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Tate to cut 120 jobs to ‘survive crisis’

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Tate to cut 120 jobs to ‘survive crisis’

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Tate has warned it must reduce its workforce by 12% – equivalent to about 120 full-time roles – to survive the financial crisis brought on by Covid-19 closures and reduced visitor numbers.

The group, which has galleries in London, Liverpool and St Ives, says visitor numbers for the year are expected to be about 1 million, down from its usual 8 million.

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Tate has warned it must reduce its workforce by 12% - equivalent to about 120 full-time roles - to survive the financial crisis brought on by Covid-19 closures and reduced visitor numbers.

The group, which has galleries in London, Liverpool and St Ives, says visitor numbers for the year are expected to be about 1 million, down from its usual 8 million.

This is partly due to being closed for six months during England's two lockdowns, and Covid measures meaning it has only seen 20% of previous visitor numbers during the times it has been open. As a result, it will lose an estimated £56m in self-generated income through ticket sales, retail and catering.

"This kind of loss hits Tate particularly hard, as such a large proportion of the funds we rely on are normally self-generated," the gallery said in a statement signed by director Maria Balshaw and chief operating officer Vicky Cheetham.

"The road to recovery will be a long one, with tourism not expected to return to previous levels until 2024/25, and the wider economy facing the long-term effects of the pandemic."

A voluntary redundancy scheme is open to all staff across the organisation, alongside offers of early retirement, reduced working hours or career breaks.

"Reducing the size of our workforce is a course of action we take with huge reluctance," Balshaw and Cheetham said in the statement. "The knowledge, experience and passion of our colleagues across Tate is at the heart of our success and is hugely valued.

"We, nevertheless, have no choice given the impact of the pandemic on our finances. Working with colleagues and in partnership with our trade unions we are determined to do everything in our power to secure the long-term future of Tate for our colleagues, our visitors, for artists and for future generations."

The Public and Commercial Services (PCS) Union group secretary, Steven Warwick, said: "PCS is actively working with Tate to explore all options to avoid compulsory redundancies, beginning with a voluntary exit scheme.

"However, should the need arise we will of course vigorously oppose any compulsory programme."

The gallery group says it has also halved operating budgets; frozen non-essential recruitment; cut salaries across its executive group; restructured retail and catering; and taken the maximum amount allowed from its emergency reserves.

It has had emergency government funding, and has expanded online retail and its membership scheme to increase income, but says these measures alone don't address the long-term financial challenges it faces.

Its commercial arm, Tate PLC, announced 300 job losses earlier this year, a move that resulted in 42 days of strike action before the gallery and trade union finalised a deal.

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Tate to cut 120 jobs to 'survive crisis'

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Tate has warned it must reduce its workforce by 12% - equivalent to about 120 full-time roles - to survive the financial crisis brought on by Covid-19 closures and reduced visitor numbers. The group, which has galleries in London, Liverpool and St Ives, says visitor numbers for the year are expected to be about 1 million, down from its usual 8 million.

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Struggling cultural institutions lock down (again) as COVID-19 surges across Europe

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Struggling cultural institutions lock down (again) as COVID-19 surges across Europe

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Many of Europe’s most prestigious museums and cultural institutionsincluding the Louvre and Musée d’Orsay in Paris are, once again, fully closed to the public as a second surge of COVID-19 infections roars across continental Europe.

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Many of Europe's most prestigious museums and cultural institutions including the Louvre and Musée d'Orsay in Paris are, once again, fully closed to the public as a second surge of COVID-19 infections roars across continental Europe. Meanwhile, museum administrators in the United States, where many financially battered institutions have slowly and cautiously reopened with reduced capacity, timed entry, and other safety precautions firmly in place, are looking across the Atlantic with trepidation as what's looking to be a dark winter sets in.

If things have gone from bad, to better, to now progressively worse in European nations, where federal-level responses to the spread of COVID-19 has been more definitive than in a divided U.S., what does it mean for stateside cultural institutions? This, for now, remains unclear, but with infections rising across the U.S., it doesn't bode well.

The second wave of coronavirus cases spreading rapidly across Europe is being handled with particular vigilance by the French government, where all museums were ordered to close their doors by 6:00 p.m. on October 29 as part of a national lockdown-the second this year-ordered earlier by President Emmanuel Marcon. It's unclear when they will reopen, although per The Art Newspaper, the Louvre won't be welcoming back guests at any point before December 1 at the earliest. As reported by , daily COVID-19 deaths in France are now at the highest levels they've been at since April, with a reported 47,637 new cases and 250 new deaths being announced on Thursday. The new lockdown has spurred massive traffic jams in and around Paris as urbanites flee the city for country homes and more remote locales.

In neighboring Belgium, Brussels-area museums and cultural institutions will go dark until November 19 while museums in Italy and Spain will be allowed to remain open for the time being as other partial lockdown measures go into effect. As infection rates spike in Sweden, museums-as well as all other businesses and cultural venues-remain open, although residents of densely populated areas including Stockholm are being advised by officials to avoid visiting them until at least November 18.

The situation in Germany, a shining exemplar of calm and effective pandemic management during the initial wave, is a little more fluid. Proclaiming that "we must act, and now, to avoid an acute national health emergency," Chancellor Angela Merkel announced a four-week shutdown of bars, restaurants, movie theaters, gyms, and other leisure-related venues starting November 2. Museums and similar institutions, however, were not explicitly mentioned in the government's official directives.

According to The Art Newspaper, officials in some German states such as Baden-Württemberg, the country's third-most-populous state and home to major cities such as Stuttgart and Manheim, have gone ahead and ordered the closure of museums out of an abundance of caution during the nationwide partial lockdown that will see shops, schools, and most workplaces remain open. (Germany's commercial art galleries, for now, can also remain open at limited capacity as they are considered retail establishments). Earlier this week, the reported that COVID-19 infections in Germany are doubling every seven to eight days with an alarming record of 15,000 new infections being reported this past Wednesday.

"If museums are affected by a new closure, then this would be a serious blow which would have to be compensated for," said German Museums Association in a statement shared by The Art Newspaper. "Museums have prepared intensively for the crisis and implemented successful distancing and hygiene rules, taken on board all preventive measures, and provided the visitor with a safe experience in the Covid-19 era."

As reported by the New York Times earlier this month, although most major European museums reopened in the late spring following the first COVID-19 outbreak, visitors have yet to return en masse due to travel restrictions and other factors. And these institutions are suffering as a result, their individual fates largely dependent on how they are funded. "As cultural institutions reopen across the United States, with new coronavirus protocols in place, many have been looking to Europe, where many museums have been open since May, for a preview of how the public might respond to the invitation to return. So far, there's little reason to be optimistic, "wrote the Times.

In addition to being pummeled by COVID-19, a trio of German museums, all of them located on Berlin's UNESCO-listed Museum Island, came under attack earlier this month by non-contagious forces when vandals splashed an oily substance on artifacts spread across a total of 68 exhibits displayed at the Neues Museum, Pergamon Museum, and Alte Nationalgalerie. Ancient Egyptian sarcophagi and stone sculptures were particularly hard hit.

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Struggling cultural institutions lock down (again) as COVID-19 surges across Europe

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Many of Europe's most prestigious museums and cultural institutions including the Louvre and Musée d'Orsay in Paris are, once again, fully closed to the public as a second surge of COVID-19 infections roars across continental Europe.

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How Long Can N.Y.C. Museums Survive at 25 Percent Capacity?

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How Long Can N.Y.C. Museums Survive at 25 Percent Capacity?

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Visiting during the pandemic can feel a bit lonely. Museum directors worry that will persist far into 2021.

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Visiting during the pandemic can feel a bit lonely. Museum directors worry that will persist far into 2021.

The Guggenheim Museum reopened nearly a month ago with "Countryside, The Future'' by Rem Koolhaas. Visitors find galleries nearly empty on weekdays. Credit... Justin Lane/EPA, via Shutterstock

On a weekday afternoon at the Brooklyn Museum, Carolyn and Joel Jacobson ambled through the American art galleries, alone with George Bellows's smirking "Newsboy" and a bronze bust of Abraham Lincoln.

The couple hadn't left their Long Island home - aside from going to the grocery store - since the pandemic bore down on New York in March.

"This was a big day for me," said Mr. Jacobson, 84, his voice echoing through the empty gallery.

A similar scene played out that day in the winding galleries of the Solomon R. Guggenheim Museum in Manhattan, where roughly 40 mask-wearing visitors meandered through the museum. An attendant said it was the busiest he had seen since the space opened on Oct. 3.

And at the American Museum of Natural History, a visitor from Florida, Cheyenne Grant, 21, observed the emptiness: "It's just us and the dinosaurs."

Over a month after most of New York's most prestigious museums reopened to the public, they are experiencing an existential crisis, fueled by the state-mandated reduced capacity of 25 percent. While the public face of New York City museums welcomes back these visitors with a smile and the promise of a safe experience, administrators behind the scenes anxiously wonder how long they can feasibly stay at that meager occupancy without making significant cuts to staffing or programming.

Towering dinosaurs and temperature checks at the American Museum of Natural History. Credit... Amy Lombard for The New York Times

A staff member welcomes visitors outside the American Museum of Natural History on Sept. 9. Credit... Timothy A. Clary/Agence France-Presse - Getty Images

That's not to say visiting a New York museum is always a solitary activity.

Visiting during the pandemic can be like a choose-your-own adventure game. If you go on a weekday, the eerie emptiness can make you feel as if you're sneaking in after hours. But on a weekend at the Metropolitan Museum of Art, you may have to stand in line outside just to get your temperature checked. And if you're aiming to snap an up-close picture of "The Starry Night," you'll likely have to wait in a line of people around two - not six - feet apart.

Some arts advocates have been encouraging politicians to allow museums to elevate their numbers, but there are no signs that the state plans to ease that restriction any time soon.

At the Met - where about 91,500 people visited in September, compared with 381,500 during the same month last year - the museum's pandemic team is assuming that the 25 percent capacity restriction will persist into the spring. (Another scenario administrators are gaming out imagines a year with that restriction.)

Daniel H. Weiss, the Met's chief executive, said that if the 25 percent capacity extends past June, the museum will have to consider another round of money-saving measures like trimming staff pay or programming. The Met, which relies on ticket sales and other purchases from visitors for roughly a third of its annual revenue, has already had two rounds of employee cuts, leaving the museum with a staff that is about 20 percent smaller than it was before the pandemic.

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At the Metropolitan Museum of Art, where about 91,500 people visited in September, compared with 381,500 during the same month last year. Credit... John Minchillo/Associated Press

That financial anxiety doesn't mean the Met is pushing the state government to allow it to fill its galleries to capacity. Mr. Weiss said safety is the priority.

"We want to be open, but we don't want to push the envelope," he said, "especially as, throughout the country, we're seeing that the pandemic is on the rise precisely through the lack of adherence to social-distancing rules."

Like many other institutions, the New-York Historical Society has also resigned itself to the fact that it will be taking in a fraction of the revenue it did last year; as a result, most employees saw pay cuts and the museum canceled or postponed 11 exhibitions. Louise Mirrer, the museum's chief executive, said that income through ticket sales and other items like gift-shop purchases makes up roughly 35 percent of the museum's annual revenue - a point of pride for her that is now an Achilles heel for the institution during a time of limited capacity.

Other leaders in the museum world are more intent on convincing the state to ease up on its capacity restrictions.

At a round table with state legislators on Wednesday, Erika Sanger, the executive director of the Museum Association of New York, painted a dire economic picture for museums here unless the 25 percent capacity restriction is increased as soon as possible. The organization estimated that museums in New York State lost $3.5 million a day in April, Ms. Sanger said. While that figure has surely dropped since the reopenings, she added that she knows of at least 12 museums that are discussing dissolution or mergers.

The amount of time that a museum will be able to survive at a 25 percent capacity depends on several factors, including the size of its endowment and cash reserves, as well as how much government funding it has received and will continue to bring in, despite the pressures of the pandemic, Ms. Sanger said.

That is the question that keeps museum directors up at night: Will limited capacity persist so long it causes financial disaster?

At the Guggenheim, Richard Armstrong, its director, had previously estimated that his institution would be capped at 800 people a day, a number that he told staff in August would allow the institution to "begin to break even" financially. Eventually, the museum revised its capacity to about 600 visitors. Since opening its doors in early October, the number of daily visitors has averaged about 540.

During September, the Met pulled in about 24 percent of the number of visitors as in the previous year, while the Museum of Modern Art saw about 14 percent of the visitorship of September 2018 (the museum was closed last September).

Even if museums were able to start rolling back restrictions on visitors, not all areas of New York City are in a position to do so. With the Queens Museum only steps away from the neighborhoods seeing Covid-19 clusters, the museum is facing the possibility of temporarily closing its doors again.

Sally Tallant, the museum's director, said that because ticket revenue for this fiscal year is hard to estimate, she removed the item entirely from the budget.

"I've accepted that this period of uncertainty will continue," she said.

Amid the upheaval, museum employees remain in fear of losing their jobs considering many of New York's institutions have each laid off dozens of workers.

The Brooklyn Museum reopened on Sept. 12, but some galleries are often empty. Credit... Howard Goller/Reuters

The front-facing staffers are expected to ensure that visitors are keeping their masks on and staying six feet apart from one another. As a result, some museum workers are lobbying their institutions and public officials for hazard pay.

While some essential workers did receive hazard pay in the form of lump-sum bonuses and wage multipliers during the pandemic's early months, that hazard pay was available for a short amount of time. Despite current demands, union representatives for museum employees are not putting hazard pay on the bargaining table now. Robert Wilson, a representative for Local 30 of the International Union of Operating Engineers - which represents art handlers and maintenance staff at MoMA and the Guggenheim - said that these museums are already in tough financial situations.

"For us to say, during this difficult time, that we want more than we would normally ask for, when the museum is struggling, is a difficult thing to accomplish," he said.

