ICOM MPR 2018 Conference Details Monday, October 2 Presentation Descriptions:

Museums and the Community Case Studies: Transforming public space through arts participation: A case study in art/lit Living Innovation Zone (LIZ) Program as a Museum-Community Collaboration Allison Wycoff/Yasuhiro Sekiya Asian Art Museum Introduction Civic Center, where the Asian Art Museum of San Francisco (AAM) and other cultural institutes are located, has been underutilized over the years. Seen as a drug den and dumping ground, it is largely neglected despite its central location. To engage more fully and creatively with the constituents living, working in, and visiting the Civic Center, the AAM and the San Francisco Public Library formed a partnership with the Civic Center Community Benefit District to develop the Art/Literature LIZ as part of the Living Innovation Zone (LIZ) program. The LIZ program is co-led by the Mayor’s Office of Civic Innovation, San Francisco Planning and the San Francisco Arts Commission to make public space available with temporary creative installations connecting people with the city. Aims This presentation will demonstrate the Art/Lit LIZ program as an example of a museum-community collaborative approach for transforming pubic space through arts participation. Designed by San Francisco public high school students in the Architecture Program at Youth Art Exchange, the Art/Lit LIZ is a public sculpture with a 35’ long gallery wall installed in between the AAM and Main Branch Library. The sculpture features a revolving display of murals by community-based artists. In addition to the murals, artists develop bi-monthly activations to provide a natural extension of the museum’s indoor offerings. Conclusion Museum-community collaboration is beneficial for both public participants and the partner museum. New interest in the neighborhood benefits all communities, however, shifting public image requires a long-term continuous approach. Living in a Museum Thomas Ameye Ooststraat, Cycling Museum, Roeselare, Belgium Introduction In early 2015, the Cycling Museum was temporarily shut down for large-scale renovation works. During closure the establishment initiates various interactive projects to keep

the museum in the public eye, one example of which is the ‘Museum in the living room/Living in a museum’ loan project. Aims The principle of ‘Museum in the living room/Living in a museum’ is perfectly straightforward. During closure, rather than being kept in the depot facilities, a selection of items from the collection were exhibited in the homes of private individuals. A user-friendly online booking system was available for people interested in having an item from the collection in their homes. The selected objects - (historic) bikes, cycling jerseys, pieces of art - were targeted on the broadest possible public: young and old, cycling fanatics and culture enthusiasts. As the items were lent for two-month periods, their mobility was regarded as rewarding in the sense that this enhanced their cultural biography: the contact with the lenders helped to discover why a particular item was chosen. Lenders were asked to send pictures of the pieces on display in their living rooms. Conclusion The launch of the loan project attracted a great deal of (media) interest. With the result that, after just two weeks, further items were offered on loan. The project covered a one-year period during which 268 participants finally registered for one or more loaning activities. The participants were proud of the confidence placed in them and turned to social media to share their enthusiasm. Yilan as a Living Museum Yu-Chien Chang, Yu-Cheng Hsiao National Chengchi University, Taiwan Introduction Globalization on one hand makes more and more intense competitions among countries; on the other hand, it also results in a number of cities or places with local characteristics well-known. The movement of ecomuseum, which emphasizes on local residents’ participations, spreads in Europe and the America and has brought a new look of places. Yilan county government in Taiwan proposed “Yilan as a living museum” in late 1990s to establish a multi-dimensional museum network that comprised public and private partnership in regions as the governance strategy to market the place. Kotler and Gertner (2002) claims that if we see the place as a corporate, marketing strategies could help the place find its target visitor as well as integrate the community development and cultural heritage. Current academic literature mainly examines the ecomuseum from the perspectives of sense of place (e.g. Davis, 1997), tourism (e.g. Corsane and et al., 2007), and local economic development (e.g. Galla, 2009). This study aims to examine how the ecomuseum market the place by using “Yilan as a Living Museum” as a case from the perspective of place marketing. Aims 1. To explore how Yilan county use the concept of ecomuseum to collect cultural identities and memories in order to generate the “sense of Yilan”. 2. To understand how the ecomuseum establishes the network as the place marketing strategy. 3. To discuss the interaction between ecomuseum and place marketing strategies and understand the changes of place marketing in different stages. Conclusion The proposed model of interaction between ecomuseums and place marketing strategies is as below. Figure 1: the interaction model

References Corsane, G., Davis, P., Elliott, S., Maggi, M., Murtas, D., & Rogers, S. (2007). Ecomuseum evaluation: experiences in Piemonte and Liguria, Italy. International Journal of Heritage Studies, 13(2), 101-116. Davis, P. (1999). Ecomuseums: A Sense of Place. Leicester: University of Leicester Press. Galla, A. (2009). Culture and heritage in development: Ha Long Ecomuseum, a case study from Vietnam. Humanities Research, IV(1), 63-76. Kotler, P., & Gertner, D. (2002). Country as brand, product, and beyond: A place marketing and brand management perspective. The Journal of Brand Management, 9(4), 249-261.

