Η Αστική μη Κερδοσκοπική Εταιρεία με την επωνυμία «ΟΡΓΑΝΙΣΜΟΣ ΤΟΥΡΙΣΤΙΚΗΣ ΠΡΟΒΟΛΗΣ ΚΑΙ MARKETING του Νομού Θεσσαλονίκης» προκηρύσσει την πλήρωση της θέσης του Γενικού Διευθυντή της εταιρίας με το σ…
«When the Art Is Watching You»
Museums are mining detailed information from visitors, raising questions about the use of Big Data in the arts
One morning last week, a team of experts at New York’s Solomon R. Guggenheim Museum searched for hidden spots in the rotunda to conceal tiny electronic transmitters. The devices will enable the museum to send messages about artworks to visitors via their smartphones while at the same time collect details about the comings and goings of those guests.
At today’s museums, all eyes aren’t just on the art. They’re on the visitors.
Across the country, museums are mining increasingly detailed layers of information about their guests, employing some of the same strategies that companies like Macy’s, Netflix and Wal-Mart have used in recent years to boost sales by tracking customer behavior. Museums are using the visitor data to inform decisions on everything from exhibit design to donor outreach to gift-shop marketing strategies.
At the Dallas Museum of Art, a frequent-visitor program asks guests to check in at spots around the building via their phones or on kiosks. By doing so, members win points toward rewards, like free parking, special-exhibition tickets or private use of the museum’s movie theater. The museum then filters the data to better understand guests’ behavior, like how often they visit, which shows they flock to and what art they ignore.
An Estimote Beacon transmits to a smartphone ESTIMOTE
The Minneapolis Institute of Arts analyzes data from tens of thousands of visitor surveys to help make certain curatorial decisions. If the numbers indicate people aren’t so interested in a coming show, it might be reworked, postponed or moved to a smaller gallery. “It’s really a culture shift in museums for the curators to pay attention not just to what’s significant art historically, but also what’s perhaps on trend,” says Kristin Prestegaard, the museum’s chief engagement officer.
The moves have some critics questioning whether the “Big Data” revolution that is transforming American corporations has a place in the nonprofit arts world.
“When you’re looking at the art, you don’t want the art looking back at you,” said Marc Rotenberg, a Georgetown University law professor who heads the Electronic Privacy Information Center, a privacy research group. “It’s not as if people going out of museums say, ‘Jeez, I wish that museum knew a lot more about me, I would’ve had a lot better experience.’ It’s being driven by the possibility of increased sales, advertising and better marketing.”
As museums collect more personal information from their guests, privacy advocates warn, they’re opening themselves up to the same kinds of security breaches and potential lawsuits that have roiled companies like Home Depot and eBay. And with data-mining tools able to calculate a show’s most popular artworks, some museum observers worry that curators will choose exhibits that are the most crowd pleasing instead of the most challenging or artistically significant.
But museum directors say it’s about time the art world catches up to the private sector in retrieving basic information about their visitors to make informed decisions.
“If a mall developer knew how many people crossed the threshold into the mall but didn’t know what people were buying or sales a square foot or sales per customer, their enterprise would be considered fatally flawed—but we’ve accepted that lack of information for over a century,” said Maxwell L. Anderson, director of the Dallas Museum of Art. “All we know is who walks through the door. We don’t know who they are, what they’re doing or what they’re learning.”
In a world where statistics used to be gathered by a guy in a gallery with a clicker, the big-data push is a potential game-changer. Today, when some museums make a pitch to prospective sponsors, they come armed with sophisticated graphs indicating what types of people come to the museum, what brings them there and why. Understanding audience behavior enables museums to target marketing for future exhibits or personalize messages to visitors based on their past viewing history. From an educational standpoint, data can help museums find the most effective tools for teaching their audiences about the art on the walls.
In recent months, New York’s Metropolitan Museum of Art, the Museum of Fine Arts in Boston, the Nelson-Atkins Museum of Art in Kansas City, Mo., and the Minneapolis museum have all launched national searches for data analysts.