Museum advocates have framed their industry as being one of the most adaptable to the challenges of the pandemic, highlighting some institutions' vast gallery spaces and attendants who are already trained to make sure people keep a distance from the art. In one of the most extreme adaptations, the Shed in Hudson Yards, a flexible-space venue that won a dispensation to open recently to show art, transformed its space so that visitors entered through what had previously been the fire exits, so they didn't have to use the escalator or elevator.

"We can guarantee six feet of separation for every minute of the experience," said Alex Poots, the Shed's artistic director. (The Shed can host 60 visitors at any onetime in its gallery space under the state's rules.)

At the Met, which has already had two rounds of employee cuts. Credit... John Minchillo/Associated Press

Most of the people walking through museums' doors are now largely New Yorkers, according to administrators. At the Whitney, nearly 90 percent of September's roughly 30,000 visitors were New Yorkers, compared with a little more than one third in 2019. Its chief executive now refers to the Met - once a popular destination for international tourists - as a "local museum" during the pandemic.

Leaving an exhibition of paintings by Jacob Lawrence at the Met last week, Jan Greenberg, 77, who lives in the Hudson Valley, saw an upside to the empty galleries.

"I have trouble going to museums when they are really crowded, so this is like a gift," she said. "I'm sad for the museum - but I'm happy for me."

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How Long Can N.Y.C. Museums Survive at 25 Percent Capacity?

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Visiting during the pandemic can feel a bit lonely. Museum directors worry that will persist far into 2021. On a weekday afternoon at the Brooklyn Museum, Carolyn and Joel Jacobson ambled through the American art galleries, alone with George Bellows's smirking "Newsboy" and a bronze bust of Abraham Lincoln.

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Museums Are Back, but Different: A Visitor’s Guide

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Museums Are Back, but Different: A Visitor’s Guide

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It has been a singular year for art museums. In most parts of the country, they were closed for several months beginning in March; some are still shuttered. Rarely in living memory has so much art been out of view for so long.

But signs of resilience are everywhere. Many museums have reopened or are in the process of doing so, and it’s clear that things will look a little different to visitors.

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The visitors may be masked, but the art is gradually coming into full view.

The main entrance of the Museum of Modern Art earlier this month. Visitors now undergo temperature checks. Credit... Amr Alfiky/The New York Times

This article is part of our latest Fine Arts & Exhibits special report, which focuses on how art endures and inspires, even in the darkest of times.
It has been a singular year for art museums. In most parts of the country, they were closed for several months beginning in March; some are still shuttered. Rarely in living memory has so much art been out of view for so long.

But signs of resilience are everywhere. Many museums have reopened or are in the process of doing so, and it's clear that things will look a little different to visitors.

On the most visible level of pandemic precautions, some combination of mask mandates, temperature checks, reduced capacity and timed entry is now standard, and will be at least until there's a coronavirus vaccine.

Some of the changes have even been fun: For a few weeks, the Metropolitan Museum of Art had a bike valet for visitors who wanted to cycle over instead of taking the subway.

But it's also the art on display that will take new forms.

"We're being forced to experiment," said Michael Govan, director of the Los Angeles County Museum of Art, which has yet to announce a reopening date.

Closures have put enormous strain on budgets, and to mitigate the effects, organizations have been stepping in. The Andrew W. Mellon Foundation announced in September that it was starting a special emergency grant program that is distributing $24 million to 12 midsize museums, including the Pérez Art Museum Miami, the Nevada Museum of Art in Reno and the Philbrook Museum of Art in Tulsa, Okla.

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"Tightrope 5.7" (2009-14) by Elias Sime will be one of the works on view when the Pérez Art Museum Miami reopens next month. Credit... Elias Sime and James Cohan, New York

For those museums able to reopen, "There are countless silver linings," said Franklin Sirmans, the director of the Pérez.

He and his staff members used their downtime to increase the size of an exhibition that was scheduled to begin in April: "Allied With Power: African and African Diaspora Art From the Jorge M. Pérez Collection." It will be on view on Nov. 7, when the museum is to reopen.

Here are some of the biggest changes visitors will see this fall, including many that may last well into 2021 and beyond.

In early September, Adam Weinberg, the director of the Whitney Museum of American Art in New York, said that as his institution reopened at reduced capacity, "We're half online, half in person."

And he seemed fine with that, given offerings like the webinar series "Art History From Home," starring curators and educators talking about the collection; a recent edition looked at art and social change.

Kaywin Feldman, the director of the National Gallery of Art in Washington, recalled how quickly the change happened.

"The gallery closed on a Friday still in the 20th century," Ms. Feldman said, referring to the museum's closing in March. "And on Monday, we went online and entered the 21st century."

A still image from a session of the online "Art History From Home" program from the Whitney Museum of American Art, led by Grant Johnson and featuring Rosie Lee Tompkins' "Three Sixes" (1986). Credit... Whitney Museum of American Art

Ms. Feldman and her staff went to work putting as much material online as they could, from virtual tours of exhibitions to Zoom seminars. "The staff was able to create new tools, and quickly," she said of virtual exhibitions and daily Instagram stories.

At the Pérez, "Every week, we've done an online studio visit with a local artist," Mr. Sirmans said, adding that thousands of people took part in some online offerings, many more than usual for an in-person event.

In Boston, the Isabella Stewart Gardner Museum is demonstrating how many of these online innovations may stick around post-pandemic, too, with its supplements to the recent show "Boston's Apollo: Thomas McKeller and John Singer Sargent," which looked at Sargent's drawings of an African-American model for a mural series.

The museum introduced an extensive series of digital tours and lectures this fall, including a video conversation about museum and arts activism. And though the physical show has just closed, the online programs continue.

Museums wanted to be up and running, as long as they could do it safely.

The Whitney opened Sept. 3, and for safety reasons, visitors were encouraged to use the stairs - one set for going up, another for going down - instead of the elevators, with their closer confines.

"We're not breaking even being open at 25 percent," Mr. Weinberg said, given that most museums rely on ticket sales for a significant portion of their revenue. "But museums exist as public services. Culture and the arts provide hope, solace and comfort in a time of isolation and anxiety."

To make that happen, a working group of New York City's art museum directors met, virtually, every week to discuss how to move forward - and they are still meeting. And they formed a task force of 25 city museums of all types, not just art institutions, that made reopening recommendations to the city and New York State.

"There was a sense that we were all in this together," Mr. Weinberg said.

Nationally, the first major art museum to reopen was the Museum of Fine Arts, Houston, which welcomed visitors back in late May.

"Uncertainty and anxiety were our two biggest foes this summer, but seeing our visitors' expressions gave us the motivation," said Gary Tinterow, the director.

Someone had to go first. Mr. Tinterow reported that mask mandates and other safety precautions worked well, and, perhaps more important, that visitors didn't question them, which helped show the way for other museums.

The Houston museum is also pushing forward on its $450 million campus renovation plan, including a new building by the architect Steven Holl, set to open Nov. 21.

A new building at the Museum of Fine Arts, Houston, is scheduled to open Nov. 21. Credit... Peter Molick/Thomas Kirk III

"There were a thousand things that could go wrong, and did," Mr. Tinterow said of the building project, including French oak floors stranded on a dock in Le Havre by shipping delays and local coronavirus travel restrictions; the museum found a new supplier.

"We worked the problems to exhaustion," Mr. Tinterow added. "Slow and steady wins the race."

The slow and steady approach is also working for museums that, because of budget, safety or other constraints, are only partly open. Some art on view, they figure, is better than none.

The American Museum of Natural History ended the longest closure in its 150-year history on Sept. 9. Most of its permanent exhibition halls are open, minus heavily interactive ones; its theaters are also closed.

The National Gallery of Art started in July with the ground floor of its West Building, home to treasures like Leon Battista Alberti's "Self-Portrait" (circa 1435); the main floor begins reopening Monday.

The Cleveland Museum of Art reopened June 30, and at first it kept its smaller galleries closed.

"We were concerned that social distancing would be a challenge," said William Griswold, Cleveland's director. "But we rapidly gained the confidence to reopen more." With the exception of one gallery, the museum is back.

Timed ticketing and purposeful distancing measures, along with a cautious public, have meant fewer visitors. But that has also created an appealing atmosphere for those who do make it inside. "It feels very safe, partly because there are so few people," Mr. Griswold said.

The pandemic scrambled the exhibition schedule at pretty much every museum. In some cases, exhibitions scheduled for spring moved to fall, as in the case of the Metropolitan Museum of Art's show " About Time: Fashion and Duration," now set to open Thursday. Shows that had just opened when museums were shuttered - like the Donald Judd survey at the Museum of Modern Art - have a new life, and a slightly longer run, in their current slot. That exhibition has been extended until Jan. 9.

Artworks on loan that had to travel were a particular issue, pushing some exhibitions into the future a year or more.

Most museums take years to plan and mount a major exhibition, so directors and curators had to think fast. The first thing they did was to look to their permanent collections, which many already thought were an underused resource.

Mr. Tinterow said the general attitude was: "What can we cook with what's already in the kitchen?"

At the Dallas Museum of Art, a Juan Gris exhibition had to be pushed to 2021, so the 12-person curatorial team got together to build "To Be Determined," a pandemic-appropriate show about uncertainty itself. On view through Dec. 27, it has 35 works, mostly from the permanent collection.

The Cleveland museum, already renowned for its trove of artworks, received in early March a gift of over 100 works from the collectors Joseph and Nancy Keithley. The collection, which includes Henri Matisse's 1914 "Tulips," has an estimated value of $100 million.

So when the museum reopened, it displayed them interspersed with other pieces from the permanent collection. And it did not have to look beyond its own attic to develop another show, "Stories From Storage," due in early 2021.

That show will include among its 300 works a Greek drinking cup featuring the god Dionysius and satyrs that was made around 480 B.C.

A Greek drinking cup that will be part of "Stories From Storage" at the Cleveland Museum of Art. Credit... The Cleveland Museum of Art

"Many of the works I've not seen in person," Mr. Griswold said. "Some have never been shown. It's been a fun project that we never would have done otherwise."

A separate but related issue is how long exhibitions stay on view. To drive attendance, museums have put pressure on themselves to present new shows frequently. But such efforts can strain budgets and staff members.

Mr. Govan of the Los Angeles County Museum of Art said many museums might now consider "slowing down - we don't need to change things every 10 minutes."

He added, "We're going to find out that things you were afraid to do are fine."

At the same time, Mr. Govan is moving ahead on his own redevelopment project, with a major new building by the Swiss architect Peter Zumthor, due in 2024.

The idea is that building places to come together still matters, and no amount of online art is quite the same.

That may be why, as people come back into art-filled halls this fall, "there is a quiet excitement and hopefulness," Mr. Weinberg said.

Masks may make the atmosphere subdued at times, but as Mr. Tinterow put it, "Physical encounters with works of art, surrounded by friends and strangers, will remain compelling."

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Museums Are Back, but Different: A Visitor's Guide

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The visitors may be masked, but the art is gradually coming into full view. This article is part of our latest Fine Arts & Exhibits special report , which focuses on how art endures and inspires, even in the darkest of times.

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While many California museums are still shuttered because of the coronavirus, and others are opening slowly at limited capacity, the Institute of Contemporary Art San José has come up with an ingenious solution to open the museum, legally, for four days.

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In California, the Institute of Contemporary Art San José will open for voting, with a mural by Amir H. Fallah on display.

The artist Amir H. Fallah at his studio with part of his work "Remember This." An enlarged version will be wrapped around the Institute of Contemporary Art San José. Credit... Maggie Shannon for The New York Times

While many California museums are still shuttered because of the coronavirus, and others are opening slowly at limited capacity, the Institute of Contemporary Art San José has come up with an ingenious solution to open the museum, legally, for four days.

Starting on Oct. 31 through Election Day, the museum will become a polling site. Alison Gass, its executive director, is hoping that civic-minded citizens will stream through the museum to vote and take time to appreciate the art inside (a local art exhibition called "Personal Alchemy") and out.

It will be hard not to notice.

A 50-foot vinyl mural by the Iranian-born artist Amir H. Fallah will wrap around the museum's facade, and two six-foot circular paintings of his will slowly rotate in two windows.

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"This is a pretty political mural, but it doesn't say to vote one way or another," Mr. Fallah said. His paintings reflect his fears that "the world is getting darker and darker." Credit... Amir H. Fallah and Shulamit Nazarian, Los Angeles; Alan Shaffer

In his mural, titled "Remember This," messages in vibrant colors read: "REMEMBER MY CHILD NOWHERE IS SAFE"; "THEY WILL SMILE TO YOUR FACE"; and "A BORDERLESS WORLD," along with other text. By "child," Mr. Fallah means his younger self - by the age of 6, he had lived in four countries (Iran, Italy, Turkey and the United States) - and his 5-year-old son. "In America, people have a false sense of security," he said in a recent interview.

In late July, Ms. Gass, who also is the museum's chief curator, asked Mr. Fallah to paint a mural that addressed "the social and political conditions happening in this election and beyond." He told her that was what he was thinking about, too. His paintings would appear outside of the institute, "because we wanted a safe way for people to see art," Ms. Gass said.

A few days later, she met with her longtime collaborator, Florie Hutchinson, who was about to become the museum's director of external relations. Ms. Hutchinson thought of a way for more people to see Mr. Fallah's art: Make the institute a polling place.

"Many people in the past voted at their neighbor's garage or in retirement homes," said Alex Padilla, California's secretary of state. That is no longer possible. California is promoting vote by mail "as a preferred option," Mr. Padilla said. But for those wanting to vote in person, he said, counties have become "more creative."

Santa Clara County, of which San Jose is the county seat, will be using libraries, empty schools, City Hall Council chambers, another museum and even a police department, ,said Paulo Chang, the county registrar of voters, election division coordinator.

As people enter the polling place, Mr. Fallah said, "I want them to think about what their vote means, how it affects everyone and everything around them."

Mr. Fallah's concerns include but are not limited to "the environment, the treatment of children by ICE, racism, social injustice, an almost war with Iran for no reason," he said. Credit... Maggie Shannon for The New York Times

Mr. Fallah said his paintings for the museum are self-portraits with imagery from disparate cultures that express injustices all over the world. "This is a pretty political mural, but it doesn't say to vote one way or another," he added.