Digital Transformation Case Study Descriptions: 2 Digital Transformation Case Studies from Rijksmuseum: Linda Volkers and Marieke Zekveld Rijksstudio and Rijksstudio Award: Democratising art Rijksmuseum, the Netherlands INTRODUCTION With Rijksstudio, Rijksmuseum made its collection digitally available on its website. Over 330,700 images can be downloaded for free, without limitations. On top of this, Rijksmuseum invites the public to make their own masterpieces with the international design competition Rijksstudio Award. Once you actively use our collection, you eventually get a better understanding and a deeper, lasting experience. Old masters will be reactivated and get a new relevance in today’s world. In the 2017 edition of the Award programme, aside from the expert panel, general public can cast their vote - on a dedicated voting page. AIMS With Rijksstudio Rijksmuseum intends to attract new audiences - wherever they are, 24/7 - and enhance its brand awareness. For Rijksstudio Award 2017 we had the following goals:

Reach & quality: 1,200 entries (fifty-fifty Dutch-international) (2015: 900 entries – 65% Dutch -35% International)

Engagement: stimulate active use of Rijksstudio sets (280,000 > 330,000 users), public votes (5,000)

Authority: load Rijksstudio as a creative platform under young social creatives CONCLUSION At this stage the full impact of the 2017 Award programme cannot be determined, as the Award ceremony and the PR efforts are yet to come. However, we see a gained international impact by 2,600 entries from 62 countries (38% Dutch - 62% International), 10,000 public votes so far. We see a rise of social media mentions and we are invited on international conferences on a regular basis. TV and Print press have already shown their interest for the upcoming award ceremony. Rijksmuseum Snapguide Introduction In a world where content is critical, how are museums evolving in the digital space? This April, the Rijksmuseum introduced a new digital educational tool especially for high school students. Social influencers (YouTubers) lead young people through the Golden age with interactive tours in the mobile application. The introduction of ‘Rijksmuseum Snapguide’ was based on the insight

that 300,000 students within this target audience visit the museum annually, hover the museums educational means did not yet service this specific young group. Aims The Rijksmuseum aims to connect people, art and history. Rijksmuseum Snapguide is an innovative new way to bring 17th century art to life for young people under 19 who visit the museum. Teenagers today are consumed by social media, so the Rijksmuseum wants to find a new way to engage them, and let them discover the meaning and history of the works through these tools. The Rijksmuseum aims to have every young Dutch person see Rembrandt’s The Night Watch at least once. Conclusion and results The introduction of Snapguide had a significant contribution to the museum’s PR exposure. The introduction was scheduled to coincide with the international Fitcon and the national Veed festival, two large social influencer festivals hosted in the Netherlands this year. This created additional exposure for the product and resulted in widespread attention online (through influencers) and on Dutch national media (radio, television, premium newspapers). Furthermore, Snapguide was especially launched on the Rijksmuseum ‘Lerarenfeest’, a special night out in the museum for schoolteachers only. On this event the Snapguide was officially introduced by the Dutch government minister of education, culture and science. Within two weeks after the launch, more than 1,200 students used Snapguide to guide them through the Rijksmuseum.

Tuesday, October 3 Presentation Descriptions On Tuesday, we will have concurrent sessions in two separate locations.

Location A:

Digital Pecha Kucha Sessions: Online dossiers, storytelling and content marketing Pepijn Lemmens, Het Nieuwe Instituut Introduction Cultural institutions have a huge amount of content at their disposal and increasingly we are able to deliver this content through digital channels. However, simply presenting a pile of content to our viewers and readers is insufficient. We need to make sense of our content: show connections and context, create stories and build dossiers. The more content we put out there, the more complex this task becomes. Aim Tagging, taxonomies and hierarchical structures help to structure the information, but do not create stories or meaningful context by themselves. How do we creature narrative structures that have value for our audience, and provide a solid base for content marketing? Conclusion At Het Nieuwe Instituut we have been experimenting with web magazines: project based sub-sites with their own visual identity, structure and URL. These online dossiers help to present our rich content in a wider context: a project typically involves an exhibition, lectures, interviews, collection items and long reads. Magazines provide an opportunity to tell a story about the subject at hand without overwhelming visitors with massive tag pages, content lists and database generated context. Magazines also extent the content of a project beyond the museum walls, create a new form of engagement and offer the function of ‘object of conversation’ in other media efforts, like social. We go social! Social media: a marketing channel, or a new product? Simona Juračková, Ph.D. National Heritage Institute, Czech Republic Introduction: There are several reasons there why museums pay attention to social media: a significant number of potencial visitors spend their time there (as of the first quarter of 2017, facebook had 1.94 billion monthly active users), it it a low-cost advertisement space, and it offers a good chance to target proper publics. Aims: But are social media just a chanel for promoting our museum products and succeses? Or is it a customer experience chanel? A place for a unique content? Or is it a museum profile a product itself? Conclusion: On the several examples I will analyse some possible approaches in this field.

