs.
Donations
A doubling of donations enabled the museum to make fascinating art
projects a reality.
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Administration Council and Business Management
The shares of Beyeler Museum AG are held to 100 percent by
the Beyeler Foundation.
The Administration Council of Beyeler Museum AG is composed of
Dr. Georg Krayer, President
Christoph Megert, Member
Dr. Christoph Stutz, Member
The business management of Beyeler Museum AG is composed of
Samuel Keller, Director
James Koch, Deputy Director
The auditors of Beyeler Museum AG are PriceWaterhouseCooper AG, Basel.
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Illustrations in sequence of appearance
1. Cover: West facade of the Fondation Beyeler, Peter Schnetz
2. Water lily pond in front of the south facade of the Fondation Beyeler, Ben Ludwig
3. Ellsworth Kelly’s White Curves in the morning, Fondation Beyeler park, Ben Ludwig
4. View of the Fondation Beyeler park, Michael Babics
5. Pavilion in the Fondation Beyeler park, Ben Ludwig
6. View of Alexander Calder’s The Tree, 1966, and Ellsworth Kelly’s White Curves, 2001, Michael Babics
7. South facade of the Fondation Beyeler with cherry trees, Ben Ludwig
Colophon
Publisher: Beyeler Museum AG
Project head: Pia Kuchenmüller
Team: Claudia Carrara, Dorothea Merz,
Tanja Narr, Katrin Steiner
Authors: Dr. Georg Krayer, Eberhard W. Kornfeld,
Sam Keller,James Koch, Dr. Ulf Küster
Design/layout: Heinz Hiltbrunner
Photos: Peter Schnetz, Ben Ludwig, Michael Babics
Copy editing: Holger Steinemann
Translation: John William Gabriel
E-Book layout: das formt, Büro für Kommunikation & Design
Printing: Merkel Druck AG, Riehen
Edition: 200 copies
Many thanks to all concerned.
FONDATION BEYELER
Beyeler Museum AG,
Baselstrasse 77, CH-4125 Riehen, Switzerland
www.fondationbeyeler.ch
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