(California does not allow anyone within 100 feet of a polling place to engage in electioneering, which refers to displays of a candidate's name, likeness on buttons, hats or signs. It says nothing about art that addresses anxieties or calls for more empathy.)

An American citizen, Mr. Fallah, 41, who lives in Los Angeles, said he has experienced what he calls the abuse of government power firsthand. In January 2017, when President Trump closed the nation's borders to refugees and suspended immigration from several predominantly Muslim countries, he was detained "in a basement room at Newark Airport with other brown people," almost all of whom were citizens, he said. He said his passport was taken from him.

Mr. Fallah's paintings reflect his fears that "the world is getting darker and darker," he said. His concerns include but are not limited to "the environment, the treatment of children by ICE, racism, social injustice, an almost war with Iran for no reason," he said.

Mr. Fallah is also designing a giveaway button that says: "Vote like your life depends on it." That message will be on signs in city bus shelters and on streetlight poles.

"We were poised to be nimble, especially in a moment of unimaginable crisis for arts organizations," Ms. Gass said.

The institute, which used to be called the San Jose Institute of Contemporary Art but was recently renamed, occupies a red brick, one-story building in downtown San Jose, the third-largest city in California, which Sam Liccardo, its mayor, has called "a city of immigrants." As of 2014, 38 percent of residents were immigrants, including an Iranian community.

The institute, which is celebrating its 40th year, usually sees 30,000 visitors annually and has a $1.5 million budget. It received some assistance from the Paycheck Protection Program and has kept all seven employees.

At the end of July, Ms. Gass, the former director of University of Chicago's Smart Museum of Art, was sitting on a curb in Palo Alto, sipping ice coffee with Ms. Hutchinson. They wanted Mr. Fallah's art to be seen by as many people as possible during "this most important election of our lifetime," Ms. Hutchinson said.

The next day, in the shower, Ms. Hutchinson said, it came to her: "What if there's a way we can open the building for the purposes of letting people vote?"

Ms. Hutchinson was familiar with the California Voter's Choice Act, which is designed to make voting more convenient. It decouples voting from neighborhoods by offering "vote centers," larger venues near parking and transit hubs. Voters can choose any center countywide.

"Cowgirl," one of Mr. Fallah's paintings that will be rotating in the windows of the Institute of Contemporary Art San Jose. Credit... Amir H. Fallah and Shulamit Nazarian, Los Angeles; Alan Shaffer

"Cowboy," the second rotating artwork that will be at the voting center. Both paintings use images from the "debris of life" he finds on the internet. Credit... Amir H. Fallah and Shulamit Nazarian, Los Angeles; Alan Shaffer

"Throughout my career I've been drawn to art that is about politics," such as Mr. Fallah's work, Ms. Gass said, "in which you begin to find meaning for yourself." She chose an artist from an underrepresented group: "artists from countries not given a big platform in American museums." His work "is bound up in American identity and the immigrant experience," she added, calling it "beautiful and disturbing."

Mr. Fallah's art has been exhibited worldwide in over 100 shows. He is best known for his veiled people - concealed behind gorgeously patterned fabrics. His work was featured in an online exhibition last spring called "How Can We Think of Art at a Time Like This?"

His painting is 16 feet by 3 feet. Through the use of high-resolution photography, it has been enlarged and printed on vinyl as a mural. It and the two circular paintings are mash-ups: Ancient script is set against skateboarders' graffiti, Persian miniature horses against the Black Panthers logo. The circular paintings represent Earth and are edged with "the chaotic mesh of plant life," he said. One is called "Cowboy," the other "Cowgirl," inspired by vintage Valentines. Mixed in are images of a Cambodian propaganda figure, mythical figures from old match boxes, "debris of life" that he finds online. When the paintings rotate, plants and cultures will tumble onto one another.

Explanatory text will appear in five languages, including Spanish, Mandarin, Vietnamese and Farsi.

Mr. Fallah said he hoped his art would make people "stop in their tracks and think about what their vote means."

"The big thing missing in our society is empathy," he said. Will his art make people care about others? "Will it? I don't know," he said. "That's my desire."

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In California, the Institute of Contemporary Art San José will open for voting, with a mural by Amir H. Fallah on display. While many California museums are still shuttered because of the coronavirus, and others are opening slowly at limited capacity, the Institute of Contemporary Art San José has come up with an ingenious solution to open the museum, legally, for four days.

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Hong Kong Museums Shut Down for the Third Time After Yet Another New Spike in Infections

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Hong Kong Museums Shut Down for the Third Time After Yet Another New Spike in Infections

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The number of cases in Hong Kong has hit a new high, forcing museums back into lockdown.

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As a third wave of the novel coronavirus sweeps across Hong Kong, China's special administrative region has instituted its strictest measures yet for combatting the spread of disease, including once again shutting down the city's museums.

The government first made the decision to shutter museums in late January, during the early days of the pandemic. At the time, there were only eight confirmed COVID-19 cases in Hong Kong, six of which originated in mainland China, where the outbreak began.

Over the past week, there have been 253 confirmed cases, including 182 local infections, with a record 52 new cases on Monday, according to the South China Morning Post. There have been a total of 1,521 cases in Hong Kong, and over 13 million known cases worldwide.

Hong Kong's Leisure and Cultural Services Department issued a statement announcing the closures, saying that "the leisure and cultural venues/facilities reopened earlier will be temporarily closed starting from July 15."

Affected institutions include the Hong Kong Museum of Art, the HK Visual Arts Centre, and the University Museum and Art Gallery at the University of Hong Kong. Non-government institutions are following suit.

The West Kowloon Cultural District is closing the M+ Pavilion, where "Shirley Tse: Stakes and Holders" was scheduled to be on view through October 4, and the Liang Yi Museum is also shutting down.

The new restrictions also include mandatory face masks on public transportation and limiting restaurants to take out after 6 p.m. Prior to the current spike, the government had lifted restrictions on parties of more than eight at restaurants and permitted gatherings for up to 50 people. Now, they are limited again to four people, as was the case back in March.

This is the second time that Hong Kong has been forced to quell a new rise in case counts. The city eased restrictions in March and reopened museums on the 11th of that month-until the number of cases suddenly doubled from 157 to 317, and institutions closed again.

Art Basel Hong Kong, which was scheduled to take place this past March 19 to 21, was canceled in February.

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Hong Kong Museums Shut Down for the Third Time After Yet Another New Spike in Infections | artnet News

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As a third wave of the novel coronavirus sweeps across Hong Kong, China's special administrative region has instituted its strictest measures yet for combatting the spread of disease, including once again shutting down the city's museums. The government first made the decision to shutter museums in late January, during the early days of the pandemic.

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UK museums are back open—but visitors are staying away

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UK museums are back open—but visitors are staying away

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Our data shows that most major London art museums had many available booking slots for next-day entry despite operating reduced capacity

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Visitors are not rushing back to UK national museums, with most of them still having bookable slots for the following day, even with drastically reduced capacity. This may be good news for those wanting to enjoy museums after five months of Covid-19 lockdown-but it is discouraging for museums and financially very troubling.

To test the situation, The Art Newspaper set out to see what tickets were available for the major London art museums at the beginning of last week. Checking first thing in the morning on 24 August, we searched for free-entry tickets for the following day. Our data is for permanent collections, excluding temporary exhibitions, where ticket demand obviously depends on the subject of the show.

At the National Gallery, 17 of the 24 timed slots were available. For Tate Modern and Tate Britain's historic collection, all 27 slots had availability.

At the Victoria and Albert Museum (V&A), most slots were booked up for the next week or so. This is probably because of drastically reduced hours: 11am-3pm from Thursdays to Sundays (increasing to 11am-7pm on these days from 27 August). The V&A only reopened on 6 August, so there may also have been a short-term rush from those desperate to return. (The National Gallery reopened on 8 July and the Tates on 27 July). The British Museum opened on 27 August, with tickets being widely available after the Bank Holiday opening weekend.

So what trends are emerging with the reopenings? Unlike for temporary exhibitions, where before Covid-19 visitors would often book weeks in advance, they now frequently decide to visit permanent collections only a day or two before. The demography of those returning is interesting. At the National Gallery, at least, there has been a significant decline in the proportion of visitors aged 34 and below. This is a cause for concern, since these are obviously the museum-goers of the future.

Overall, the numbers returning to museums are still very small in this period of social distancing. Weekly data published by the UK's culture department shows that the figure is currently running at 12% of normal summer levels for national museums. A few weeks ago, just before the reopenings, they were expecting to get around 20% of pre-Covid-19 levels and Tate director Maria Balshaw told us that she was hoping for 30%. (Tate's August figure is believed to be around 15%-20%.) Front-of-house staff are certainly doing their best to welcome back and reassure visitors.

But it is still early days, and museums are hoping that there will be a substantial improvement next year with the return of tourism, reduced social distancing and greater public confidence. In the meantime, the current low numbers are having a drastic financial impact in terms of lost revenue from museum shops, catering and exhibition ticket sales.

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UK museums are back open-but visitors are staying away

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Visitors are not rushing back to UK national museums, with most of them still having bookable slots for the following day, even with drastically reduced capacity. This may be good news for those wanting to enjoy museums after five months of Covid-19 lockdown-but it is discouraging for museums and financially very troubling.

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Museums are reopening to a new audience: Locals eager to ‘travel’

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Museums are reopening to a new audience: Locals eager to ‘travel’

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The institutions are proving that cities aren’t “dead” by providing a window to travel during the pandemic.

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After More Than Three Months of Lockdown, French Museums Triumphantly Reopen to a Whole New World of Crowd Control, and Controversy

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After More Than Three Months of Lockdown, French Museums Triumphantly Reopen to a Whole New World of Crowd Control, and Controversy

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The first visitors to the Centre Pompidou last week were met with rounds of applause from the museum staff.

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It was 10:00 a.m., and the director and staff of the Museum of Modern and Contemporary Art in Saint-Étienne were both excited and nervous as they unlocked the institution's front doors for the first time in months. At two minutes past the hour, three women who had travelled there from the neighboring city of Lyon came bursting in.

"We were so pleased," said Aurélie Voltz, who personally greeted the visitors. "People had really waited for this moment." Voltz said the museum received 100 visitors that day, a significant departure from the usual 1,000 during peak season.

Across the country, French museums are finally reopening en masse. The Louvre reopens on July 6 after 16 weeks; the Centre Pompidou opened on Wednesday, July 1, with a highly anticipated show dedicated to Christo and Jeanne-Claude. Others, like the Musée Picasso, have opted to open later in the month.

The joy of reopening, however, is clouded by the serious losses suffered during lockdown and the ongoing need for crowd control. The Saint Étienne institution, which is showing a historic survey of early works by American sculptor Robbert Morris, lost €100,000 ($112,300) in income (out of a $5 million budget) and an estimated 28,000 visitors during its closure. And while it hopes the Morris show, which boasts loans from the Guggenheim and Tate, will draw visitors, it must cap attendance at 470 at any given time for the foreseeable future.

Loss on Top of Losses

Larger museums have seen even bigger shortfalls. In Paris, the Centre Pompidou incurred a loss of €1.2 million ($1.35 million) per month in ticket sales, not to mention lost revenue from gift shop and book sales.

"The reopening yesterday was a very intense and moving moment," a Pompidou spokesperson told Artnet News. "The first visitors were warmly welcomed by a round of applause." The opening also included a memorial service to the late artist Christo, who died in May, before he could see what would have been his final exhibition open to the public.

"The total attendance yesterday was about 3,000 visitors-not bad," added the Pompidou's spokesperson-around 2,000 less than a usual day. The museum estimates it can accommodate around 30 percent of normal visitor levels for the rest of the year, racking up losses of up to €20 million ($22.4 million) by December.

"The crisis has hit the cultural world very hard," Laurence des Cars, the head of the Musée d'Orsay, told the Jakarta Post upon its opening at the end of June. The museum usually attracts 15,000 people, but it will be capping attendance at 5,000 per day. "The financial loss is still hard to encompass," a spokesperson told Artnet News. They expect the losses to be into the dozens millions of euros.

Exhibition of Christo's show at Centre Pompidou. Photo: Audrey Laurans.The most hotly anticipated reopening comes on Monday, July 6, when the Louvre opens its doors. The museum's president Jean-Luc Martinez recently told the New York Times that it had incurred losses of €40 million ($45 million) during the shutdown. Only 70 percent of the galleries will be accessible upon reopening.

The calculus will continue to evolve as travel restrictions are lifted. "If Europe's borders with the rest of the world are not opened this summer, we will see an 80 percent drop in visitors," Martinez told the newspaper two weeks ago. Since then, Europe has lifted bans on Australia, Canada, Japan, Algeria, Georgia, and other countries. American tourists will not be allowed in and Chinese travelers, only provisionally. Martinez estimates it could take three years to get back to normal visitor levels.

The Only Thing to Count on Is Change

The experience of walking through museums has certainly changed in France as it heads into what is usually its peak tourist season, but so has the political climate. Museums with colonial-era collections are under the microscope now more than ever. A few weeks ago in Paris, five activists were arrested for seizing a historic African funerary object from the Musée du Quai Branly-Jacques Chirac, saying it had been looted.

Museums can count on some financial support from the government as they work to adapt and cover financial shortfalls. Several museums would not disclose the exact number they received in support but, since March, the federal government has provided €5 billion ($5.6 billion) in relief to the cultural sector (which includes the media industry as well as the arts).

Last week, the French government, which has been leading the way beside Germany with relief aid for the creative fields, announced that it would make available another €20 million ($22.5 million) to help the cultural sector reboot with what the French ministry is calling a "Summer of Culture."

Aurélie Voltz from Saint-Étienne said that while this year has already been turbulent, 2021 may prove even more difficult. "This year, I think we can make it. We had to change the program around at least 10 times but we managed not to cancel any projects," she said. Looking ahead, however, she is concerned about a major drop in funding. "When it comes to next year, I am really not sure," she said. "I am not very positive."