Connecting Museums Patrícia Martins - Architect and PhD Teacher at Faculty of Architecture and Urbanism of the Mackenzie Presbyterian Institute, São Paulo, Brazil. Ana Paula Pontes – Architect and Ms Teacher at Faculty of Architecture and Urbanism of the Mackenzie Presbyterian Institute, São Paulo, Brazil. Introduction Hosted at the Post Graduate Program of the Architecture Faculty of the Presbyterian University Mackenzie (São Paulo, Brazil) (www.up.mackenzie.br/en/stricto-sensu/architecture-and-urbanism) in collaboration with the Brasiliana Institute (www.institutobrasiliana.org), this research project investigates ways by which the architectural discipline may provide important outputs to set out documentation criteria on museums activities, enhancing the bond among institutions and communities. Our contemporary condition requires a straightforward communication built upon the institutions’ visions and cultural values in which the memory, the artistic experience and the whole process of artistic creation play a fundamental role. This paper claims that these premises may be the very foundation of an authentic marketing strategy. Aims To design museums’ actions within its contemporary scenario: the documentation process must take into account the potential range and possibilities offered by virtual media technology. To identify and acknowledge relevant aspects among the diverse skills mobilized in the production of a temporary art exhibition, with its particularities regarding space, time and formats, in order to provide useful insights and efficient sets of documentation regarding multiple sources of information and expertise, suited to be appropriated by various groups: children, students, professionals, technicians, researchers. Conclusion The practice of systematized documentation strategies of temporary art exhibitions represents an essential Market and Public Relations’ tool on designing the impact and the span of an exhibition, amplifying the possibilities of partnerships and potential investors. As a default action, considered from the very beginning of an exhibition production, this practice enhances communication among institutions, producers and experts, putting the museum as a knowledge source, and in doing so, building up a strong and authentic brand from within its own context. Enhancing artworks using Augmented and Virtual Reality: the “Ara As It Was” project Adele Magnelli, ETT S.p.A. Abstract: The “L’Ara com’era” (The Ara As It Was) project, promoted by the City of Rome, Department of Cultural Growth - Capitolina Superintendency of Cultural Heritage, was organised by Zètema Culture Project and assigned to ETT SpA. The subject of this innovative work is one of the most important Roman monuments, Ara Pacis, built by Augustus between 13 and 9 BC. Samsung GearVR viewers bring the Ara reliefs to life, regaining their original splendour right before visitors’ eyes using Augmented and Virtual Reality. The AR system recognises three-dimensional bas-reliefs and carries out real-time tracking “anchoring” the overlay to the real surface, increasing the effectiveness of the experience. This

technology lets users see the monument in its original colours, accompanied by the voices of actors on the tour of reliefs depicting the sacrifice of Aeneas and the birth of Romulus and Remus, with characters, gestures and deities illustrating the origins of Rome and the lineage of Augustus. In the three-month period following the opening on Friday and Saturday evenings, there were more than 11,000 visitors (over 21.000 by April 30). Thanks to this success, two additional Virtual Reality points of interests were added to the original nine. Starting on January 9, an evocative combination of live filming, 3D reconstructions and computer graphics take visitors in the northern part of ancient Campus Martius, where they can watch the first VR reconstruction of a Roman sacrifice. Feedback is enthusiastic, encouraging us to continue in the use of cutting-edge technologies to enhance our cultural heritage. Enriching Communication Forms by Computer Vision and Intelligent Robotics Urša Vodopivec, Technical Museum of Slovenia Introduction: The primary mission of the Technical Museum of Slovenia (TMS) is preserving the technical heritage and presenting it to a broad audience. The digital age has brought new challenges as well as opportunities to connect with the audience. Our most recent approach is application of computer vision and intelligent robotics to novel forms of digital communication. Aims: In this talk our collaboration on a project “Computer Vision and Intelligent Robotics for Advanced Forms of Communication” will be presented. The project is founded by a national call “Creative Way to a Practical Knowledge”, whose purpose is to facilitate university students in obtaining competences through solving concrete challenges through industry-university and public sector collaboration. The project partners are the TMS, the Faculty of Economics, the private sector software design company Infinum and the Faculty of Computer and Information Science, who is the project leader. During five months the students work on developing advanced digital systems for simplified communication with participants of exhibitions. These systems are: (I) interactive multi-touch surfaces, (II) robot interacting with visitors, (III) mobile-phone-based object recognition, (IV) mobile-phone-based augmented reality. The TMS plays a two-fold role: the students consult the TMS for application requirements and will use the TMS as a test-bed for the final applications. Conclusion: The project is still ongoing and we are excited to see the performance of the developed applications in the TMS. But the project results go far beyond mere applications. Such projects present a deep and long-lasting integration of TMS with broader community and invaluable source of novel ideas and experience with cutting-edge digital communications supported by University and industry knowledge base. In the talk our experience in developing new digital communication forms, with emphasis on the benefits and pitfalls of such interdisciplinary cooperation, will be presented.

