“The Role of Environment Factors in Configuring Design, a Dutch Case Study”
Guest Lecture: Joana Meroz, Assistant Professor in Design Cultures at Vrije University
Dear snoopers, this is your one warning my art history and political science undergrad soul was revived during this lecture. We must all suffer the consequences together. Godspeed.
Bum #1 by Isabelle Wenzell outside of the lecture hall. This is not related to Joana Meroz’s lecture but presents the space the lecture took place in. Also, this is my blog and I really enjoy this artwork.
On 25 June 2024, Assistant Professor Joana Meroz presented a lecture on her research in Dutch design at Vrije University. Her research primarily investigates how material and environmental constraints influence cultural diplomacy in international bilateral cultural agreements. Cultural diplomacy is the influence one nation state impresses on another through soft power means, such as High art or music (J. Meroz, personal communication, June 25, 2024). Bilateral cultural agreements were developed by the Dutch government with other states in the postwar era to promote good will towards the Netherlands abroad (J. Meroz, personal communication, June 25, 2024). Meroz is concerned with previous environmental determinism research that oversimplifies the concept or morphs into a thinly-veiled marketing strategy for products (J. Meroz, personal communication, June 25, 2024).
Throughout the lecture, Meroz cites cultural bilateral agreements Dutch Design I and Dutch Design II as the case study for her research. Dutch Design I included High art, such as Rembrandt’s The Night Watch (1642), and other Dutch masterpieces that were difficult and expensive to transport despite the exhibitions being in nearby European countries (J. Meroz, personal communication, June 25, 2024). The climates were not a concern for the artworks until Dutch Design II. In the next installation of bilateral cultural agreements, the Netherlands chose to work with its former colony, Indonesia. The change in climate, cost for travel insurance and measures, as well as the sheer distance concerned the Netherlands in sending High art. Moreover, other bilateral cultural agreements were taking place at this time and there were not enough masterpieces to send abroad.
Instead, Dutch Design II, nicknamed “Container Exhibition” for its contents determined for fit in one large container and be durable for at least four years, only included works commissioned by (semi) government organizations from professional designers to be used in public service (J. Meroz, personal communication, June 25, 2024). However, the designers included works that highlighted issues in the Netherlands, such as high traffic congestion, to admit on the world stage that life was still life in the Netherlands, which is to say imperfect (J. Meroz, personal communication, June 25, 2024).
The lecture presented interesting ways governments and populations engage with each other on the international stage in an overt but peaceful manner to exert influence. Meroz was kind enough to answer my question regarding what bilateral cultural agreements might look like in the digital age with that she is looking into it. As contemporary research in the digital landscape is nearly an oxymoron, I was completely satisfied with this answer. It was rather comforting to know someone was considering it.
However, I am curious in how or what form bilateral cultural agreements will look like in the future as the role of the nation-state is dwindling. Despite the news exhausting border control during election seasons, border are becoming less relevant in terms of structuring a cohesive national identity and loyalty. What does Dutch design mean today? What does American design look like in 2024? The American context may be more difficult to survey with each state imposing its own laws and infrastructures. Would a bilateral cultural agreement or something similar be helpful if the world assumes a supranational international political system that is slowly rising? Can we have culture and identity without nation-states or the language this political structure has given us?
If you know the answer to any of the previous questions or what the perfect amount of time to boil an egg is, please let me know. In the meantime, I encourage you to stay vigilant in your own neighborhoods in search of any and all cats you can find. ADWC is at a staggering 11.
Suzy the cat, resident of Pizza Taxi.
Akash Shrestha learned of my research and has generously offered to work as my deputy. Please meet his new friend. No, Akash’s cats are not included in the ADWC. His research is a subplot. Akash’s latest subplot:
Speed racer.