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After Months of Lockdown, French Museums Triumphantly Reopen to a New World of Crowd Control, and Controversy

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It was 10:00 a.m., and the director and staff of the Museum of Modern and Contemporary Art in Saint-Étienne were both excited and nervous as they unlocked the institution's front doors for the first time in months. At two minutes past the hour, three women who had travelled there from the neighboring city of Lyon came bursting in.

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So Much For 'Please Touch,' After COVID-19, Kids' Museums Will Be Less Hands-On

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So Much For 'Please Touch,' After COVID-19, Kids' Museums Will Be Less Hands-On

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It's hard enough for any museum trying to reopen right now, but children's museums face especially tough challenges. (Especially those with names like Philadelphia's Please Touch Museum, the Hands On! Discovery Center in Gray, Tenn., and the Ann Arbor Hands-On Museum in Michigan.)

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It's hard enough for any museum trying to reopen right now, but children's museums face especially tough challenges. (Especially those with names like Philadelphia's Please Touch Museum, the Hands On! Discovery Center in Gray, Tenn., and the Ann Arbor Hands-On Museum in Michigan.)

The biggest children's museums are fine for now - think San Francisco's Exploratorium, the Children's Museum of Indianapolis or the granddaddy of them all, the Brooklyn Children's Museum, which opened in 1899.

But most children's museums are neither big nor famous. Several have permanently closed since the onset of COVID-19, including the Children's Museum of the Sierra in Oakhurst, Calif., the Orpheum Children's Science Museum in Champaign, Ill., and the Children's Museum of Richmond's branch in Fredericksburg, Va.

"It's heartbreaking," says that museum's president, Danielle Ripperton. She signed the paperwork and did a final walk through earlier in June.

The Fredericksburg location was one of four run by the Children's Museum of Richmond, which says it was the first to implement a multi-branch strategy. In the early days of the pandemic, Ripperton says, the museum was compelled to lay off 42 employees across its various locations - and Fredericksburg cost $350,000 dollars in operating costs every year. "If we kept all the locations, that means the organization would not survive," she says.

The Fredericksburg branch drew 40,000 visitors last year, but depended heavily on earned revenue. Seventy percent of the museum's income came from ticket sales, birthday parties and field trips, Ripperton says, all of which have entirely dried up. Since mid-June, the state of Virginia's allowed museums to reopen, at reduced capacity, but no interactive exhibits can be put to use.

"Which for a children's museum means there's almost nothing left," Ripperton observes.

There's no way to completely sanitize dig pits and sand boxes, where little kids love to play, and it's prohibitively expensive for small museums to conduct deep cleans between tiny groups of visitors and add handwashing stations. (Interestingly, water tables are less of a public health hazard - chlorination keeps them safe.)

Laura Huerta Migus, executive director of the Association of Children's Museums, says even among museums that have reopened, families seem to be staying away.

"If they're getting 10 percent or 20 percent of what their previous attendance was, that would be successful at this point," she says, adding that what's successful may not be sustainable for many children's museums over the next year. "We are very worried that our closure rate overall in the industry might approach 30 percent," she said.

That would translate to 100 museums permanently shuttering in the Association of Children's Museums alone. And the loss to communities would be considerable, Huerta Migus says. Right now, the Children's Museum of the Treasure Coast in southeast Florida and the KidsQuest Children's Museum of Bellevue, Wash., are partnering with food banks to pass out free remote educational kits to families without internet access. Others are working with schools to create extra classroom space. The Children's Museum of Eau Claire, Wis., deployed its staff to help city agencies with early childhood needs.

"When a children's museum goes away, it's not just a fun, beautiful venue that goes away," Huerta Migus says. "It's a central community resource."

Even in the best of times, one of the challenges for children's museums was that families would stop supporting them once their kids aged out. But children's museums teach kids that museums are for everyone ... and when they vanish, they take a certain kind of future with them.

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So Much For 'Please Touch,' After COVID-19, Kids' Museums Will Be Less Hands-On

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It's hard enough for any museum trying to reopen right now, but children's museums face especially tough challenges. (Especially those with names like Philadelphia's Please Touch Museum, the Hands On! Discovery Center in Gray, Tenn., and the Ann Arbor Hands-On Museum in Michigan.)

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Les dispositifs multimédia victimes aussi du Covid-19

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Les dispositifs multimédia victimes aussi du Covid-19

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Les musées ont dû adapter, plus ou moins facilement, leurs outils de médiation multimédia pour tenir compte des nouveaux protocoles sanitaires. Les scénographies ont été partiellement repensées.

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Le hall Defrasse de Citéco, la Cité de l'économie à Paris.

France. Ce n'est que le 8 mai que le ministère de la Culture et la Direction générale des patrimoines ont publié leurs recommandations à destination des musées en vue de leur réouverture. Parmi elles, figure la désactivation des dispositifs de médiation numériques, comme les écrans tactiles et les tablettes. Supprimer les écrans, les tables lumineuses, les vidéos à choix multiples ou avec casque s'avère un casse-tête pour de nombreux musées qui ont fait le pari du tout multimédia dans leurs parcours.

Plusieurs établissements ont mené une réflexion pendant le confinement, de manière collégiale. Delphine Pinasa, directrice du Centre national du costume de scène (CNCS), à Moulins, explique que la réflexion s'est faite en interne, mais aussi avec d'autres établissements de la région : " les musées de Moulins, celui du Puy-en-Velay, ainsi que la Drac comme intermédiaire ". À Paris, le Musée Citéco (voir ill.), récemment inauguré, a aussi contacté d'autres musées pendant le mois d'avril : Sylvie Marascalchi, responsable du bâtiment et de la maintenance muséographique, cite entre autres " la cité des sciences de La Villette, qui possède beaucoup de dispositifs multimédias ". C'est à l'issue de ces consultations que ces musées ont décidé comment adapter leurs dispositifs de médiation, en fonction de leur place dans le parcours.

Limiter les manipulations directes

Si la plupart des musées ont préféré supprimer certains dispositifs, quelques-uns ont choisi de tout conserver, comme le Musée Saint-Raymond de Toulouse. D'après Lydia Mouysset, responsable du service des publics et de la communication, " il y a une quinzaine de dispositifs entre les collections et l'exposition temporaire, et ils restent tous en service ". Les visiteurs sont donc priés d'utiliser du gel hydroalcoolique avant de les toucher, précise-t-elle. Quant aux audioguides, " ils sont désinfectés après chaque usage et le texte peut être téléchargé sur smartphone ".

Lorsque les dispositifs multimédias constituent une part importante de la muséographie, les établissements ont choisi d'adapter ces outils, sans tronquer pour autant le contenu de la visite. À Citéco, Sylvie Marascalchi explique que " les visiteurs pourront utiliser un stylet fourni gratuitement pour appuyer sur les boutons ou sur les écrans tactiles ". Pour les dispositifs à manipuler avec des manettes, le musée réfléchit à " un nouvel outil, peut-être un crochet ". Enfin, il encourage les visiteurs à " modifier leurs gestes, comme appuyer sur les boutons avec le coude ". Le Musée de la Romanité à Nîmes a fait les mêmes choix. Son directeur Fabrice Revillon précise qu'un stylet " sera offert à chaque visiteur à l'entrée, et seuls les dispositifs à manipuler seront désactivés, c'est-à-dire deux sur une soixantaine au total ". Il rappelle que le multimédia joue un grand rôle surtout pour les collections archéologiques, et que le musée doit " proposer une visite qui ne soit pas dégradée " pendant la crise sanitaire.

Simplification des dispositifs

D'autres musées ont modifié quelque peu leur scénographie. Au Musée des Confluences à Lyon, les équipes ont cherché à adapter au maximum les dispositifs de médiation en l'état. Marja Laukia, directrice des expositions et des collections, précise que le musée a supprimé quelques dispositifs, mais en a conservé la plupart : " Les vidéos sont prévues pour se déclencher au passage des visiteurs avec un détecteur de mouvement, et elles tournent en boucle. " Les casques audio ont été retirés et le son sort par haut-parleurs, au risque de créer quelques interférences. Elle réaffirme que " toutes les salles et expositions du musée restent ouvertes avec un parcours fléché ". Le Musée de l'Armée à Paris a fait à peu près les mêmes choix d'après Cécile Chassagne, responsable de la mission numérique : " Pour les dispositifs fixes, nous avons choisi de mettre les vidéos en boucle, sans casque audio, et sans choix de langue pour l'instant. Les boutons poussoirs ont été neutralisés. " Un dispositif interactif plus élaboré en temps normal a été simplifié, en réduisant l'interaction entre une carte animée centrale et les écrans latéraux. Pour les audioguides, un double nettoyage est effectué entre chaque visiteur et un casque à usage unique pourrait être proposé. Cécile Chassagne évoque enfin l'Historial Charles de Gaulle, entièrement interactif, où l'audioguide est obligatoire, car il se déclenche automatiquement à certains endroits du parcours : " Il ne rouvrira qu'en septembre. Nous réfléchissons donc encore ; le problème reste le déclenchement des nombreux dispositifs tactiles. "

Neutralisation du multimédia

Il arrive enfin qu'un établissement où ces dispositifs sont peu nombreux préfère les désactiver temporairement, comme au CNCS. Delphine Pinasa exlique : " Nous avons enlevé toutes les tablettes numériques de la collection Noureev, destinées surtout aux enfants. " Elle concède que les collections du musée et les expositions temporaires constituent l'atout de l'établissement avant les dispositifs de médiation, dans la mesure où sont exposés en grand nombre " des costumes, des accessoires, des meubles et des objets liés au monde du spectacle ". Même constat au Musée de l'Armée, où " les collections se suffisent presque à elles-mêmes ", selon Cécile Chassagne.

La crise du Covid-19 et ses conséquences sur les scénographies des musées remettent donc en jeu l'utilisation du numérique et du multimédia dans les parcours de visite. À Nîmes, Fabrice Revillon rappelle que le parcours est composé " à 50 % par les collections et les objets, et à 50 % par le numérique et le multimédia ", ce qui rend donc impossible de supprimer la médiation numérique sans amputer le contenu des visites.

Pour Sylvie Marascalchi, la crise sanitaire donne aujourd'hui l'occasion de réfléchir à l'avenir de ces dispositifs : " Après les solutions à court terme, il faudra réfléchir aux usages du numérique, car l'outil est ludique, il peut s'adapter, mais il a aussi ses limites. "

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Les dispositifs multimédia victimes aussi du Covid-19 - 17 juin 2020 - Le Journal des Arts - n° 548

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France. Ce n'est que le 8 mai que le ministère de la Culture et la Direction générale des patrimoines ont publié leurs recommandations à destination des musées en vue de leur réouverture. Parmi elles, figure la désactivation des dispositifs de médiation numériques, comme les écrans tactiles et les tablettes.

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Diary of a Museum ReopeningCATEGORY: COVID-19

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Diary of a Museum ReopeningCATEGORY: COVID-19

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Knowing that many other museums have yet to reach this milestone, and may be wondering what reopening is like, I wanted to share what the experience has been like. While I am not a diarist, a diary format is the best way I can think to do that. Before I go on, I should say that we are all different both in the nature of our museums and our communities. My suggestions and timing reflect only my experiences and would need to be modified for anyone who might want to use them.

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What's it like to reopen a museum with COVID-19 precautions? One Wyoming director shares his experiences. Photo credit: Courtesy of Buffalo Bill Center of the West

As of May 7, the Buffalo Bill Center of the West is officially reopened to visitors. The BBCW is a massive AAM-accredited facility located in rural Wyoming in the Yellowstone National Park gateway community of Cody, with a budget of around twelve million dollars. We employ around eighty year-round staff, with an upswell in the three months of summer season when 80 percent of our 170,000 annual guests typically make a visit to us.

Knowing that many other museums have yet to reach this milestone, and may be wondering what reopening is like, I wanted to share what the experience has been like. While I am not a diarist, a diary format is the best way I can think to do that. Before I go on, I should say that we are all different both in the nature of our museums and our communities. My suggestions and timing reflect only my experiences and would need to be modified for anyone who might want to use them.

Day 1

We knew a closing was coming. While our town had a single case of COVID-19, fear was everywhere and the store shelves were empty. In the span of about twenty-four hours, the governor shut us down, along with other museums, rodeos, schools, and so on. Thankfully, we had a memo in the hopper to send to staff already vetted by outside counsel. I use our attorneys on all staff memos now regarding COVID-19, since I have found these memos have lives beyond our walls. We also had begun work to create signage that addresses our closing in as positive a way as we can. Big "CLOSED!" signs or yellow hazard tape on our playground is the stuff of bad social media postings. So, we opted for softer language noting that it was for the public and staff health that we closed. Messaging is truly important.

Day 7

Okay, so we have had to figure out a strategy for this. Talk about nailing Jell-O to a wall, as events change hourly! Our framework for survival is thus:

Focus on our donors, which in this case begins with our board and advisors. So, bi-weekly emails go from me to them all. Development starts making calls to everyone else, just to let them know we are concerned about them. Open the floodgates of email and phone calls!

Focus on our virtual presence. For us, this means figuring out how to excite cabin-fever-bound folks excited to come to Wyoming. (Interesting that our Google Analytics seems to show that the age of our web-visitors dropped significantly during this period.)

Get ready to reopen. We start stockpiling supplies and working on plans for sanitizing stations. Those cannot be built in a day, so it will take us some time. In the meantime, I embed the CDC guidelines in every communication we send.

Start the process of figuring out what we financially cut, since even with PPP, the impact is going to hurt. Insurance, equipment upgrades, and a host of other topics are on the block. Does a ten-year-old truck need full collision coverage?

End of month one

Skip over related stories to continue reading article Related Stories

Cripes...talk about lonely at the top. The senior management team is alone working in the building, and despite the huge size of the structure, we see each other probably too much. We are watching every press conference with the governor together in our giant empty conference room. There are myriad opinions about how we should handle everything from previously approved vacation time to recoding the time clocks. The positive in this is that it does force us to make sure our processes and procedures are really tight. Making it up as we go is not the way!