Marketplace of Ideas Pecha Kucha Sessions My Museum Isn’t Working STOHLER, Peter, director Kunst(Zeug)Haus Rapperswil-Jona, Switzerland, Introduction

Picture a small but perfectly rounded museum located in a middle-sized town on the Riviera of Lake Zurich. Founded in 2008 by a private collector and boasting a large collection of Swiss contemporary art, the museum started out with highflying ambitions but a dramatically underfunded budget and a lack in regional ties. Trying to make headway ever since, we are still faced with the never-ending mantra of ‘my six-year-old could do that’, presumptions of being elitist, too expensive and of not attracting enough visitors. What to do? Aims In 2016, lo and behold, the museum was finally jolted into action by its approaching ten-year anniversary: involvement of the local and regional population has become a serious ambition in art education as well as exhibitions and supporting events. For example, in the context of the exhibition ‘in_visible limits’, we asked local people to come forward and speak about their own personal experiences of limits. Five people agreed to participate. In future, we would like to work with local clubs and people with disabilities when developing exhibitions, bringing together amateurs and professionals. Furthermore, locals shall be able to loan works from the collection, and we seek cooperation with neighbouring art spaces. In short: We would like to push the boundaries. Conclusion In the trade-off between autonomy, participation and audience-pleasing performances, we need new ideas, great courage and a good amount of stoicism. Thus, we will be able to remain loyal to the demands of contemporary art while embracing new challenges. Battling for visibility; Digital transformations, case of Mutare museum Lloyd Makonya National Museums and Monuments of Zimbabwe Introduction Museums all over the world are making frantic efforts with resources available to them to have a transformation towards the demands of the digital age they find themselves operating in. The traditional method employed by museums to communicate with the public has been through museum displays. This method of presentation and interpretation in museums has received criticism in the recent past (Ucko 1994).The advent of new technology has in some cases been used to complement the traditional presentations that are increasingly becoming unpopular with the public Aims Zimbabwean museums have lagged behind in the implementation of digital transformation to their methods of communicating to the public and interpretation of their displays. Mutare museum, a regional museum in Eastern Zimbabwe has undergone enormous digital transformation courtesy of the Beit Trust. One of the museum’s galleries which housed ethnographic collections was revamped with digital implements to appeal to the region’s eastern populace. One of the main aims of this paper is to establish how digital transformation is influencing Public Relations and Marketing efforts at Mutare Museum. The paper will also highlight how the appeal of the tailor made exhibition for the eastern Shona people has influenced an increase in visitor numbers. Conclusion Public relations and marketing are increasingly becoming an important component of strategies to capture the imagination of communities and diverse potential consumers.Transformations in the digital field have made the work of museum marketers

easier in places where it has been adopted Probing the heritage, case study: "Museum of slatko - home of family Cvetić" Lidija Cvetić, Museum of slatko, Kraljevo - Serbia Abstract Traditional serving of slatko* in Serbian civil house is over than 200 years old, and it’s well preserved in home of family Cvetić (Kraljevo, Serbia), dating back to the 1908. We focused and popularized this specific tradition and cultural heritage of civic Serbia, trough the preliminary project which is realized in cooperation with local National Museum in Kraljevo and Centar for study in cultural developement (Belgrade). This initiative proved to be a good example of personal and family practice, and with the joint involvement of local community and individuals provides valuable results in the preservation, presentation and management of the common heritage. Last year's theme of the European Heritage Days ("Cultural heritage and community – to live with the legacy") encouraged us to personal commitment in order to articulate the meaning and place that family heritage takes in the discourse of contemporary culture, cultural identity and current social practices. Exploring the tradition of serving the slatko, along with the history and everyday culture in our family house, we found all the ways immaterial artifacts of the past encourage and require dialogue with contemporary cultural practices, and the ways in which the forgotten culture of civic Serbia can promote a clearer definition of national cultural strategy and the formation of specific cultural identity of the local area. Project "Museum of slatko" is recognized as one of the best examples of cultural tourism development in local communities of Serbia. Key words: family heritage, slatko, identity, tradition, Serbian civic culture, culture of everyday life. *slatko – very sweet, densely fruit dessert made from whole pieces of fruit, carefully coocked, served in Serbian houses for more than 200 years. Represents hospitality and respect towards people, and its well recognized as a gesture of kindness, preserved inside family and community. How the National Gallery of Art Inspired a Citywide Celebration of African American Heritage and Culture Deborah Ziska Current: Ziska: Communications & Collaborations, LLC Johns Hopkins University Former: National Gallery of Art Introduction: African-American history and culture has been central to Washington, DC, since its inception in 1791. In the last half-century, the capital city has had a majority African American population. The National Gallery of Art opened to the public in 1941, but before The Art of Romare Bearden, a retrospective of the artist’s career in 2003, it had never presented a monographic exhibition of work by any African American artist and had few works by African Americans in its collection. The Gallery was not known for its involvement with the local community of African Americans. Aims: This paper will reveal how timing, networking, inclusiveness, and mutually beneficial objectives, as well as a close partnership of the chief of communications with the show’s curator and also with the head of communications for the Washington Convention and Tourism Corporation, inspired a successful citywide celebration of African American heritage and culture and started a new relationship between the Gallery and the African American arts community nationwide. The success

was measureable in the level of participation from diverse sectors; the sponsorships; celebrity involvement; attendance at events; media coverage; anecdotes from participants, residents, and tourists; and economic gain. Conclusion: In the 21st century, when museum marketing emphasizes careful planning, research, and budgeting, there also needs to be allowance made for staff to explore new ideas, listen to people outside the museum’s usual sphere of influence, let others lead, be spontaneous and opportunistic, and leave no stone unturned. These actions are what enabled the normally conservative Gallery to play a critical role in helping diverse entities join together to celebrate a city’s proud heritage in a way that had never before been done.

