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ADVIZ,launched in May 2011, is a bilingual (NL/EN) interactive platform for the graphic design industry, the advertising industry and for everyone interested in visual communication.
The website consists of two parts that are closely interrelated.
1. The formal part (Home) is formed by the collections of the Dutch graphical designers archives (NAGO), the ReclameArsenaal (advertisement arsenal) (RA) and the Affichemuseum (Poster Museum) in Hoorn. You will find around 70,000 items and hundreds of wiki pages there, which can be searched integrally. Information about items from the collections of the participating heritage organisations is coloured PINK; the keywords of the institutions are marked in GREEN.
2. The public part (Public) is formed by visitors. You may add your own portfolio(s) or collection(s) here, respond to information given with the objects, create wikis and relations, and create links to your own external social media sites like Twitter, Facebook en LinkedIn, and thus share the images and information from ADVIZ with others. Added items will be immediately recognisable, since the information in the public part is coloured BLUE, whilst the keywords or terms added by the public are marked in YELLOW.
ADVIZ was partially funded by Agentschap.NL (formerly SenterNovem) and was built and designed by design agency Fabrique (Delft) and ICT agency CiT (The Hague).
ADVIZ is owned and administrated by the ADVIZ Management Foundation in Utrecht, The Netherlands.
ADVIZ Management Foundation
3534 AR Utrecht
The aim of the Foundation NAGO is to maintain the archives of Dutch graphic and industrial designers, designing agencies and illustrators, and make them digitally accessible.
Since the founding in 1992, 21 archives have been opened up and placed with Dutch legacy institutions. The NAGO promotes scientific study in the archives opened up by NAGO and facilitates publications, exhibitions and educational projects. For those interested, the results of this can be seen at the NAGO website www.nago.nl.
The Foundation ReclameArsenaal was founded in 2001 and developed from a merger between the Dutch Advertisement Museum (1975) and the Dutch Advertisement Archives (1981). The collections are housed in the International Institute of Social History (IISG). The purpose of the society is the maintenance and management and the representation and the study and the history of Dutch advertisement. At the website www.reclamearsenaal.nl over 48,400 digitalized advertising expressions (from approx. 1860), including over 22,000 commercials and 18,000 posters, can be viewed. Since 2009, 95,000 digitalized pages of trade press (1911-1983) and 12.000 pages (40 years) of ADCN year books have been added. At the site a virtual museum, expositions, a knowledge centre, a library catalogue and a digital Guide to Advertising Collections of The Netherlands can also be viewed. At the initiative of the ReclameArsenaal, between 16 December and 6 March 2011 the exhibition Advertisement Classics was organized at the Beurs van Berlage in Amsterdam. For the exposition, which drew in over 70,000 visitors, a rich representation of the collections of the ReclameArsenaal was compiled.
Poster Museum Hoorn
In 1997, auctioneer Piet van Sabben, working in Hoorn, took the initiative for a poster museum. Six years later, in May 2003, the museum opened its doors in a monumental building located at the Grote Oost. Now, The Netherlands, after Germany, France, Denmark, Poland, Italy and Japan, had its own museum dedicated exclusively to posters.
Annual temporary exhibitions are arranged in two large and smaller exhibition rooms, while the first floor has a selected overview of the highlights from 100 years of Dutch poster art. Since the opening of the museum, it has organised over 30 temporary exhibitions, ranging from thematic exhibitions on shipping, aviation, the world expo and politics, to exhibitions on the oeuvre of a specific Dutch or foreign poster artist like Jules Cheret, Cor van Velzen, Nicolaas Wijnberg, Jan Bons, Reza Abedini and Paulina Matusiak. The collection, compiled of donations, by now has grown to approx. 32,000 predominantly post-war posters.