The board is remaining focused and upbeat, and checks are coming in from trustees who want to help. I am thankful, though, that our key trustees have lined up to support retaining all the staff. My messaging has been twofold about the staff: 1. We cannot gut our programs so that when we reopen we are unable to serve our audience. 2. Finding qualified replacements for staff in rural Wyoming, particularly for specialized jobs, is nearly impossible in many cases.

Two weeks later

Huzzah, so it looks like we may have a re-opening date. We had already begun meeting with the health officer and set up an internal working group to get us ready. Our strategy is easy. We want to not only meet but exceed both the requirements and the recommendations of the health department. So, we review the minimums and then get creative on how we can take that up a notch. As a result, the first and last thing visitors will see in our building is someone sanitizing. To my mind, public perceptions about cleanliness will be as important as anything we do. I call in extra cleaning staff. We spend hours on signage ensuring that we have clarity on our operations. The hard work has paid off, and in anticipation of an announcement from the governor, we put in place a seven-day countdown to get us ready to open.

Staff is back!

Well...I thought this would be a joyous day for everyone, but I sure misread that one! Most of the staff is happy to be back, and they have now disappeared into their offices. But for a small number, there is fear about the reopening, and even fury about being called back to the building. Their anger is manifesting in a campaign to pick holes in all our safety precautions, including suggesting that our cleaning and security staff should force visitors to wash their hands after using the bathroom, which seems impossible to enforce.

Then I have a countermovement from another group of staff who find the sanitation concerns to be excessive, with some even making fun of those wearing masks. It got nasty very fast between the two sides, and I had to intervene and remind everyone that teasing and bullying are not part of our values. My hope is that after we are open that emotions will calm down and we can focus on our guests.

First day open!

It has been a long week running up to this. I had the exterior of the building cleaned up so that we would look good if we had media coverage. Then the day came, and we had, drumroll please...all of about twenty-five people! In a normal year, we should have had five hundred on that day, but this is the first COVID-19-era opening for us. Still, those twenty-five not only paid to come in, but eight of them bought memberships and four of them bought raffle tickets. I saw a smattering of shopping bags leave with them as well. Half were local and half were tourists. Will their generosity hold?

15 days open!

So, the numbers are slow to rise. The reopening of the National Park has helped, for sure, but we are not tracking well. To date, we are down about ten thousand for the year, but that of course considers the eight weeks closed. Interesting that we are still selling memberships, raffle tickets, and having solid store sales. What is the story there? I think the folks who are coming in are cognizant of us being a charity and being open in tough times, and as a result they are supporting us. It is a little like giving an extra big tip to a server after seeing them for the first time in months.

Lots of lessons learned here. For us, being back open to the public is central to our mission and existence. We don't have the luxury of staying closed for protracted periods. Right now, our draft budget (July 1-June 30) has scenarios that all include lots of fundraising, and a few that contain staff reductions. I fear the latter more than anything. Having seen the effects of wanton cuts in a prior job, I know the destructive force of death by a thousand cuts. Being back open, I can at least fight to keep us intact.

The Grateful Dead were right that this is a long, strange journey. While I'm not sure Jerry and the boys were anticipating COVID-19, I think it certainly applies to what we have been through. Like all of us, those strange days when this began will forever be etched on my memory. When my grandfather died in the 1970s, we found ration stamps from World War II in his wallet. I suspect that when many of us age out, they will find cloth masks in our pockets we'd been holding on to just in case.

About the author:

Peter Seibert is currently the Executive Director and CEO of the Buffalo Bill Center of the West, located in Cody, Wyoming. An original museum geek, he was first named executive director of a museum at the age of 21. Since then he has run museums, historical societies, living history museums, and national historical organizations across the United States.

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Peter Seibert, Executive Director and CEO, Buffalo Bill Center of the West

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As of May 7, the Buffalo Bill Center of the West is officially reopened to visitors. The BBCW is a massive AAM-accredited facility located in rural Wyoming in the Yellowstone National Park gateway community of Cody, with a budget of around twelve million dollars.

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L.A. County says museums can reopen. Museums say: Mmm, not so fast

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L.A. County says museums can reopen. Museums say: Mmm, not so fast

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Los Angeles County may have announced that museums can reopen as early as Friday, but of more than a dozen institutions responding to Times inquiries, not one said it was prepared to begin welcoming visitors so soon. Most won’t open for weeks, if not months.

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Los Angeles County may have announced that museums can reopen as early as Friday, but of more than a dozen institutions responding to Times inquiries, not one said it was prepared to begin welcoming visitors so soon. Most won't open for weeks, if not months.

Southern California museums are navigating complicated health and safety protocols while also seeing to the regular work of preparing new exhibitions, caring for art, managing employees and communicating with the public.

Many museums said they need time to carefully review and implement the county's guidelines, which include limiting the number of people allowed on the premises, checking for COVID-19 symptoms such as coughing and fever, and instructing guests to use hand sanitizer and wear face coverings. Markers should be placed throughout exhibition spaces to promote social distancing, and footpaths should be arranged to promote one-way pedestrian flow, reducing crossflow. The guidelines call for more regular sanitization of frequently touched surfaces and a plan for gathering guest information for contact tracing in the event of an outbreak.

One recommendation - contactless online reservations with timed entry tickets - alone will pose a major technological and logistical challenge to institutions that don't have such a system already in place.

Among the museums that said Thursday they have not yet settled on a reopening date: the Los Angeles County Museum of Art, the Museum of Contemporary Art and the Getty, which said it expects galleries to open on a phased basis, although no specific timeline has yet been made public. The Broad said it is aiming for midsummer, and the Skirball Cultural Center said it plans to remain closed at least through June 30.

The Natural History Museum of Los Angeles County and its sister operation at the La Brea Tar Pits have targeted late summer, relying on timed tickets to help regulate the flow of visitors. The Norton Simon in Pasadena estimated reopening in late summer or early fall; the Palm Springs Art Museum, October or November.

In response to The Times query, Craft Contemporary (formerly called the Craft and Folk Art Museum) simply said it is going into planning mode this week.

Both of the University of Southern California's museums, the USC Fisher Museum of Art on campus and the USC Pacific Asia Museum in Pasadena, hope to open in tandem with the first day of fall semester, Aug. 17. But a spokeswoman cautioned, "Everything is dependent on the virus."

A spokeswoman for MOCA echoed that sentiment: "We are very mindfully and deliberately working through all the steps needed to protect our staff and our visitors. We need to take our time doing this, in order to do it right."

The Huntington Library, Art Museum and Botanical Gardens this week announced that it would reopen its sprawling gardens to the public on July 1, with a preview period for members beginning Wednesday. A spokeswoman said the San Marino institution plans to reopen the indoor galleries incrementally beginning in September.

In Orange County, the Laguna Art Museum said it was reopening Friday with limited capacity and timed-entry reservations, among other protocols.

The L.A. County checklist for museums includes five safety categories and more than 60 items that need to be managed to remain in compliance. But executing those protocols is particularly challenging when daily operations have been radically disrupted by the COVID-19 pandemic, which is responsible for nearly 70,000 cases and 2,800 deaths in L.A. County.

Exhibition schedules are in flux, and touring shows are dependent upon other institutions reopening on a patchwork schedule according to international, state or local mandates. Installing and staging new shows takes longer now that construction workers need to be social distanced. Vendors on which museums rely for online reservation systems and other services also have been hampered by the virus.

Elizabeth Merritt, vice president of strategic foresight and founding director of the Center for the Future of Museums at the American Alliance of Museums, wrote in an email that the top challenges facing museums looking to reopen include not just budgeting for, and training staff on, new sanitation and safety procedures, adding signage and installing hand-sanitation stations. It's also gauging the public's willingness to return.

The region's smaller art galleries, which also were given the green light to open with restrictions, will have an easier time limiting the number of visitors but most remain cautious. Gabba Gallery said it plans to remain virtual through July. Gemini G.E.L. plans to reopen by appointment only. Chimento Contemporary is reopening Friday, but with limited hours. Jeffrey Deitch hopes to open around July 11, but Charlie James Gallery said it is leaning toward appointment-based visits through the end of the year.

Two early test cases for the future of museum-going are Spain's Guggenheim Bilbao, which reopened in early June, and the Museum of Fine Arts, Houston, which reopened May 23. At both places, temperature checks are required for entry, masks must be worn at all times, restroom use is restricted to one person at a time, interactive displays are out and self-guided tours are in.

Although the emerging requirements for museums seem rigorous, these institutions face far fewer challenges than performing arts venues like theaters and concert halls, where social distancing - of not just audience members but also artists - is proving particularly challenging, if not impossible. On Thursday the New York Philharmonic announced that the earliest it will reopen is early 2021.

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L.A. County says museums can reopen. Museums say: Mmm, not so fast

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Los Angeles County may have announced that museums can reopen as early as Friday, but of more than a dozen institutions responding to Times inquiries, not one said it was prepared to begin welcoming visitors so soon. Most won't open for weeks, if not months.

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Advice on Reopening Museums – Reopening Museums ToolkitUpdated 19/06/20

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Advice on Reopening Museums – Reopening Museums ToolkitUpdated 19/06/20

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National guidance on reopening museums post-lockdown is being prepared by the Association of Independent Museums (AIM) and the Museum Development Network (MDN) and will be available in June 2020.

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Advice on Reopening Museums - Reopening Museums Toolkit

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In the meantime, some museums have already started thinking about reopening plans. The Reopening Museums Toolkit from the South East Museum Development team aims to support museums during these early stages of planning. The Toolkit provides practical advice and offers questions for museums to work through to help define their recovery plans.

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Réouverture des musées : où en sommes-nous ?

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Réouverture des musées : où en sommes-nous ?

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Enregistrement du webinaire d'ICOM France organisé le 14 mai 2020.
Animée par Juliette Raoul-Duval, la rencontre s'est déroulée en deux temps :

- Interventions d'Emilie Girard (MuCEM) ; Catherine Grenier (Fondation Giacometti) ; Marie Lavandier (musée du Louvre-Lens) ; Cyrille Sciama (musée des impresssionnismes - Giverny) ; Jérôme Farigoule (SMF)
- débat avec l'ensemble des participants

(3 videos total)
Site internet d'ICOM France : https://www.icom-musees.fr/

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ICOM France comité national français de l'ICOM

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Réouverture des musées : où en sommes-nous ?

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Smells like team spirit: London galleries work together to reopen from 15 June

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Smells like team spirit: London galleries work together to reopen from 15 June

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David Zwirner, White Cube, Pace, Gagosian among galleries opening their doors next week—but don’t forget your face mask

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After three months of enforced closure, a cluster of London galleries are planning to reopen by appointment on 15 June as the UK's coronavirus lockdown is gradually eased, allowing non-essential retailers to open. And, thanks to the new collaborative spirit that has seemingly emerged among galleries during the pandemic, they have been helping each other work out how to reopen while complying with social distancing guidelines.

Earlier this week, a group of 14 contemporary art galleries including David Zwirner, White Cube, Pace, Gagosian, Luxembourg & Dayan, Goodman Gallery and Hauser & Wirth sent out a joint press release-an unusual move in itself-announcing their reopening plans starting from 15 June. "We welcome visitors to return to the West End and engage with a Parcours of exciting exhibitions by leading international artists," the statement says, adding that galleries will be open by appointment only and visitors will be required to wear masks.

Goodman Gallery will reopen with a show of photographs by David Goldblatt that document South Africa's apartheid. "We wanted to reopen with an exhibition that speaks to issues of racial inequalities that the gallery has championed for 54 years." says Liza Essers, the gallery's director. Regarding the lockdown, she says: "I feel we have missed that human connection. We won't be returning to the previous normal but the intimacy of connecting with individuals in the gallery has been something I've missed. It is fulfilling for our souls-and necessary." The gallery will permit a maximum of six visitors at a time and they will be required to wear masks and have their temperatures taken.

"It has had an impact, there's no question," Essers says of the lockdown. "I'm an intuitive person so running a business without the face-to-face factor between staff, artists and collectors has impacted me personally as I'm sure for all business owners and directors around the world. It's been challenging as a leader to stay in touch over digital portals like Zoom-the human factor is lost and the culture of a business changes as a result." She adds: "A big question for me is how we will reignite connectivity in the post-lockdown new normal."

Skarstedt is also planning to reopen its St James's gallery on 15 June. "Many clients say they're being bombarded with endless PDF lists of works from galleries and online viewing rooms, but they really just want to come into a gallery and see a work in the flesh and talk about it to someone again," says Bona Montagu, a partner at Skarstedt. For now, clients can call to make an appointment and in September, the gallery is planning to use Eventbrite "to enable people to make a booking and feel comfortable about visiting without crowds."

The gallery owner Sadie Coles says the "subject of reopening and what we need to do to comply is currently the major topic" of the London Gallery Forum Whatsapp group, which was formed in March and now has around 64 galleries as members. Via the forum (which was initially started to discuss rent relief) galleries are sharing advice on resources and logistics, and finding practical solutions, such as coordinating a bulk purchase of PPE for galleries.

Coles is not planning to reopen her two London galleries until 3 July and, she says: "The main thing is I want my staff to feel comfortable about coming to work-I want them to feel the reopening is a positive experience rather than one that's going to create anxiety and worry". Visitors will be limited to between six and ten at a time and they will be instructed to go around the gallery shows in an anti-clockwise direction, Coles says. Westminster Council is also providing pavement stickers to keep queues well distanced. "All this information is coming through to us now, it's changing every day," Coles says. "If the UK government introduces Track and Trace, we will have to take people's names as they enter the gallery, so we've made a policy in case."