Museums are wrestling with how to guarantee the privacy of their newly acquired data. To protect themselves, many institutions stress that visitors must opt in to any museum program that accumulates data about them. They also encrypt credit-card numbers and unlink payment details from the guest profiles stored in their databases.
Even amid such cautions, the quest for data is intensifying. Until recently, the Met didn’t have a coordinated plan for collecting email addresses from its 6 million annual visitors, said Sree Sreenivasan, the Met’s chief digital officer. Now the museum asks for the information on an optional basis when visitors access the building’s free Wi-Fi. In only a few months, the Met has collected 100,000 email addresses.
More detailed information could help the museum deliver more personalized experiences to visitors, Mr. Sreenivasan said. “I want to be able to know exactly what people have seen, what they love, what they want to see more of, and have the ability to serve it up to them instantly,” he said. For example, “If someone loves a painting they’re looking at, they could get an instant coupon for the catalog, or a meal being sold at the cafeteria that’s based on it.”
The Met has also been experimenting with possible uses of digital beacons—devices that transmit a signal, allowing a smartphone to register its position within a given space. The beacons have the potential to direct visitors and deliver information about art while collecting data, on a voluntary basis, about guests’ movements inside the building.
In the art world’s search for audience data, the Dallas Museum of Art is often cited as a national leader. Through its two-year-old “DMA Friends” program, the museum offers free membership in exchange for names and email addresses (ZIP Codes and cellphone numbers are optional but many people often submit them). Before launching DMA Friends, museum deputy director Robert Stein sought help from a lead consultant on the design of the American Airlines frequent flier program. Like the airline, the museum uses the quest for points to encourage repeat visits.
Currently, the DMA is working with the Los Angeles County Museum of Art, the Minneapolis Institute of Arts and the Denver Art Museum to adapt DMA Friends to those institutions.
Bryan Smith, a 30-year-old medical researcher who joined DMA Friends with his wife two years ago, said he didn’t mind handing over some personal information if it meant he could participate in the rewards program. He is a frequent visitor, racking up enough points last year to win a 1930s-style beauty makeover for his wife, Lacey, and her friends at the museum.
For the last six months, Lacma has been using digital beacons to send notices to visitors about artworks located around them. Guests sipping a cappuccino in the cafe, for example, might be alerted on their smartphone—via a fingernail-sized transmitter in the table—that the structure nearby in the plaza is a sculpture by the Venezuelan artist Jesús Rafael Soto. “We immediately saw the opportunity to say, ‘Here’s where you are and here’s what’s cool’—we’re there to sort of whisper in their ear,” said Amy Heibel, the museum’s vice president of technology and digital media.
The Norman Rockwell Museum in Stockbridge, Mass., is crunching numbers for a more conventional purpose: retail. The museum began working with a data analytics company last year to increase gift-shop sales, fine-tuning its email blasts based on customers’ past purchases or the buying patterns of first-time shoppers. The effort made a difference: This year’s Black Friday and Cyber Monday gift-shop sales were up 16% to 20% over last year, said Margit Hotchkiss, deputy director of audience and business development. The museum plans to integrate more metrics on visitors—like their ages, what exhibits they see and the lectures they attend—into its marketing campaigns sometime next year, she said.
Not everyone is diving into big-data gathering with equal enthusiasm. Some museum officials worry that such efforts might backfire if visitors feel they’re subject to the same intrusive tactics used by certain retailers.
“We’re trying to balance that creepiness factor,” said Edward Gargiulo, director of membership and database marketing at the Museum of Fine Arts in Boston. The museum generally avoids getting into all the detail it has about its guests when communicating with them, he said. For instance, when the MFA sends digital surveys to guests after they visit, it deliberately omits the date of that visit in case that level of specificity would unnerve the email’s recipient.
Businesses that cater to museums are driving the analytics, too. “Because it’s so important to museums now, there is a push to get even more data,” said Simon Dale, vice president of engineering for Acoustiguide, which creates audio tours for museums and studies how people engage with museum-related apps. Mr. Dale said museums are increasingly interested in beacons, which can help institutions glean data about how quickly visitors move through galleries and even how long they stand in front of a particular work of art.
