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Since visitors were becoming hungry for information, museums were the first to very quickly enhance the little info cards about their displays with large-format info panels, then audio-guides, videos and now touch screens.
Stagecraft has also entered into the museum world, and exhibitions large and small have never had so many visitors as these last few years. For VIPs they are the place to be, especially at openings, where a wow-effect is guaranteed; and for families they’re a place for intergenerational communications. They are the happiness of the curious-minded, thirsty for installations and temporary exhibitions, where you can see and reinterpret past and contemporary artworks from other perspectives. And everybody leaves with a derivative product from the museum, stamped like a brand.
So it’s no coincidence that exhibition patrons are often major distributor and luxury groups. Nor is it a coincidence for brands to come and feed on sources of art in order to win over, attract, make their customers loyal and explain things to them. Museography is everywhere, in flagship and duty free stores, in malls and at retailers. And it isn’t so much the product, which is sometimes enhanced but often made banal, that becomes everyone’s object of attention, but the very real yet very delicate point of contact between a consumer and a brand.
Stagecraft has also entered into the museum world, and exhibitions large and small have never had so many visitors as these last few years. For VIPs they are the place to be, especially at openings, where a wow-effect is guaranteed; and for families they’re a place for intergenerational communications. They are the happiness of the curious-minded, thirsty for installations and temporary exhibitions, where you can see and reinterpret past and contemporary artworks from other perspectives. And everybody leaves with a derivative product from the museum, stamped like a brand.
So it’s no coincidence that exhibition patrons are often major distributor and luxury groups. Nor is it a coincidence for brands to come and feed on sources of art in order to win over, attract, make their customers loyal and explain things to them. Museography is everywhere, in flagship and duty free stores, in malls and at retailers. And it isn’t so much the product, which is sometimes enhanced but often made banal, that becomes everyone’s object of attention, but the very real yet very delicate point of contact between a consumer and a brand.
Sabine Chabbert, Editor-in-Chief
October 2009 #27
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