Jacob Twyford, a director at Waddington Custot, says the Mayfair gallery is planning to reopen on 15 June, "although I'm not expecting huge foot-fall." The gallery will restrict visitors to groups no larger thantwo, with two or three entries at any one time: "We'll also probably indicate a line to separate visitors from the reception staff, whilst making it easy to communicate. I really think the risks are minimal, if carefully managed." Twyford shares Coles's concerns over staff safety and is insisting staff "do not use public transport", while Skarstedt is also reimbursing staff who drive or use Ubers to get to work and allowing those who walk or cycle more time for their journey.

Coles says she already has appointments with a curator and two collectors to see the Sarah Lucas show at her gallery, "which never really opened" before lockdown. "You can feel there is desire [to visit]," she says. "But, of course, it will all be local for probably a very long time." Once staff are back in the gallery, Coles is planning "specific one-on-one sales conversations via Zoom with curators or collectors-I think that's more meaningful than the OVR [Online Viewing Room] stuff at the moment."

Coles says she is encouraged by talking to galleries that have already reopened in Europe about "how quickly they have got back to 'normal' and the pleasure people are getting from looking at real art again." But, she says: "I don't think we'll have private views for a long time-shows will just open." This may not be a bad thing, though, as the private view culture has become "possibly incredibly overblown" in Coles's view.

Remarkably, there are new galleries opening too: last month Max Hetzler opened a third gallery in Berlin; tomorrow, 5 June, Eva Presenhuber will open a new space in Zurich; on 18 June, Xavier Hufkens opens a third Brussels gallery and Stuart Shave is opening a second gallery in London's St James's.

However, with such a long time out of business due to lockdown, there will inevitably be some gallery casualties. At the moment, it is too soon to say who they are because, as Coles remarks: "It's one thing to be on pause, but once you reopen all the costs come back-that's when liquidity will become a problem."

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Smells like team spirit: London galleries work together to reopen from 15 June

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After three months of enforced closure, a cluster of London galleries are planning to reopen by appointment on 15 June as the UK's coronavirus lockdown is gradually eased, allowing non-essential retailers to open. And, thanks to the new collaborative spirit that has seemingly emerged among galleries during the pandemic, they have been helping each other work out how to reopen while complying with social distancing guidelines.

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French museums reveal plans to re-open in June and July

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French museums reveal plans to re-open in June and July

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Louvre is "is working towards a planned reopening on 6 July" with strict rules for social distancing and 70% of the museum open to the public

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French museums reveal plans to re-open in June and July

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As of one of the strictest lockdowns in Europe begins to ease, French museums and public monuments will reopen gradually in June and July, the country's Culture Ministry has announced.

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As we respond to the impact of a global pandemic, cultural institutions will be facing the challenges that come with reopening an institution after an extended closure. The Visitor Experience Group (VEX) has taken a number of steps to help individuals and institutions plan their reopening.

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As we respond to the impact of a global pandemic, cultural institutions will be facing the challenges that come with reopening an institution after an extended closure. The Visitor Experience Group (VEX) has taken a number of steps to help individuals and institutions plan their reopening.

One resource we are offering is a phased reopening plan. We created this document to serve as a starting point and would encourage individuals and institutions to make a copy of this document and use it as a foundation to plan their reopening. View the phased reopening plan here.

Another resource we are offering is our VEX Ed Webinar series. We have moved our webinars away from the traditional lecture to instead focus on open discussion and design challenges designed to encourage the sharing of ideas across institutions, foster a dialogue around visitor experience issues that may arise, and come up with creative solutions as a team. Recordings and chat transcripts from those webinars can be found below.

May 29, 2020 Reopening Discussion

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As we respond to the impact of a global pandemic, cultural institutions will be facing the challenges that come with reopening an institution after an extended closure. The Visitor Experience Group (VEX) has taken a number of steps to help individuals and institutions plan their reopening.

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This Berlin theatre shows what socially-distanced entertainment might look like

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This Berlin theatre shows what socially-distanced entertainment might look like

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The world is slowly reopening in the wake of the COVID-19 pandemic, and many people are wondering how entertainment venues will deal with the requirement for social distancing going forward. One theatre in Berlin has removed 500 of its 700 seats, and the images show what we might expect when we attend cultural events in the future.

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The world is slowly reopening in the wake of the COVID-19 pandemic, and many people are wondering how entertainment venues will deal with the requirement for social distancing going forward. One theatre in Berlin has removed 500 of its 700 seats, and the images show what we might expect when we attend cultural events in the future.

The Berliner Ensemble theatre group is based at Theater am Schiffbauerdamm, which opened in 1893. It was established in East Berlin in 1949 by playwright, poet and theatre director Bertolt Brecht and his wife, actress Helene Weigel. The group removed the seats to examine how social distancing can be achieved when the theatre reopens in September. Every second row has been taken away and the remaining seats have been arranged either individually or in pairs.

"For me, the new seating is an expression of a longing to return to the stage," says artistic director Oliver Reese, who wants to assure audiences that the ensemble will perform with the same energy for its future audience of 200 as it does for 700 people. "We are currently trying out various measures and are approaching a return step by step, and we want to deal flexibly with new experiences and react quickly to changing conditions."

Other safety measures include a contactless checking of tickets, a requirement for audiences to wear masks until they reach their seat and the implementation of a crowd management system during entry and exit. An added bonus is that seats that have been removed will be renovated. "And as soon as it is possible and allowed again, we will immediately reinstall the chairs," Reese tweeted. "Completely overhauled and without the familiar, annoying creak - I promise!"

You might also like:

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Berlin theatre revamped for socially-distanced entertainment

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The Berliner Ensemble theatre group is based at Theater am Schiffbauerdamm, which opened in 1893. It was established in East Berlin in 1949 by playwright, poet and theatre director Bertolt Brecht and his wife, actress Helene Weigel. The group removed the seats to examine how social distancing can be achieved when the theatre reopens in September.

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Shops and zoos set for relaunch as museums left in the dark over future

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Shops and zoos set for relaunch as museums left in the dark over future

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Business secretary Alok Sharma has confirmed that shops, department stores and shopping centres – all indoor spaces with limited room for people to roam – can reopen from Monday 15th June, “provided they put in place the necessary steps to keep their workers and customers safe”. (...) As yet, no date has been confirmed to enable museums and galleries to follow this Tigger style financial recovery.

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Business secretary Alok Sharma has confirmed that shops, department stores and shopping centres - all indoor spaces with limited room for people to roam - can reopen from Monday 15 th June, "provided they put in place the necessary steps to keep their workers and customers safe".

This, Sharma states, is the "latest step in the careful restarting of the economy and will enable high streets up and down the country to spring back to life".

As yet, no date has been confirmed to enable museums and galleries to follow this Tigger style financial recovery.

After much public pressure, zoos and safari parks have now been given the green light to welcome visitors. A relatable experience for so many museums, these sites have been living on their nerves while awaiting news about when they can bring essential funds back into their businesses.

🙌 YOU DID IT! 🙌

A week ago we were in despair, not knowing when we would reopen, or if we could even survive much longer...

BUT YOUR VOICES HAVE BEEN HEARD! 📣

We have JUST received the news that we'll be able to open safely from 15 June. pic.twitter.com/R0Nar3Z8Z3

- Chester Zoo (@chesterzoo) June 9, 2020

With these open-air visitor attractions and indoor retail units deemed safe, why not museums?

A primary example of the disconnect in the government's stance is evident at Covent Garden, where a raft of shops will be reopening on Monday while their neighbour, London Transport Museum, will remain shut.

The likes of Chanel, Charlotte Tilbury, Dior and Tiffany & Co. will all welcome shoppers again, assuming their co-operation with measures such as marked queuing systems, social distancing signage and hand sanitiser being made available.

Covent Garden's renowned Market Building will also be equipped with a new one-way system to minimise the risk to public health. Cleaning practices, which have been ramped up in preparation for next week, will be stepped up even further once restaurants are given the all clear to reopen. A frequently sanitised seating area will then be launched to allow eateries to go al fresco.

It's certainly not the case that museums are any more casual about Covid safety measures than their retail counterparts. London Transport Museum has, for example, been "putting in place social distancing measures, enhanced cleaning, updated signage, pre-visit content and timed tickets to help people feel welcome and stay safe," explains its director, Sam Mullins OBE.

"We are also exploring how our popular programme of events and family activities can be adapted for people to enjoy not just at our Covent Garden Museum, but also our Depot in Acton," Mullins adds.

"We are awaiting Government and public health guidelines on when cultural attractions and heritage sites can reopen and look forward to welcoming people back to the Museum as soon as it's safe to do so." The Museum will keep visitors updated on development via its blog.

Despite the best efforts of London Transport Museum and countless other venues, exploring an exhibition remains a frivolity too far it seems. Picking up the latest £2,400 Dior cocktail dress for all the summer parties that will inevitably be postponed due to the pandemic is, however, far more essential.

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Shops and zoos set for relaunch as museums left in the dark over future - Museums + Heritage Advisor

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Business secretary Alok Sharma has confirmed that shops, department stores and shopping centres - all indoor spaces with limited room for people to roam - can reopen from Monday 15 th June, "provided they put in place the necessary steps to keep their workers and customers safe".

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Some London Galleries Prepare to Reopen by Appointment Next Week as the City Lifts Its Ban on Non-Essential Retail Businesses

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Some London Galleries Prepare to Reopen by Appointment Next Week as the City Lifts Its Ban on Non-Essential Retail Businesses

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Galleries in London’s West End have decided collectively that they will open by appointment only. Social distancing will be observed, and visitors are encouraged to bring their own masks, or will be given them on arrival.

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After trade associations successfully lobbied the UK government to include art galleries alongside other "non-essential retail" businesses in its plan to ease lockdown restrictions, a dozen central London galleries have announced that they will reopen on June 15.

Galleries in London's West End have decided collectively that they will open by appointment only. Social distancing will be observed, and visitors are encouraged to bring their own masks, or will be given them on arrival.

"I know that our members are looking forward to opening their doors again after the long lockdown," Christopher Battiscombe, the director general at Society of London Art Dealers, said in a statement. "Much as they have enjoyed doing business online, it will be great for them to be able to meet their customers face to face again and we are confident that this can be done safely while observing all the necessary precautions."

Galleries reopening on June 15 include White Cube Mason's Yard, Thomas Dane Gallery, Luxembourg & Dayan, Holtermann Fine Art, Stephen Friedman Gallery, Gagosian, Goodman Gallery, Hauser & Wirth, Annely Juda Fine Art, Pace Gallery, Simon Lee Gallery, Skarstedt, Sprüth Magers, Galerie Thaddaeus Ropac, and David Zwirner.

"Opening by appointment only allows for high-security standards and greater social distancing control," a spokesman for Pace Gallery tells Artnet News, adding that it will also make it easier to make adjustments to the protocol if they are needed by the end of June.

The gallery will be reopening its James Turrell exhibition (through August 14), and is also considering installing a new work by the artist that it hopes will offer visitors a moment of solace in the current atmosphere. The next step for Pace will be to gradually offer more availability for the public to book viewing slots on Eventbrite, which it used previously for its teamLab exhibition in 2017.

The gallery is meanwhile following government regulations on best practices in its other locations, open by appointment only in Geneva and with limited capacity in Hong Kong and Seoul. "An interesting point about London though, is the sense of unity amongst galleries," the spokesman said. "Reopening is a concerted effort and we've had several conversations with neighboring galleries, colleagues and friends, to make the best decision, share good practice and coordinate this process."

The gallery hopes to reopen its two locations in Manhattan by appointment later in the summer, ahead of a public reopening in the fall.

Meanwhile, Goodman Gallery is planning a "soft opening" on June 15, offering appointments to view selected works while it deinstalls its Shirin Neshat exhibition. "We felt that it would be important to reopen with something new that would speak to this moment," a gallery spokeswoman tells Artnet News, referring to the global Black Lives Matter demonstrations protesting the killing of a black man in the US, George Floyd.

In July, the gallery will open a major presentation of photographs by the South African artist David Goldblatt. The show will be Goldblatt's first solo exhibition in London since 1986, when he showed work at The Photographers' Gallery. It will be a presentation of the photographer's documentation of the fight for racial equality and social justice grounded in the images he took in his hometown of Johannesburg. "We felt that this was an important moment to bring his work to the London audience," the spokeswoman said.

The gallery will be taking visitor's temperatures, a decision influenced by the similarly cautious approach the government has advised businesses to take in its home country of South Africa.

Stephen Friedman Gallery will reopen its Andreas Eriksson show, but will also be responding to the moment by showing a timely sculptural installation by Yinka Shonibare, titled Justice for All, in its main gallery window, looking onto Old Burlington Street. The sculpture is a postcolonial re-configuration of FW Pomeroy's golden Lady Justice, which looms over London's Central Criminal Court.

"In light of the events of the past weeks and the Black Lives Matter movement, Stephen Friedman Gallery has been amplifying its artists voices in solidarity with the cause," the gallery's director of sales, Mira Dimitrova, tells Artnet News. "We therefore decided it was timely and necessary to show Yinka Shonibare CBE's powerful work Justice for All- its message couldn't be more apt." The gallery's lights will also remain on 24/7, making the work visible to the public even at night.

Elsewhere, Galerie Thaddaeus Ropac will reopen its Hito Steyerl exhibition as well as present highlights from its Art Basel online viewing room, and David Zwirner will reopen its shuttered Paul Klee and Bridget Riley exhibitions. But it will be a while before London's art scene is back to its old self. The city's wealth of museums are unlikely to open for a while, with Tate saying it hopes to reopen at the beginning of August, and the British Museum telling Artnet News that it has no firm dates for reopening yet.

"The strength of London's art community is the combination of both galleries and outstanding institutions," Neil Wenman, a partner at Hauser and Wirth, tells Artnet News. The gallery will reopen its Isa Genzken and Alina Szapocznikow shows on June 15. "In this moment, people are looking for intimate encounters with art, which we can offer in our London space. This is a vital first step but I can't wait until the museums are able to join us and reopen safely as well. I'll be first in line!"