At the Guggenheim, such beacons likely will be operating by the summer, accessible to people who download the Guggenheim app or rent an iPod Touch from the museum. Visitors will get notifications about text, audio or video connected to select artworks. Guests also might receive membership pitches and ads from the gift shop, though museum officials are still figuring out what such notices would say and where inside the building they would be allowed to appear, said Naomi Leibowitz, the museum’s associate director of digital media and rights.
Getting the beacons in place isn’t straightforward. The curving interior of the Frank Lloyd Wright building can misdirect signals from electronic sensors if they aren’t placed in precisely the right spots. The museum also must pay attention to artworks with materials like water, which can interfere with beacon transmissions. Another problem comes when lots of people gather around a single artwork, absorbing the signal. (The company making the Guggenheim’s beacon, Estimote, tried to troubleshoot this scenario by taking several large sacks of potatoes, hanging them close together and studying what happened to the signal.)
Last Thursday, the day the Guggenheim is closed to visitors, Estimote senior director of business operations Tanuj Parikh climbed the museum’s winding ramps. He took notes on the building’s features to send to his co-workers in Krakow, Poland, where the two-year-old company is working on devices for museums, stores, hospitals and hotels. He watched as the museum experts figured out where to put sensors that conform to the building’s landmark restrictions. The staff eventually decided to stick the devices near the light fixtures.
For Mr. Parikh, the technology is a natural fit with art. “You learn where in museums people are spending more time, which pieces of art are more popular—you can curate and adjust what you’re doing in real time,” he said. “Some museums are now thinking about it like retailers, asking ‘How do we get these visitors to come back more often?’”
By ELLEN GAMERMAN
A ranking of the most valuable Cosmetics Brands in the World. Each brand has been assigned a brand rating based on a benchmark study of the strength, risk and future potential of a brand relative to its competitor set, as well as a Brand Value: a summary measure of the financial strength of the brand.
4-6 July 2016
Held during the ICOM 2016 General Conference on Museums and Cultural Landscapes
INTERCOM and the Federation of International Human Rights Museums (FIHRM, ICOM Affiliated Organisation) are once again joining forces in 2016 to hold a meeting on current thinking in museum ethics under the overall ICOM conference theme of Museums and Cultural Landscapes.
The INTERCOM and FIHRM session will consider the political, social and economic landscapes of museums and the ethical challenges that thesInformatione might pose. We will look at current museum thinking in managing the external environment and consider international case studies concerned with ethical dilemmas such as sponsorship, illicit trafficking, migration, and human rights.
What are the implications for managing museums successfully? What obligation does the museum have to its governing body? And to the public? How can a museum code of ethics support museums to resolve some of these conflicts?
Μια πολιτιστική καινοτομία δοκιμάζει ο δήμος της Γκρενόμπλ, της γαλλικής πόλης των εκατό εξήντα χιλιάδων κατοίκων που βρίσκεται στις Άλπεις.
Ένα μαύρο και πορτοκαλί κυλινδρικό κουτί «φτύνει» δωρεάν διηγήματα. Πατώντας ένα από τα τρία αριθμημένα κουμπιά (ένα, τρία, πέντε), ο κάτοικος ή ο επισκέπτης της πόλης θα επιλέξει σε πόσα λεπτά θέλει να διαβάσει την ιστορία. Το χαρτί που είναι τυπωμένες οι ιστορίες μοιάζει σαν απόδειξη σούπερ μάρκετ, λίγο μεγαλύτερη.
Όλα ξεκίνησαν ένα απόγευμα, όταν ένας από τους ιδρυτές του μικρού εκδοτικού οίκου Short Edition, κάνοντας ένα διάλειμμα για σνακ, δήλωσε ότι τα αυτόματα μηχανήματα θα πρέπει να πωλούν σύντομες ιστορίες αντί για αναψυκτικά και γλυκά.
Οι αυτόματοι πωλητές διηγήματος έκαναν το ντεμπούτο τους τον Οκτώβριο και είχαν μεγάλη απήχηση.