Location B

Digital Transformation Presentation Descriptions An Adventure of Reality and Imagination: The Mobile Museum of NMH Joy Chih-Ning Hsin National Museum of History, Taiwan Abstract Introduction The National Museum of History (NMH) is the first public museum established by the government in Taiwan and is located in Taipei. In order to serve more people outside Taipei and places with less public resources, the museum reconstructed a 40-feet truck and built the first mobile museum in Taiwan in 2001 and another one in 2008. Since then, the two mobiles go travelling cities, towns, and even villages; have served more than 330 places and 800,000 people all over Taiwan. These two years, the NMH has renovated one of the mobile in two phases using digital technologies in terms of 3D printing, AR (Augmented Reality), and Motion-Sensitive Interactive to enrich visitor experiences and education services, and also to connect the linkage of the museum itself. Aims This presentation will take this brand new mobile titled “Come and Look! A Cool Adventure of Reality and Imagination” as a case study, and show how the NMH using mobile and technology as a tool for education and branding. There are three core questions of this presentation and discussion on the subject of reality and imagination: the connection of objects, their stories and the audience the connection of objects, people and technology the connection of a museum and its long-distance community Conclusion This presentation shows the process and the results of connecting reality and imagination by museums in terms of objects, story, technology, people/its community, and museum branding. “Now I want to buy a ticket to India”. The power of immersive media , with vantages and challenges for the museum. Patrizia Schettino The paper will present the vantages and challenges to use immersive media inside a museum. How to promote an exhibition with an immersive environment as a key object? How to link this visitor experience inside the museum with the web experience? How to connect the immersive media with other media inside the museum? How to customize the visit experiences with immersive media inside the museum? What kind of service the customer service can offer to have an high quality of the experience before, during and after the visit? The paper is based on the observations of 500 visitors inside the immersive environment PLACE-Hampi and on 92 interviews, with visitors, customer service, designers and managers. PLACE-Hampi is a project designed by Sarah Kenderdine and Jeffrey Shaw in 2006 and it was .included in several exhibitions around the world and from 2014 is part of the permanent exhibition inside a museum in India.

People Smart Sculpture -"PS 2"- 4 D virtual urban art Irena Ruzin - Successful collaboration between Museum, artists and community using digital technology (case study) -Institute and Museum Bitola, Republic of Macedonia- * "PS 2" is large scale cooperation project funded by EU/ Creative Europe, which connects 12 partners from 8 countries in 11 subproject. Introduction:"PS 2"links culture and technology in a participative approach. The goal of the project is a “smart sculptures” designed by European citizens which profit from the interplay of culturally different approaches. Aims: Aim of the subproject “4D – Virtual Urban Art” is to create and use a system for increased community participation in the area of urban art, urban development, new ways of planning and audience development. The project provides different options for a high diversity of social groups that want to be part of public urban art, space development and cultural city re-design. The approach is based on 3D model of the urban environment, which citizens can explore, suggest changes of the areas and upload their ideas to the online database. Adding the dimension of time (3D+time=4D) the citizens can receive time related information about their habitat. By “traveling in time” and exploring the historical data about the area of interest, the new “artists” can be inspired for their suggested solution. Conclusion: According to our survey, knowledge and technology evoked new ways of cultural expressions integrating people´s creativity and participative engagement with our culture. Participation became a part of the general culture techniques in the Museum. New visitors/participants, creative and cultural players designed and implemented new concepts and activities in the field of audience development to embrace a diverse and long-term citizens' participation. This project is the base for a new type of communication between artists, experts, citizens, learners, creators and the government. *Museum marketing professionals are working on promotion of PS2 on local and international level, on media, web sites, social media etc Authors:Irena Ruzin PhD, irenaruzin@gmail.com Program Director and Museum Marketing Manager & Jove Pargovski MSc, Artistic director of 4D virtual urban art National Institution Institute and Museum Bitola, Kliment Ohridski bb, 7 000 Bitola, Macedonia Location B Marketplace of Ideas Pecha Kucha Sessions The Museum as an intersection: The City of Mannheim (Germany) celebrates the birthday of the bicycle Marit Teerling TECHNOSEUM Mannheim, Germany Abstract: Introduction In 1817 Baron Karl von Drais set of on a ride in Mannheim that would make history: the two-wheeled vehicle he used was the precursor of the bicycle. To mark the 200th anniversary of this invention, the TECHNOSEUM in Mannheim presented the special exhibition “2 Wheels – 200 years”. At the same time, the city government launched the campaign “Mannheim Bike – where it all began” to celebrate