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

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Some London Galleries Prepare to Reopen by Appointment Next Week as the City Lifts Its Ban on Non-Essential Retail Businesses

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After trade associations successfully lobbied the UK government to include art galleries alongside other "non-essential retail" businesses in its plan to ease lockdown restrictions, a dozen central London galleries have announced that they will reopen on June 15. Galleries in London's West End have decided collectively that they will open by appointment only.

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Riaprono i grandi musei in Spagna: Prado, Reina Sofia, Thyssen e gli altri

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Riaprono i grandi musei in Spagna: Prado, Reina Sofia, Thyssen e gli altri

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RIAPERTURA DEI GRANDI MUSEI IN SPAGNA, ANCHE SE A CAPIENZA LIMITATA. A MADRID IL PRADO PROPONE UN ALLESTIMENTO RIDOTTO, INEDITO MA SORPRENDENTE.

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Riapertura dei grandi musei in Spagna, anche se a capienza limitata. A Madrid il Prado propone un allestimento ridotto, inedito ma sorprendente.

Malgrado l'assenza totale di turismo straniero, la Spagna culturale scalda i motori per un graduale ritorno alla normalità post Covid-19. Dall'ultima settimana di maggio, dipendendo dalle condizioni sanitarie delle regioni di appartenenza, la maggior parte dei musei spagnoli, grandi e piccoli, pubblici e privati, sta riaprendo al pubblico,seguendo le norme di sicurezza ediigiene dettate dal Ministero di Cultura e di Sanità .

IL DNA DEL PRADO IN 250 CAPOLAVORI DA CAPOGIRO

I grandi musei, si sa, hanno grandi risorse, e non solo economiche. Nonostante la chiusura forzata e il calo del turismo straniero (l'85 % del pubblico) abbiano causato finora una perdita di circa 7 milioni di euro, il Prado non si arrende e sceglie una nuova via per ritrovare il suo pubblico. Si intitola " Reencuentro la formula che la direzione del museo ha adottato per riaprire il 6 giugno, dopo aver messo a norma anti-Covid l'edificio del Villanueva (dove la qualità dell'aria è classificata IDA1, come negli ospedali) e concordato con i sindacati misure che riducono i rischi per il personale e i visitatori. Il Prado che si visiterà fino al 13 di settembre non è lo stesso museo" dichiara il direttore Miguel Falomir. " Vogliamo offrire un'esperienza diversa, indimenticabile, anche se con un numero limitato di sale aperte. Abbiamo messo la bellezza al servizio del museo, creando un percorso di visita alla collezione permanente con i criteri di un'esposizione temporanea. L'essenza delle Collezioni Reali è condensata in 250 opere, un quarto del museo attuale, evocando la museografia del 1819, anno della sua apertura" conclude Falomir. Intorno all'asse vertebrale della galleria centrale e alle sale adiacenti - al primo piano, con entrata unica dalla scalinata della porta di Goya - è stato riallestito un percorso di visita lineare, di carattere cronologico, ma libero dalle rigidità delle cosiddette scuole nazionali. In quest'ala del museo, infatti, l'architettura del Villanueva, con i suoi ampi spazi, permette di accogliere un massimo di 1800 visitatori al giorno (un po' meno del 30% dell'affluenza normale), garantendo il distanziamento sociale.

PRADO: COSA CAMBIA

Che qualcosa è cambiato, al Prado, si percepisce del resto già all'ingresso. La statua bronzea di Leone Leoni, al centro del vestibolo, è stata spogliata dell'armatura: l'imperatore Carlo V, per la prima volta dopo anni, è rimasto nudo. Cosi, compatibilmente con lo stato di conservazione, alcuni capolavori imprescindibili del Prado hanno traslocato dal pian terreno al primo piano: sono L'inedita proposta espositiva è un raffinato gioco di specchi e di riflessi, di associazioni estetiche, quadrerie tematiche e dialoghi immaginari fra autori e opere appartenenti anche ad epoche o realtà geografiche diverse. Una selezione è comunque una riduzione, che nel caso del Prado significa l'assenza di centinaia di dipinti altrettanto significativi e imperdibili. Per molti, però, sarà l'occasione unica di osservare con uno sguardo nuovo, diverso, capolavori noti o meno noti della grande pinacoteca madrilena. Apparentemente immutata, la sala 12, il Nel DNA del Prado è custodito anche il carattere spesso autoreferenziale delle sue collezioni. Un solo esempio: lo stesso soggetto, El Dos e El tres de Mayo di Goya, l' sancta sanctorumdedicato a Velásquez, riunisce per la prima volta dal 1929 Saturno che divora un figlio,dipinto da Rubens prima e da Goya poi. Poter ammirare ora entrambi i quadri uno accanto all'altro è un privilegio impagabile. Las Hilanderase Los Borrachos con Las Meninas. Annunciazione di Beato Angelico o la Deposizione di Roger Van der Weyden, Antonello da Messina e Mantegna, Adamo ed Evadi Durer e qualche Pinturas Negras di Goya. Grandi tele, poi, hanno guadagnato uno spazio di rilievo sotto la luce naturale della galleria centrale: come Las Lanzasdi Velásquez, circondata da ritratti equestri, o la Danae di Tiziano, immersa tra le sensualità femminili di Rubens.

REINA SOFIA, THYSSEN E GLI ALTRI MUSEI

La maggior parte delle istituzioni culturali spagnole ha già riaperto o si appresta a riaprire riproponendo le mostre temporanee interrotte nel mese di marzo: come il ), il Centro Botín di Santander (Amri Sala), il Guggenheim di Bilbao (Olafur Eliasson) e a Madrid il Thyssen ( Rembrandt e il ritratto ad Amsterdam fra il 1590 e il 1670 Reina Sofia(con la mostra di Mario Merz al Retiro) o la Fundación Mapfre (Giacometti e Rodin). Altri musei hanno preferito invece puntare sulla collezione permanente, in parte o totalmente visitabile, offrendo talora nuovi itinerari o approfondimenti tematici. E' il caso dell'Ivam di Valencia (collezione Pop Art) o del Museo Picasso di Malaga (Picasso Colleción 2020-23). C'è poi chi riduce del 50% il prezzo dell'ingresso per incentivare la visita del turismo locale (come il Reina Sofia, il Prado e il Macba di Barcellona); o chi addirittura offre l'entrata gratuita fino al 31 luglio, come la rete dei musei gestiti direttamente dal Ministero di Cultura, quali l'Archeologico Nazionale, quello di Scultura di Valladolid o il Museo Sorolla di Madrid, che riaprono i battenti a partire dal 9 giugno. Ma sono soprattutto le istituzioni culturali private ad essersi dimostrate più fiduciose nel futuro - un esempio la rete degli otto Caixaforum sparsi per la penisola - riprendendo il programma espositivo interrotto dall'epidemia e riorganizzando le scadenze in calendario. Al Guggenheim di Bilbao, per esempio, il primo giugno ha aperto la mostra di Lycia Clark, prevista per metà marzo; Bombas Gensa Valencia ha inaugurato invece l'installazione site specific di Inma Femenia; Caixaforum a Madrid offre da qualche giorno una mostra dedicata al mito e all'immagine dei vampiri nel cinema.

OBBLIGO DI MASCHERINE, BIGLIETTI ONLINE E CAPIENZA LIMITATA

Ma come sarà in concreto la visita al museo nell'era post Covid-19? A Madrid, a parte qualche piccola variazione negli orari d'apertura (riscontrabili nelle rispettive pagine web), il Museo Reina Sofia, il Thyssen e il Prado riaprono con una serie di restrizioni comuni, a partire dall'obbligo di indossare la mascherina. Si raccomanda l'acquisto dei biglietti online anche negli orari di gratuità (nel caso del Prado, vendita esclusiva sulla pagina web e 24 ore prima del giorno prescelto); ingressi contingentati per fasce orarie; servizio di guardaroba sospeso, niente visite di gruppo né attività educative; no ad audio-guide e assenza totale di materiale grafico cartaceo. Tutti gli strumenti per una visita guidata sono disponibili nella pagina web di ogni museo e, nel caso, si possono scaricare a casa o sul proprio smartphone. Shop e caffetterie, invece, tornano ad aprire. Il Thyssen punta sull'attrattiva della mostra dedicata a Rembrandt e al ritratto olandese, aperta con successo in febbraio e prorogata per tutta l'estate, insieme con l'esposizione di TA21 dedicata ai progetti marini dell'artista americana Joan Jonas. Il Reina Sofia, invece, limita per ora l'accesso del pubblico al secondo piano dell'edificio di Sabbatini, con le opere di Dalí, Miró, del Cubismo e del Surrealismo; in ogni sala i mediatori culturali sono disponibili per domande e approfondimenti. Al piano terra, sono visibili le opere di Richard Serra e Juan Muñoz, ma anche il giardino con la scultura Carmen di Calder. Nella sala del Guernica possono sostare però al massimo trenta persone alla volta (di solito sono una novantina). Contingentato anche l'accesso alle singole sale del Prado, soprattutto nell'affollata sala 12 de Las Meninas. Nei prossimi mesi dunque, e chissà fino a quando, l'esperienza presenziale al museo cambierà un po' ovunque in maniera significativa: sarà talora ridotta dal punto di vista quantitativo, ma senza dubbio più intima e intensa dal punto di vista qualitativo.

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La Fase 2 dei Musei in Spagna | Artribune

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Riapertura dei grandi musei in Spagna, anche se a capienza limitata. A Madrid il Prado propone un allestimento ridotto, inedito ma sorprendente. Malgrado l'assenza totale di turismo straniero, la Spagna culturale scalda i motori per un graduale ritorno alla normalità post Covid-19.

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The Guggenheim Bilbao reopens in COVID-hit Spain. For U.S. museums, a template?

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The Guggenheim Bilbao reopens in COVID-hit Spain. For U.S. museums, a template?

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The Guggenheim Bilbao reopened Monday — the first major cultural institution in Spain to do so since coronavirus closures in mid-March — and the very first stop for the 80 visitors who came that day? Temperature checks upon arrival.

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The Guggenheim Bilbao reopened Monday - the first major cultural institution in Spain to do so since coronavirus closures in mid-March - and the very first stop for the 80 visitors who came that day? Temperature checks upon arrival.

With the coat check closed so as not to spread germs, mask-clad visitors carried their belongings on self-guided tours, using a Guggenheim app downloaded to their phones - just a few of the new safety measures in place at the art museum.

"It's weird, in a way, we're operating under these new circumstances," said museum Director Juan Ignacio Vidarte. "But it's a first step and we're very excited about moving forward."

The Frank Gehry-designed museum,in the Basque Country of northern Spain,is allowing a maximum of 400 visitorsinside at any one time - 25% of its capacity - for timed visits. Guests are encouraged to reserve and pay for admission in advance online.Wearing masks indoors is mandatory.The flow of foot traffic has been revamped, charted as a single route through the museum - from the top floor, down - marked by graphic floor decals, like arrows, and wall signage.

Similar measures have been taken at the first U.S. museums that have reopened recently, including theMuseum of Fine Arts, Houston on May 23 and the San Antonio Museum of Art on May 28.

Most U.S. museums, however, including the Metropolitan Museum of Art and Museum of Modern Art in New York, the Art Institute of Chicago and the biggest institutions in L.A. have yet to reopen. When they do, chances are, American Alliance of Museums President Laura Lott said, the museum-going experience will look similar throughout the U.S.

"The timing is different," Lott said of museum reopenings, "but what [institutions] are doing in terms of reduced capacity and new safety measures that minimize or avoid person-to-person contact and enhanced sanitizing and cleaning protocols, that seems to be fairly consistent across museums opening now and in the coming weeks."

At the Guggenheim Bilbao, a 15- to 20-person task force representing nearly every department at the museum began mulling reopening as soon as the museum closed March 14. The number of coronavirus cases in Spain is approaching 300,000, with more than 27,000 deaths. It's among the countries in western Europe hardest hit by the virus, second behind Britain in case count and second behind Italy in deaths.

The museum worked with health authorities and local government officials on precautions, such as keeping visitors two meters (about 6½ feet) apart, more frequent and rigorous cleaning and disinfectant protocols and providing hand sanitizer to guests. It also conducted a "detailed analysis" of the museum's unique needs, Vidarte said.

"We had to go through a 360 exercise," Vidarte said, "involving curators, conservation, security, human resources, legal, visitors services, marketing, to understand all the variables that needed to be addressed."

The museum swapped out display touchscreens and headphones for speakers that play soundtracks out loud, on a loop. It imposed additional social distancing restrictionson immersive, interactive works, such as Richard Serra's "sculptural field" titled "The Matter of Time,"which viewers walk through and around, and artist Jenny Holzer's granitebenches,which visitors can no longer sit on.

The museum is showing a retrospective of Danish-Icelandic artist Olafur Eliasson. The exhibition features several immersive, experimental installations. One is a room filled with dense fog that changes colors. Typically about 30 or more people would cram together inside. Now? One individual, or one so-called "family unit," at a time.

Which some visitors may see as an upside of the COVID 19-imposed circumstances, Vidarte said.

"It's a unique opportunity to experience the museum with much less people and see works of art more intimately," he said.

Public programs are on hold until at least the fall. To enforce social distancing, the museum's cafe and restaurant are closed for now.

Privacy in the bathroom? Not a problem: Restrooms are restricted to one person at a time.

Some social distancing measures - such as timed visits and reduced visitor capacity, offset by extended operating hours - may outlive the crisis, Vidarte said, as they improve the visitor experience. And during the closure, he added, the museum strengthened its digital presence. "It was already a path we were going down, but it's shown us that there are many ways we can use technology to enhance our mission and our mandate."

The Guggenheim Bilbao typically receives about 1 million visitors a year, 70% of whom are tourists. This year it's expecting 15% of its normal summer attendance - a loss of about 3 million euros, or about $3.4 million in revenue. Vidarte said he expects summer visitors "will be coming locally or from other areas in Spain or closer parts of Europe, like France."

The museum is offering perks to locals. Members may invite a friend to attend for free. With the price of admission, non-members may become members for the summer. (Typically, membership is 40 euros, or about $45, for the year.)