Το Δημοτικό Συμβούλιο της Γκρενόμπλ αποφάσισε να χρηματοδοτήσει το πρωτότυπο σχέδιο φιλαναγνωσίας. Οκτώ «διανομείς διηγήματος» νοικιάστηκαν από τη Short Edition και τοποθετήθηκαν στα πιο κεντρικά σημεία της πόλης. Για τον δήμαρχο της πόλης, μέλος των Οικολόγων Πράσινων Ερίκ Πιολέ, οι αυτόματοι πωλητές ήταν το μέσον για να προσφέρει δωρεάν πολιτισμό στους κατοίκους.
«Ο γραπτός λόγος δεν είναι νεκρός» υποστηρίζουν οι ιδρυτές του μικρού εκδοτικού οίκου Short Edition, οι οποίοι αρχικά πρόσφεραν μια δωρεάν πλατφόρμα δημοσίευσης για ερασιτέχνες συγγραφείς. Από το 2011, η Short Edition έχει δημοσιεύσει σχεδόν δέκα χιλιάδες ιστορίες, με ρυθμό εκατό την ημέρα. Μια βάση χρηστών, της τάξης των εκατό σαράντα χιλιάδων, ψηφίζει τις καλύτερες ιστορίες, κάποιες από τις οποίες γίνονται e-books, audio books, ή τυπωμένα βιβλία σε συνεργασία με εκδοτικούς οίκους όπως ο Orange.
Όσα ιδρύματα, δήμοι, σχολεία και εταιρείες επιθυμούν να νοικιάσουν τους αυτόματους πωλητές θα πρέπει να πληρώσουν 500 ευρώ τον μήνα. Οι συγγραφείς των ιστοριών αμείβονται με το δέκα τοις εκατό του μισθώματος ενοικίασης.
Η φαντασία και ο γραπτός λόγος έχουν επιστρέψει στους δημόσιους χώρους, υποστηρίζουν αρχιτέκτονες, πολεοδόμοι και συγγραφείς. Ήδη στο γραφείο Τουρισμού της Γκρενόμπλ, όπου φιλοξενείται ένας από τους αυτόματους πωλητές διηγήματος, κάποιοι πολίτες έρχονται δύο φορές την εβδομάδα μόνο και μόνο για να τυπώσουν μια ιστορία.
«Ο “αυτόματος διανομέας ιστοριών” ίσως απαντά σε μια ανάγκη μας για στιγμές ονειροπόλησης μέσα στο οργανωμένο αστικό τοπίο» λέει η πολεοδόμος Μπεατρίς Λανγκλουά.
Πολλοί κάτοικοι υποστηρίζουν ότι οι αυτόματες μηχανές πώλησης ιστοριών με την έντυπη μορφή τους, είναι ένα διάλειμμα από τις πανταχού παρούσες οθόνες των κινητών τους.
Της Κωστούλας Τωμαδάκη για την Αυγή.
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Ένα πρωτοποριακό προϊόν για την αποτελεσματική αντιμετώπιση της κυτταρίτιδας.
Περιλαμβάνει ένα ισχυρό μείγμα άκρως αποτελεσματικό και παρέχει άμεσα αποτελέσματα.
* Gotu Kola, ένα από τα πιο φημισμένα βότανα στην Αγιορβέδα που διεγείρει την κυκλοφορία.
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Πώς να το χρησιμοποιήσετε:
Για καλύτερα αποτελέσματα κάνετε μασάζ στην περιοχή με κυκλικές κινήσεις πρωί και βράδυ για 2 εβδομάδες.
Είναι συσκευασμένο σε γυάλινο μπουκάλι για να προστατεύει το περιεχόμενο από τη θερμότητα, το φως, την υγρασία και την οξείδωση.
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Πιστοποίηση Soil Association
Η εταιρεία Fushi επέλεξε έναν ανεξάρτητο φορέα αναγνωρισμένο διεθνώς, για να πιστοποιήσει τα οργανικά προϊόντα που παράγει.
Η πιστοποίηση του Soil Association εγγυάται ότι ένα προϊόν περιέχει το υψηλότερο δυνατό επίπεδο πιστοποιημένων οργανικών συστατικών, χωρίς προσθήκη βλαβερών συνθετικών χημικών.
