Temporary exhibitions are a fascinating way in which museums and other venues make sure that their spaces have fresh, exciting and inspiring content available to audiences. Alongside their permanent collection display, a part of the exhibition halls is dedicated to special exhibitions, that are displayed for a limited period of time, and sometimes ticketed.

These exhibitions take years to put together, when you think about the research, the negotiations to secure content, the logistics, design, marketing, and so forth. a is money - these exhibitions take up both, museum’s staff time and budget.

But the good thing that these temporary exhibitions bring, is footfall and dwell time, as well as an opportunity to showcase new research. These temporary shows have become an integral part of the fabric and operations of many institutions around the world.

One way to make sure that institutions keep having interesting, changing content for temporary exhibitions, while also saving on the costs involved, is by sharing exhibitions.

Sharing exhibitions can be done in many different ways, from working in partnership with other institutions with the receiving end being as much or as little involved, as they see fit. Multiple institutions can come together from the very beginning of the exhibition concept planning, or one institution could decide to pay a hiring fee to import a whole turn-key show.

In October last year, we at Vastari started sharing information about how these exhibitions are put together, and what it means for the future exhibitions that are being produced. We published two reports and launched them at Christie’s Education in London. You can see a video of this report launch here. These reports are updated with new information throughout the year, and we published a supplement in January 2019 about the overall market size which the author of our Exhibition Finance Report, Lindsay Dewar, references in this blog post on digital exhibitions. These reports focus a lot on how museums work in North America and Europe, but they will continue to develop over time as more museums get surveyed.

Since the launch of our reports, more and more people have been interested in discussing their exhibition plans, and assessing how the data from our reports should impact their upcoming strategies. But, not everyone might now have the time to thoroughly read and digest the reports. So together with Christie’s Education we decided to put together a more affordable and bespoke Touring Exhibition Masterclass.

For a fraction of the price of subscribing to the two reports, attendees to the full-day Masterclass will be able to get direct information from Francesca Polo and Bernadine Brocker Wieder about the the market and the modus operandi at different museums. They will also hear from speakers from the industry, who will be explaining some crucial operational requirements for a touring exhibition including loan and touring agreements. John Jacobs from Crozier will cover the logistical requirements of shipping art around the world for touring exhibitions - and key do’s and don’ts to look out for. Michelle Stroube from Mishcon de Reya will highlight important aspects of touring and loan legal agreements.

This masterclass will then also “tour” just like the exhibitions. Our first edition is in New York on April 8th, and more information can be found here. The subsequent editions are planned for Hong Kong and London, but we would love to hear from anyone who thinks the content is relevant to their region. Our team loves sharing the findings and helping more exhibitions make their way into museums sustainably and strategically.

For more information and to sign up for the course, visit the Christie's Education website here