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Temporary Exhibitions
 

Temporary Exhibitions

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    Temporary Exhibitions Temporary Exhibitions Presentation Transcript

    • Temporary Exhibitions What’s Hot and What’s Not in Loans Administration
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    • Temporary Exhibitions
      • - “To promote the highest standards for the movement and care of works of art;
      • - To promote a code of conduct between museums involved in international temporary exhibitions;
      • To confirm a generally accepted balance of rights, responsibilities and customs between lenders and borrowers;
      • - To inhibit the infliction of unnecessary or unfair costs on either lenders or borrowers.”
      • Temporary Exhibitions – General principles
      • Accessibility of Collections
      • Loan approvals
      • Loan fees
      • Loan forms
      • Transport/Packing/Couriers
      • Customs
      • Government Indemnity/Commercial Insurance
      • Facilities and Security of Borrowing Venue
      • Conservation/Green Issues
      • Anti-seizure legislation
      • The role of the Registrar
      • Cultural differences and the building of trust
    • Temporary Exhibitions – General Principles
      • Museums provide opportunities for the
      • appreciation, understanding and promotion
      • of the natural and cultural heritage
    • Temporary Exhibitions – General Principles
      • 1. The mobility of collections is ideally based on the principle of reciprocity.
      • 2. Loans should only be granted for exhibitions of high artistic, educational or scientific standards and if the object is truly indispensable.
      • 3. Institutions should apply the same practical and ethical standards whether acting as lender or borrower.
      • 4. Loans should be granted to institutions that provide public access.
      • 5. Financial gain should be discouraged as the sole purpose of lending or borrowing.
      • 6. Institutions should make every effort to minimize costs.
      • 7. Objects that are tainted with legal problems, such as questionable title, acquisition history, gaps in provenance or financial issues, must not knowingly be lent or borrowed.
    • Making Collections Accessible
      • Digitise your collections
      • Create partnerships with other academic institutions, libraries, archives
      • Build relationships with colleagues
    • Loan approval
      • Significance of the loan for the exhibition concept
      • Physical condition of the object and its ability to travel
      • Reliability of the borrowing museum, its legal and financial status, the professionalism of its staff
      • Security, facilities and environmental conditions of the venue
      • Number of touring venues for travelling exhibitions in relation to the fragility of the object
      • Political stability of the country involved and the threat of terrorism
    • How are loans granted?
      • free of charge, with or without a reasonable fee constituting a recovery of some of the lender’s direct costs
      • in return for an irrevocable loan fee, constituting a payment to the lender for granting the loan, rather than a recovery of costs actually incurred
      • in exchange for other loans, (“an object for an object”)
      • in the context of a partnership (for example, in organising an exhibition tour)
    • Loan forms
      • The NEMO loan form template can be
      • adapted to meet the lender’s
      • requirements
      • It can be used as a contractual
      • benchmark for loans
      • www.ne-mo.org
    • Transport Agents must always: Keep details of lenders and loan-objects as well as all arrangements confidential Have knowledge of handling requirements for all exhibits Follow strict security procedures Be experts in international shipping and familiar with customs procedures Be familiar with emergency procedures & abide by fire regulations Maintain vehicles, storage areas and equipment to a high standard Keep up-to-date documentation of object movements
    • Customs & export licenses
      • Seek the advice of transport agents and their expertise to run training on Customs procedures and regulations for museum professionals.
      • Work with the national Customs agencies and the national Culture Ministries to simplify these regulations, or at least to demystify them.
    • Government Indemnity/Commercial Insurance
      • Borrowers are familiar with their own schemes or policies in order to clearly communicate all aspects of coverage
      • The loans must be indemnified/insured for an agreed value stipulated by the lender in writing
      • Lenders do not change their valuations during the period of the loan
      • Lenders make every effort to accept the borrower’s state indemnity, or the combined use of indemnity and insurance
    • Facilities and Security at the borrowing venue
      • Use of the UK Registrars Group Facilities Report, Display and Security Supplements or similar
      • www. ukregistrarsgroup.org
      • A central museum security adviser for each EU member state
    • Exhibitions Going Green
        • International Institute for Conservation
        • Institute of Conservation in the UK
        • American Association of Museums
        • International Association of Museums of Fine Arts
        • International Exhibition Organisers Group
        • Bizot Group
    • Exhibitions Going Green
        • Make better use of reusable packaging, like ready made hire crates
        • Balance the cost of storing tailor-made cases for specific objects with the desire to reduce crate disposal
        • Make use of consolidated road transport
        • Reduce the number of couriers
        • Other areas: operations of buildings, visitor facilities, use of recyclable material in exhibition builds
    • Anti-seizure legislation
      • Immunity from judicial seizure is the legal protection that the Government in the country of the borrower grants to an object, on loan from a foreign lender, while within the territory of this country and the custody of the borrower for the period of a temporary exhibition.
      • The purpose of immunity is to protect the loan against any legal claims of its title and to ensure that in the event of such a claim the loan will still be returned to the lender.
    • Anti-seizure legislation
      • Combating Illicit Trade:  Due diligence guidelines for museums, libraries and archives on collecting and borrowing cultural material
      • issued by the Department for Culture, Media and Sport, October 2005
    • Anti-seizure legislation – Advice for Borrowers
      • Be familiar with the law in your country and ensure that the expectations of the lenders can be met and the necessary documentation is in place in a timely manner.
      • Strongly support the principle that stolen or illegally exported items should not be included in an exhibition and adopt an institutional policy on due diligence for provenance research
      • Seek confirmation that the lender has good title to the object
      • Encourage enquiry and open debate
    • Cultural differences in
      • how people perceive themselves and other people
      • how we perceive time and manage it
      • established working practices, which may be dependent on government bureaucracy
      • institutional behaviour, which proves difficult to change
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    • Picture credits
      • Museum of London/City of London Corporation