Προκειμένου ένα προϊόν να πιστοποιηθεί ως «βιολογικό» από τον Soil Association, πρέπει το λιγότερο 95% των αγροτικών του συστατικών να είναι πιστοποιημένα βιολογικά παραγόμενα (αποκλείοντας το πρόσθετο νερό).
Επιπροσθέτως, θα πρέπει να περιέχει μόνο εγκεκριμένα μη-βιολογικά συστατικά και βοηθήματα διεργασίας.
Αν το δοκιμάσεις θα χαρώ πολύ να μάθω τις εντυπώσεις σου!
Hartwig Fischer Appointed as Director of the British Museum
Sir Richard Lambert (Chair of the Trustees of the British Museum) this morning announced to staff that Dr Hartwig Fischer had been appointed Director of the British Museum.
Dr Hartwig Fischer, who is currently the Director General of the Staatliche Kunstsammlungen Dresden, will take up the post in Spring 2016. The current Director, Neil MacGregor, will retire from the Museum at Christmas.
The appointment has been confirmed by the Prime Minister, the Rt Hon David Cameron.
Chairman of the Trustees Sir Richard Lambert said, “On behalf of the Trustees I am very happy to announce the appointment of Hartwig Fischer (currently Director General of the Staatliche Kunstsammlungen Dresden) as Director of the British Museum. He is one of the outstanding museum directors in the world. He is not only a great scholar, but an experienced administrator and a gifted linguist with a global reputation for rethinking and representing great collections. In Essen he directed one of the leading museums of 20th-century art in Germany and in Dresden he directs a museum whose collections are amongst the greatest in the world.”
“Neil MacGregor has been a brilliant Director of the British Museum and has transformed its presence across the world. The Trustees are confident Dr Fischer will be a worthy successor.”
Hartwig Fischer said: “When I was growing up in Hamburg, Britain was always present in my family life. It has remained so ever since. I never dreamt that I would be invited to be responsible for this great British institution and I am conscious that nobody could fail to grasp what the British Museum represents not only for the UK but for the whole world. For many years I have looked to the British Museum as a model of public engagement, critical scholarship, and international outreach. I am of course daunted by such a responsibility but I know that nobody directs such a museum alone and the colleagues of the British Museum are admired and envied around the world. I am greatly looking forward to working with them. I have visited the British Museum on many occasions as a member of the public and have always admired the way every member of the team plays their part in making the collection available to the public all over the world. It´s an honour to be asked to become the Director of the British Museum and to follow in the footsteps of Neil MacGregor, who has done more than anybody else to position the Museum as one of modern society´s key institutions, fostering knowledge, understanding, and global citizenship”.
Neil MacGregor said “Hartwig Fischer is the perfect choice to run the British Museum. The Museum, its staff, its Trustees and its unparalleled collection is truly international. It therefore makes absolute sense for the new Director to reflect this global outlook. Dr Fischer is a well-respected scholar with extensive experience. He will, I am sure, build on the British Museum’s recent successes to ensure the Museum remains one of the world’s greatest museums.”
Dr Hartwig Fischer is currently the Director General of the Dresden State Art Collections (Staatliche Kunstsammlungen Dresden) where he is responsible for fourteen museums and four separate institutions in four cities. His focus since his appointment in 2012 has been on modernizing and developing the State Art Collections, which date back to the 16th century. The collections are some of Germany’s finest, spanning more than 5,000 years of art, archaeology, anthropology and cultural history.
Prior to that appointment, Dr Fischer was Director of the Folkwang Museum in Essen (2006–2012). Whilst in post he oversaw the fundraising and restoration of the historic museum and the construction of a new building, and presided over a period of increasing visitor figures and popularity. He began his museum career at the Kunstmuseum in Basel, where he was curator of 19th-century and Modern Art from 2001–2006.
Dr Fischer has studied the History of Art, History and Classical Archaeology in Bonn, Berlin, Rome and Paris and holds a Doctorate in Philosophy from the University of Bonn. He speaks German, English, French and Italian.