the anniversary with events, conferences, a Musical etc. These activities were highly successful, not the least because they got widely covered in the national and international media – even helping to create a real hype about the bicycle. Aims Mannheim is a medium-sized city in Germany with an industrial past and does not necessarily range among the places Germans would choose to live in and travel to. However, thanks to the bicycle’s anniversary, Mannheim could be put on the map as a place where concepts of a sustainable and innovative city are being discussed and put into practice, thereby not only attracting cycling enthusiasts, but also experts, politicians, and tourists. Conclusion The exhibition was the only event in town related to the bicycle that was present for eight months in a row. As a consequence, the TECHNOSEUM became the central intersection of many activities related to the bicycle – and receiving a continuous flow of visitors due to mutual references. In my paper, I would like to present the Museum’s and the City’s activities during the anniversary year, and the reasons for their success. (249 words) EXPANDING MUSEUM. WORKING AT DIFFERENT PUBLIC SPACES AND DESIGNING DIFFERENT PUBLIC SPACES AS MUSEUMS. /CASE STUDIES FROM ARMENIAN MUSEUMS AND CITIES/ Dr. Davit Poghosyan Armenian State Pedagogical University aft. Kh. Abovyan, Chair of Museology ICOM National Committee of Armenia, board Sub-theme: Museum and Communities Introduction. Museums are active part of community life today. Whether big or small cities museums are being also used as an integral part of tourism industry thus sharing top attractions in the cities. Working with different audiences museums try to create an effective space of dialogue and education, but also they often share social responsibility with different public and business organizations. Now museums are working out of their walls or protected areas: at schools, hospitals, hotels, underground stations, shopping malls and different active city spaces, but also these public institutions are using museums as a tool to work with public. So expending museum are one of integral part of today city life, which is proposed to be explored on the experience of Armenian museums and different organizations. Aims. The aims of the research are: To reflect how museum activities can transform different city spaces and community life To distinguish some activities that are expending the museum and its understanding for the city on the case studies from different Armenian museums To sum up some factors of expending museum that shape different relationships and partnership with community and public institutions. Conclusion. Different relationships between museums and community are transforming museum itself as recourse for city development, which can be used depending on requirements of both sides. Sometimes we can have very interesting symbiosis that some institutions are including actively museums into their structure for enhancing community engagement. Museums also not indifferent on working at active public spaces.

MARKO STOJANOVIC HOUSE AS UNIVERSITY MUSEUM INVITATION FOR ARTISTIC EXTREME ACTIONS Ph.D Olivera Eric Faculty of Fine Arts in Belgrade (Serbia) Abstract Faculty of Fine Arts in Belgrade is located in the former house of Marko Stojanovic, who was respected lawyer and vice governor of the Serbian National Bank. This building was made in 1889. by the plans of the architect Konstantin Jovanovic. Now Marko Stojanovic’s home has the status of protected architectural heritage. From 1937. in this house is situated The Academy / Faculty of Fine Arts. In Faculty classrooms, work spaces and corridors are found art works of the Faculty Art Collection. During the 1980s and 1990s the basement of this building was transformed to students' club ''Academy'', which became a famous place of avant-garde art happenings. The club ''Academy'' has abandoned and forgotten over time. From 2016. the architectural structure of Faculty artistic spaces collapse because of the building the Shopping Center across the street. Thus the presentation will discuss the possibilities of architecture-artistic preservation and presentation academic heritage under the existing circumstances. Presentation will consider the affirmation of Faculty spaces to attract Shopping Mall visitors and other public interested in art / extreme sports. For example, the Faculty basement (former student’s club) could reaffirm as Artistic In-door Skate Park, because some students prefer extreme activities such as riding skateboard. Concrete skate park construction also strengthens the base of the building and preserve it from further decline. Therefore, through the organization of artistic / sports clubbing techno events, former Marko Stojanovic house which now Faculty of Fine Arts, i.e. University Museum, can become a place of avant-garde artistic / sports extreme actions that will attract and increase public attention. The African Oral History Tradition Carolyn Akariza Nduba-Mwenda The National Museums of Kenya Museums and Digital Transformation The paper reviews the limitation of the method of passing down cultural practices using oral history in most African cultures and the opportunity that modern technology presents in preserving and broadcasting culture and tradition and preserving it for the ages. Methodology The National Museums of Kenya in conjunction with the Goethe Institute are working on recording matters on education, spirituality, healing as well as aspects of life such as marriage in the different tribes and cultural sub-groupings in Kenya. It is slowly emerging through this process that there are cultures where story telling and sharing of knowledge was valued and celebrated. These cultures still hold on to traditional practices and are better entrenched in their culture. The communities are being brought in to record their current knowledge and glean from their collective understanding on bridging their gaps in information. The text explores the community’s propensity to retain information , share and document information on the way their community carried out certain practices. The information gathering is a continuous process that has been going on for over one year. I seek to answer the question: What pre-exsting cultural norms aid in a community’s propensity to pass on detailed information. Results