He was born in Hamburg 14 December 1962 and is married to psychoanalyst Ilaria Piqueras Fischer.
For further information please contact the Press Office on 020 7323 8394 / 8522 or email@example.com
Εκδόθηκε πριν από λίγες ημερες από την UNESCO μια νέα μελέτη για τις διεθνείς ροές στο εμπόριο πολιτιστικών αγαθών. Η Ελλάδα κατέχει μια από τις χαμηλότερες θέσεις στις εξαγωγές πολιτιστικών αγαθών, ενώ εντύπωση προκαλεί η μεγάλη αύξηση εξαγωγών το 2004, έτος διεξαγωγής των Ολυμπιακών Αγώνων. Μπορείτε να βρείτε ολόκληρη την έκθεση εδώ
Mark Ruffalo among names calling for British Museum to drop BP sponsorship
Artists, scientists and politicians sign letter to Guardian calling on museum to end ‘out of touch’ partnership with oil firm
Photograph: Niklas Halle’N/AFP/Getty Images
Mark Brown Arts correspondent
Almost 100 prominent figures from the arts, science and politics are calling on the new director of the British Museum to drop BP as a commercial sponsor.
In a letter to the Guardian, the museum is urged to abandon the “completely out of touch” partnership.
British Museum must sever its links with BP
Letters: Retaining such an unethical sponsor would seriously damage the British Museum’s reputation, and place it firmly on the wrong side of history
The intervention is backed by actors Emma Thompson, Mark Ruffalo and Mark Rylance, writers Margaret Atwood, Naomi Klein and Caryl Churchill, as well as the shadow chancellor, John McDonnell, and physicist Sir Tom Kibble.
It comes shortly after BP announced it was ending its 26-year relationship with the Tate art gallery, blaming the “challenging business environment”. Anti-oil sponsorship groups claimed that move as a campaign victory, and have since turned their attention to the company’s remaining cultural ties.
The focus has switched to other beneficiaries of BP money: the National Portrait Gallery, the Royal Opera House and particularly the British Museum, where in December 2011 the four museum directors gathered to announce a five-year sponsorship deal worth £10m.
All four institutions have vigorously defended BP’s involvement in the arts. The former British Museum director Neil MacGregor described BP as the museum’s best corporate friend. “What would you want companies to do with their profits?” he asked. “Do you want them to spend them in a way that benefits the public or not?”
But Jess Worth of the campaign group Art Not Oil, which organised the letter, said signing up to a new deal would damage the reputation of the museum, especially since our understanding of climate change was evolving, with the need to “move away very, very fast” from fossil fuel companies.
BP to end Tate sponsorship after 26 years
“If the museum is locked into this deal with BP beyond 2020 it is going to look completely on the wrong side of history and completely out of touch. The world has changed and the museum has to change with it.”
The letter is timed to coincide with the arrival of the British Museum’s new German director, Hartwig Fischer, formerly director of the Dresden State Art Collections.
The letter says: “As the impacts of climate change are being felt more forcefully around the world, it is vital that prominent public institutions like the British Museum play their part in minimising the environmental impacts of their activities.”
Other signatories include the screenwriter John Collee, fashion designer Dame Vivienne Westwood, Bianca Jagger and Prof Dame Anne Glover, former chief scientific adviser to the European commission.
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The letter is timed to coincide with the arrival of the British Museum’s new director, Hartwig Fischer, above. Photograph: Alamy
Glover said: “The British Museum is a powerful symbol of our culture and celebrates the complexity of our heritage and development. The museum exerts clear influence in our society and as well as preserving our past, the museum can also make a statement about safeguarding our future by addressing man-made climate change. I hope the museum will choose its partners well to reflect this.”
Emma Thompson said: “I find it unbelievable that the British Museum is promoting a company that’s not just extracting disastrous amounts of fossil fuels but is actively lobbying against clean energy alternatives. BP is sponsoring our past while destroying our future. We hope Dr Fischer will put an end to this.”
The letter also coincides with a protest carried out on Sunday in the British Museum’s Great Court.
Hartwig Fischer: the German helping the British Museum change the world
Jonathan Jones Read more
The group BP or Not BP staged a “History of BP in 10 Objects” exhibition, mirroring MacGregor’s A History of the World in 100 Objects series on the BBC.
The protest objects on show included crude oil from the Louisiana coastline after the BP Deepwater Horizon spill and a photograph of Colombian trade unionist Gilberto Torres, who is suing BP alleging it was complicit in his kidnap and torture. BP have previously denied any involvement with, or knowledge of, Torres’s abduction.
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Arts organisations have staunchly defended accepting money from BP and argue it is not easily replaceable.
BP, meanwhile, is proud of its arts sponsorship, calling its sponsorship of the four big national arts organisations “one of the most significant long-term corporate investments in UK arts and culture”.
On the back page of the programme for the National Theatre’s production of Les Blancs, which opened this week, is a full-page BP advertisement in which it boasts of its arts sponsorship.
A British Museum spokesperson said: “BP is one of the British Museum’s most longstanding corporate partners, supporting the museum since 1996. The British Museum is exceptionally grateful to BP for their loyal and ongoing support, which has allowed the museum to bring world cultures to a global audience through hugely popular exhibitions and their associated public programmes.
“We believe it is more important than ever to deepen people’s understanding of the world’s many and varied cultures and this is something that can be achieved through the temporary exhibition format. It is only possible to develop and host temporary exhibitions with this kind of external support.
“We are grateful to BP for their long-term commitment, sharing the vision that our artistic programmes should be made available to the widest possible audience. Discussions regarding the renewal of the partnership are continuing.”
Campaigners are launching a petition on Monday calling on Fischer to drop BP.
Μια έκθεση στη Ρώμη παρουσιάζει όλη την ομορφιά και την θεατρικότητα του Ιταλού ζωγράφου σε μια οπτικοακουστική εμπειρία τη νέα έκθεση της γκαλερί Palazzo delle Esposizioni στη Ρώμη.
Οι λάτρεις της τέχνης καλούνται να περιπλανηθούν σε ένα εντυπωσιακό πρότζεκτ που συνδυάζει εξελιγμένη οπτικοακουστική τεχνολογία και έργα του ιταλού ζωγράφου Καραβάτζιο. Συνολικά θα απολαύσουν 57 έργα, αλλά στους χώρους δεν θα συναντήσουν πίνακες ή καμβάδες καθώς όλη η ομορφιά του Καραβάτζιο ξεδιπλώνεται μέσα από ειδική βιντεοπροβολή στους τοίχους της γκαλερί. Το πρότζεκτ έχει σαν στόχο να προσφέρει μια εντελώς πρωτόγνωρη εμπειρία στους επισκέπτες. Η έκθεση «Τhe Caravaggio Experience» είναι σκηνοθετημένη με θεατρικότητα και παρουσιάζεται πλαισιωμένη με μουσική και αρώματα στο χώρο. Μια ακόμη σημαντική διαφοροποίηση σε αυτή την προσπάθεια είναι το πώς οι επιμελητές επέλεξαν να απομονώσουν τους πρωταγωνιστές των έργων από το υπόλοιπό πλαίσιο και να τα τους αναδείξουν με ακόμη πιο επιβλητικό τρόπο.
Ο ιστορικός τέχνης Κλαούντιο Στρινάτι ο οποίος ανέλαβε να εξηγήσει την έκθεση αναφέρει «Συνήθως όταν επισκέπτεστε μια έκθεση, βλέπετε τους πινάκες ή τα γλυπτά, από κάτω τις πληροφορίες από τις σημειώσεις των γκαλερί, και αυτό είναι όλο. Αντίθετα εδώ υπάρχει ένα ερέθισμα. Οι εικόνες παρουσιάζονται σαν φαντάσματα, σα να πρόκειται για χαρακτήρες που φτάνουν στο χώρο μας από έναν μακρινό κόσμο».
Η έκθεση έχει διάρκεια έως τις 3 Ιουλίου 2016.
Περισσότερες πληροφορίες για την έκθεση: Palazzo delle Esposizioni