Communities that regularly indulge in oral information sharing have a more robust information trove with which to build on their records. Conclusion It is hoped that this study will inform community heads on the importance of documenting all aspects of their culture in text, pictorial and video format National Museums of Kenya’s Digital Transformation as a case Study Clement Mbugua Kuria National Museums of Kenya Introduction: Am Systems Administrator responsible for “Electronic Ticketing Systems” at the National Museums of Kenya. This System has various modes of revenue collection. One of which is dubbed “M-Pesa” platform, a Global System for Mobile telecommunication (GSM) platform, specific to online revenue management. We have successfully implemented and rolled out this product through, 33 mobile pay bill Accounts unique to all our regional museum stations. Our Electronic -ticketing system has online payment mode. Aim: Our Electronic -ticketing system, is customized to accommodate various modes of revenue collection, with the two highlighted above the marketing platform is primarily channeled through our website www.museums.or.ke front page, where we deliberately created an active link for acquiring visitor tickets online from any part of the globe for future visits. We are in the process of creating links for the 33 Mobile pay bill Accounts on our web front page. The aim is to use our Museum’s web content as the marketing tool that will eventually lure our prospective online visitors to acquire visitor tickets online. Our rich web content is replicated in our existing online database platform, where our online visitors can checkout available plant checklist in our virtual herbarium as well as taking virtual tours through our Galleries and last but not least our vast online Biodiversity database. Conclusion: What we as National Museums of Kenya is doing is geared towards evolving in the digital space. This already is great success story of our museum’s marketing, PR and ICT effort Marketing of war museums to say the unspeakable (Case study: Holy defense museum of Tehran) Mojtaba Ebadi Fath Holy defense museum of Tehran Abstract: Iran-Iraq war (1980-1988) as one of the longest wars in the 20th century had many deep influences on the community of Iran. “Holy defense museum” of Tehran is the biggest war museum in the Middle East and it is built with the purpose of transferring the history of war and its praised concepts such as sacrifice and martyrdom to the young generations. To do so, this museum enjoys modern technologies and a comprehensive marketing plan to absorb its target audience. The following research evaluates marketing techniques of this museum and determines to what extent it was successful to “say the unspeakable about the contested history of war”. The methodology is questionnaire and interview and findings showed that 66.4% of visitors are satisfied with the

messages of the museum and its marketing strategies. At the end, the researcher gives some suggestions for better marketing performance of this museum.

Wednesday, October 4

Museums and their Cause(s) Presentation Descriptions

The next challenge: marketing the social agenda of museums

Dr. Carol Scott, Carol Scott Associates, ICOM Executive Council

Introduction

Creating social change and generating social benefit are rapidly becoming defining directions

for 21st century museums. The ‘socially engaged museum’ emerges in ICOM’s 2016-22

strategic plan and underlies the formation of new associations such as the Federation of

International Human Rights Museums. It recurs as a theme for museum conferences across

the globe. Actively ‘making a difference’ has become synonymous with contemporary,

ethical, museum practice.

Museum publics

How does the public view this current direction for museums? In 2013, the Museums

Association in the UK undertook a national study to discover what the public viewed as the

most important purposes and roles for museums. The findings were sobering. Social activism

sat uncomfortably with the public view of museums as neutral and unbiased institutions.

While, collection care, exhibitions and building knowledge were high priorities, the public

had strong views about the limits of museums’ social intervention. Community

development, helping the vulnerable and protecting the environment achieved lower ratings

and promoting social justice and human rights were challenged outright.

Finding solutions

Fired by our ‘rightness of purpose’, museums can sometimes assume too much. Public

engagement in the social agenda of museums cannot be considered as a given. It requires us

to appeal to the public in their role as citizens rather than as consumers and to involve them

in creating the social agenda. Failure to do so may result in services not delivering value that

the public view as legitimate. This presentation will explore the context in which the social

change agenda is developing, some of the challenges that it presents and ways in which

marketing can use values and a ‘call to action’ approach to engage the public

‘Prachtnacht’ event (‘Beautiful night’ event) Rijksmuseum Fyona Das Rijksmuseum INTRODUCTION Since the re-opening in April 2013 the Rijksmuseum claims to be the National museum from and for all Dutch people. One of our the goals is that all Dutch children must have seen the famous painting of Rembrandt, the Nightwatch, before they turn 12. Unfortunately not all children are able to visit the museum during regular opening hours because they are suffering from a disease. Therefore we invite them with their families once a year for a special event after regular opening hours which we call the Prachtnacht (Beautiful Night event). The museum offers guided tours and all kind of art related activities. CONCEPT ASSUMPTIONS - Children are between 6 – 12 year with mental or physical disabilities (there is not really a maximum age, because it is also about mental age…) - Rijksmuseum employees volunteer which creates solidarity - Every family gets a personal host (Rijksmuseum employee) Preferred suppliers sponsor their facilities - Working with different care institutions each year - Programming workshops and activities using our own educative programme, also tailor made for children in wheelchairs or beds - No press, social media or any other external communications by the Rijksmuseum AIMS With organizing the Prachtnacht Event we have the following goals:

Reach & quality: 150 children with their families visit the Rijksmuseum and see Nightwatch Engagement:

Stimulate the important role of the Rijksmuseum in society Encourage collaboration between Rijksmuseum employees by contributing to this event Cooperation between the Rijksmuseum and the preferred suppliers. This is the only event per

year which they do for free. CONCLUSION In 2017 the 4th edition of the Prachtnacht again proved to be a very precious and proved concept for all people involved: - Families: Unforgettable experience to visit the Rijksmuseum and treated as a VIP. We received many reactions afterwards, for example: “ Thank you so much, I had so much fun, for one moment I didn’t have anything else on my mind” - Rijksmuseum employees: Proud to work at the Rijksmuseum and grateful to contribute to this event

Museums as places of truthfulness. On the ethics of institutional communication in the era of digital transformation Dr. Matthias Henkel, Institute for Arts and Media Management Freie Universitat Berlin The era of reputation Museums have developed a high reputation over the past centuries. The commitment to credibility Nowadays we are living in the age of storytelling, of so called “Fake News” and “Alternative Facts”; often informations are “liked”, spreaded and forwarded without ever becoming completely clear who is the author of the message. But museums – as cultural institutions – possess a very special commitment to credibility. The museum as a transmitter Caused by the digital transformation and enabled through cheap technique museums become emitter (transmitter) of their own messages. The use of the media is subject to strong changes. Conclusion – The Museum is the Message? In 1967 Marshall McLuhan published his book “The medium is the message”; in 1989 Ray Oldenburg published the inspiring book about “Third Places”…The paper deals with the moral and ethical challenges faced by the museum as an institution in the age of social media. In any case, there is a unique opportunity for museums to develop themselves into a crucial fact-based entity; in the truest sense of the word, a social medium, a polyperspective observer and analyst of societies. It takes great care to take over such a responsible task.

Museums and the Media Presentation Descriptions Curiosity and contemporary art: a program for media outreach at the Museum of Contemporary Art and Design in Costa Rica Eunice Baez Museo de Arte y Diseño Contemporáneo, CENAC, San José, Costa Rica. “Curiouser and curiouser!” cried Alice. Lewis Carroll Institution: Museo de Arte y Diseño Contemporáneo (MADC) - Museum of Contemporary Art and Design. San José, Costa Rica. This project presents an innovative way in which the Museum of Contemporary Art and Design of Costa Rica has sought to generate interest in contemporary art among journalists by means of experiential workshops that generate curiosity in contemporary art. Introduction In a small country like Costa Rica where there are few media outlets and fewer specialized journalists, too often journalists have a hard time grasping concepts, meanings and topics related to the expositions. This causes that the coverage that local media make of the Museum’s exhibitions have “mistakes” related to art disciplines, concept and in general about what contemporary art means; or don´t get covered at all, because of being dense or complicated.

Aims Interested in reaching out to media, an important question surfaced: how can the Museum as an institution help journalists and communicators make a better coverage and, in general, be more interested and sensitive towards contemporary art and design? More than teaching about the different kinds of art with lectures, we wanted to get the people from the media curious about art and more specifically, about the different projects at the Museum. Curiosity turned out to be the keyword we were looking for. Together, the communication and education departments proposed the “Curiosear” program aimed for journalists and communicators in general. The initiative proposes an interactive and experimental approach following several topics related to contemporary visual arts and design. In 2016, first year in which the project took place, several workshops engaged journalists in alternative projects where they had hands on experience. The first project gave the journalists’ insight on the process that the artist had before conceptualization. With help of an artist and her exposition at the museum, an interactive discussion and exercise was designed to make the journalists think as an artist and follow their footsteps towards a final project. The second workshop invited journalists to understand the curating process. After a talk with the Museum’s Chief Curator, the attendees had the opportunity to make their own mini exhibition following a topic. With the “Curiosear” project in mind, several other press activities related to new exhibits where made to be more interactive and engaging and generate curiosity in the projects. Conclusion The proverb says “Curiosity killed the cat”, but, what would have happened if the curiosity would have been satisfied? At the Museum we strive to generate that curiosity with the “Curiosear” project. Rather than explaining what contemporary art is each time that a new exhibition was inaugurated, experiential activities with “Curiosear” help shape new interests and tell new stories. The result? More coverage and better quality stories related to our activities and exhibits. News people reached out searching for different angles based on their experiences and what they learned and experimented reflected on their work. Welcome to the world of photographer Ed van der Elsken Frederike van Dorst Stedelijk Museum Amsterdam, Museum of Contemporary Art & Design ABSTRACT PAPER INTRODUCTION Photographer Ed van der Elsken, was an unique figure, renowned as a street photographer and recognised as the most important Dutch photographer of the 20th century. This spring the Stedelijk presented the largest overview of his photographic and filmic work in twenty five years. A lot of his work is shown in the exhibition at the museum, but there still remain many untold beautiful stories and anecdotes around Ed. It’s impossible to show everything in the exhibition. How can we make sure that we unlock all of this wonderful material, beyond the borders of the museum? AIMS

Share the stories around Ed with a broader (new) audience by expanding the exhibition experience and the physical borders of the museum through online storytelling.

Interact with the online audience by presenting all of this extra audio, video and photographic material in an interactive way. CONCLUSION By developing an online world as an extension to the exhibition itself, we reached a broader audience then we ever could have reached via the museum only. By offering additional and enriching content, we really extended the museum experience. Via storytelling, users could time-travel through Ed´s life and get unique insights about his work and share them through social media. Additionally, we teamed up with mediapartner, de Volkskrant, one of the biggest Dutch newspapers. Together, we developed one of the stories which then was published not only on our multimedia platform, but also on their well-known and well-used digital platform. With this we increased our coverage significantly and act more a less as a publisher – a form of partnership which was new and innovative for both parties and that we embrace, because it offers new ways to reach new audiences. Attachment: link to platform https://edvanderelsken.amsterdam/ (Dutch) https://edvanderelsken.amsterdam/en/ (English)