"We're trying to lure them to come back," Vidarte said. "People are afraid to be in enclosed spaces, surrounded by people, and we want them to recover confidence."

When the Museum of Fine Arts, Houston opened last week, nearly 500 visitors came the first day - about 7% of its capacity. Director Gary Tinterow said he expected pushback from guests complaining about having to wear masks, get their temperatures checked upon entry or practice social distancing, but the opposite turned out to be true.

"Everyone was respectful and mindful of our safety requirements and almost everyone expressed gratitude," he said. "Some people cried in the galleries; some wrote notes about how grateful they were to return to a place that was so meaningful to them."

That response may be a harbinger of things to come elsewhere, Tinterow added.

"Museum-goers, for the most part, are respectful individuals," he said. "It's not like a spring break party on the beach. There's a particular code of behavior at museums and that happily facilitates proper health measures for COVID."

No matter what safety measures individual museums take, reopening is "a poignant moment, a moment of recovery," Vidarte said. "Museums provide spaces for inspiration and enjoyment and healing and we are happy to be providing that right now."

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The Guggenheim Bilbao reopens in COVID-hit Spain. For U.S. museums, a template?

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The Guggenheim Bilbao reopened Monday - the first major cultural institution in Spain to do so since coronavirus closures in mid-March - and the very first stop for the 80 visitors who came that day? Temperature checks upon arrival.

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Museum to launch digital storytelling project using data about the movement of people during lockdown

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Museum to launch digital storytelling project using data about the movement of people during lockdown

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As part of a brand new public engagement initiative around the environmental impacts of Covid-19, the Natural History Museum is collaborating with data visualisation company Beyond Words to illustrate how the movement of people has altered during lockdown.
Using a variety of open source data, the Museum will engage people with the dramatic societal changes that have taken place since lockdown measures were announced on 23 March.

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LONDON .- As part of a brand new public engagement initiative around the environmental impacts of Covid-19, the Natural History Museum is collaborating with data visualisation company Beyond Words to illustrate how the movement of people has altered during lockdown.

Using a variety of open source data, the Museum will engage people with the dramatic societal changes that have taken place since lockdown measures were announced on 23 March.

Through compelling infographics, articles, videos and social media which bring this data to life, the Museum will crowdsource perspectives from the public to discover which three environmental impacts of the lockdown they are most interested in. The project, which has received funding from the Natural Environment Research Council, will culminate in a live interactive online event in which audiences can pose questions to young and emerging researchers about those topics.

The Natural History Museum's Executive Director of Public Engagement Clare Matterson says: "From goats colonising deserted streets in Wales to cleaner air and clear skies in London, the Covid-19 pandemic has presented an unprecedented view of our world with minimal human presence. We want to use this new appreciation of the human impact on the natural world to enhance understanding of our role in the interconnectedness of nature and excite people about the possibilities of environmental science. It is also an incredibly valuable listening exercise - an exciting opportunity to find out which environmental impacts the public care most about to help shape not only future exhibitions, and events but also scientific research projects."

The project will draw on the unique strengths of the Museum which is both a world-leading scientific research centre and one of the most visited tourist attractions in the UK. A number of the Museum's departments will be involved such as the digital team, whose output reached a diverse and broad audience of 14 million via the website in 2019, its audience research and advocacy and science communicator teams - as well as drawing on the expertise of its 300 scientists.

Duncan Swain, Partner and Creative Director, Beyond Words says: "Beyond Words Studio specialises in telling very human stories with data - and what could be more human than tracking the shifts in people's movements and habits since COVID-19 has spread across the world? It's an amazing opportunity to be able to explore datasets with the Natural History Museum's scientists, and we're super-excited to create some beautiful visualizations of the changing impacts we're all having on the environment around us."

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Museum to launch digital storytelling project using data about the movement of people during lockdown

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LONDON .- As part of a brand new public engagement initiative around the environmental impacts of Covid-19, the Natural History Museum is collaborating with data visualisation company Beyond Words to illustrate how the movement of people has altered during lockdown.

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Bordeaux culture : réouverture des établissements culturels

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Bordeaux culture : réouverture des établissements culturels

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Depuis la crise sanitaire, la ville de Bordeaux a fait du maintien de l'accès à la culture pour tous, l'une de ses priorités. Elle a déployé le plan Gardons le lien avec la culture auquel participent l'ensemble des établissements culturels municipaux et de nombreux acteurs culturels locaux. Depuis la sortie du confinement, la programmation se poursuit et s'amplifie et les musées rouvrent progressivement dans le respect des règles sanitaires, dont le port du masque obligatoire.

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Les impromptus musicaux
Mis en oeuvre durant le confinement, les impromptus musicaux se poursuivent dans les 8 quartiers de la ville jusqu'à la fin du mois de juin. Une série de propositions éclectiques, classique, jazz, folk, chanson, musique du monde, etc.
Deux à trois impromptus hebdomadaires sont proposés par quartier, en pieds d'immeubles, de résidences seniors ou sur des places publiques, pour offrir un moment de partage et recréer du lien.

Des impromptus théâtraux et circassiens
Des interventions artistiques, organisées jusqu'au 5 juin, perlées de Crazy R et de la Smart compagnie pour faire rêver le temps d'un instant, autour de duos conjuguant acrobatie, jonglage et danse.

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Bordeaux culture : réouverture des établissements culturels

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Publié le mercredi 20 mai 2020 à 16h15 Mis à jour le mercredi 3 juin 2020 à 14h ​Depuis la crise sanitaire, la ville de Bordeaux a fait du maintien de l'accès à la culture pour tous, l'une de ses priorités.

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76e D-Day. Le virus altère peu l’expérience du D-Day

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76e D-Day. Le virus altère peu l’expérience du D-Day

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À Carentan-les-Marais, dans la Manche, le D-Day Experience, musée dédié aux parachutages, est ouvert pour le 6 juin, pour des visites quasi complètes.

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French museums reveal plans to re-open in June and July

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French museums reveal plans to re-open in June and July

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Louvre is "is working towards a planned reopening on 6 July" with strict rules for social distancing and 70% of the museum open to the public

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As of one of the strictest lockdowns in Europe begins to ease, French museums and public monuments will reopen gradually in June and July, the country's Culture Ministry has announced.

The Louvre-Lens, 200km north of Paris, will be one of the first to open its doors next Wednesday, 3 June, with Black Suns, an exhibition on the history of the colour black in painting (until 25 January, free entry throughout June).

The Château de Versailles will follow suit on 6 June, then Paris's Musée du Quai Branly (on 9 June) and the Musée d'Orsay on 23 June, with a James Tissot show. The Centre Pompidou and the Grand Palais (the latter with an exhibition on Pompei) will open on 1 July, with the Musée Guimet and Musée Rodin a week later.

Meanwhile, the Louvre "is working towards a planned reopening on 6 July", its chairman Jean-Luc Martinez tells The Art Newspaper today. He indicated that "70% of the space, representing 65,000 square meters of galleries, will be accessible".

Strict rules will still apply. Although parks and gardens, such as Versailles or the Tuileries, will be open this weekend, playgrounds remain closed and gatherings of more than ten people prohibited. Museums will give priority to online reservations booked for a specified time. Masks will still be compulsory.

A signposted routing system will be set up in the Louvre to avoid visitors crossing each others paths. Attendance in the Monna Lisa's room will remain subject to physical distancing rules and the museum's show on artists' self portraits will continue throughout the summer. The 2020 star exhibition, dedicated to Italian Renaissance sculpture from Donatello to Michelangelo, has been postponed to October and will continue until January, before going to Milan, says Martinez who praises the "international cooperation between museums, which has allowed the renewal of loans". The exhibition on the Renaissance German artist Albrecht Altdorfer, initially planned for this spring, will be held at the same time.

Visited by some 10m people each year, the highest museum attendance in the world, the Louvre is a special case. Martinez expects this figure to collapse this summer, with foreign visitors (who make up more than 75% of attendance) predicted to stay away. About half of the museum's budget relies on entries and commercial revenues. Martinez declines to give details of the losses suffered so far this year, but they will be considerable-during lockdown, the museum had to refund 70,000 online reservations and secure 800 works on loan around the world. But between 12 March and 21 May, traffic to its website reached a record 10.5m visits in 71 days, 17% of them from the US.

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French museums reveal plans to re-open in June and July

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As of one of the strictest lockdowns in Europe begins to ease, French museums and public monuments will reopen gradually in June and July, the country's Culture Ministry has announced.

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Museums and Art Galleries in Seoul Shut Down Again as the City Sees a Second Wave of Coronavirus Cases

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Museums and Art Galleries in Seoul Shut Down Again as the City Sees a Second Wave of Coronavirus Cases

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Museums and art galleries, along with parks, theaters, and other public spaces, will be closed starting Friday, May 29 for two weeks, according to health minister Park Neung-hoo. “We have decided to strengthen all quarantine measures in the metropolitan area for two weeks from tomorrow to June 14,” he told the AFP. Bars, nightclubs, and other entertainment venues—identified as a major vector for the spike—have also shuttered.

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Museums and galleries in Seoul, South Korea are closing their doors-once again-to preserve public health amid what appears to be a new wave of COVID-19 infections.

South Korea was praised for its exemplary response to the pandemic, which allowed it to begin responsibly reopening weeks before any other nation in the world. But just as the latest phase of restrictions was eased on May 6, the country suffered a setback. On Wednesday, South Korea reported the highest number of new COVID-19 infections it has seen in the past seven weeks.

In response, officials have re-implemented shutdown measures in the metropolitan area of Seoul, where 67 of the 79 new reported cases are located, according to the . Companies have also been urged to adhere to flexible working schedules.

Museums and art galleries, along with parks, theaters, and other public spaces, will be closed starting Friday, May 29 for two weeks, according to health minister Park Neung-hoo. "We have decided to strengthen all quarantine measures in the metropolitan area for two weeks from tomorrow to June 14," he told the AFP. Bars, nightclubs, and other entertainment venues-identified as a major vector for the spike-have also shuttered.

Following the announcement, the Seoul Museum of Art quickly updated its website, stating that it is "temporarily closed for the safety of citizens and the prevention of the spread of the COVID-19 disease." Other shuttered facilities in the culture-rich capital include the Seoul Museum of Art (Seosomun-dong); Nam-Seoul Museum of Art; Buk-Seoul Museum of Art; SeMA Bunker; SeMA Warehouse; Paik Nam June Memorial Museum; and SeMA Nanji Residency. Leeum, the Samsung Museum of Art, is offering visitors a virtual reality tour while it remains closed.

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

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Museums and Art Galleries in Seoul Shut Down Again as the City Sees a Second Wave of Coronavirus Cases | artnet News

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Museums and galleries in Seoul, South Korea are closing their doors-once again-to preserve public health amid what appears to be a new wave of COVID-19 infections. South Korea was praised for its exemplary response to the pandemic, which allowed it to begin responsibly reopening weeks before any other nation in the world.

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Nel lockdown musei più social, ma solo uno su quattro ha un piano digitale

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Nel lockdown musei più social, ma solo uno su quattro ha un piano digitale

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La ricerca dell'Osservatorio innovazione Digitale nei beni e attività Culturali del Politecnico di Milano ha analizzato 430 enti verificando che il 51% dei musei non ha wi-fi e solo il 23% ha il ticketing online, sebbene l’85% ha un sito web

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Se questo è ormai vero da anni, l'esperienza del lockdown ha dato un significativo impulso alla presenza online dei musei e in parte ha dettato anche un cambiamento di marcia: "Il livello di interesse da parte per le attività online è aumentato, come si evince dall'incremento degli utenti che seguono le pagine social dei musei" dichiara Deborah Agostino, direttore dell'Osservatorio Innovazione Digitale nei Beni e Attività Culturali "Il livello di interazione, invece, per i musei rimane stabile. Nonostante l'aumento dell'attività e dei follower, non si sono mediamente osservate variazioni rispetto a quanto accadeva nelle settimane precedenti il lockdown. Questo ha delle eccezioni in corrispondenza di attività più interattive, in cui è stata richiesta esplicitamente una risposta da parte del pubblico, come l'iniziativa ArtYouReady che ha generato su Instagram un numero di interazioni più che doppio rispetto ai giorni precedenti. Nel caso dei teatri, invece, la capacità di ingaggiare il pubblico nelle settimane di chiusura è aumentata sensibilmente rispetto ai mesi precedenti, soprattutto con riferimento a Facebook, su cui il numero medio di interazioni giornaliere è cresciuto del 61%".
Dal convegno tra gli esperti, introdotto dal Dg musei del Mibact Antonio Lampis, è emerso che qualunque siano le prospettive future, la fruizione onsite ed online rappresentano non due tipi di offerta alternativi, bensì complementari ed in grado di soddisfare esigenze talvolta differenti. È dunque auspicabile un ripensamento della strategia di offerta online, che si focalizzi sul soddisfacimento dei bisogni specifici per cui l'utente dovrebbe effettuare la visita da remoto.

Le condizioni per la trasformazione
La trasformazione di un sistema complesso come quello culturale richiede innanzitutto la presa di coscienza, da parte dei policy maker e dei responsabili della gestione delle istituzioni, della necessità di un cambio di passo nei contenuti e nei modi di proporre il valore. Questa consapevolezza, negli ultimi anni sempre più diffusa, è un passo necessario ma non sufficiente. Già nel 2017 l'Osservatorio sosteneva la necessità per le istituzioni culturali di dotarsi di un piano di innovazione digitale, ossia di uno strumento che supporti il processo di trasformazione digitale, ma dall'indagine condotta tra fine 2019 e inizio 2020 emerge che la cultura della pianificazione nelle istituzioni culturali è ancora carente: solo il 24% di esse ha redatto un piano strategico dell'innovazione digitale (il 6% come documento dedicato e il 18% all'interno di un più generale piano strategico).
La trasformazione implica anche investimenti in strumenti di supporto al customer journey, sia online che onsite. Negli ultimi due anni l'83% dei musei, monumenti e aree archeologiche italiane ha investito in innovazione digitale, concentrandosi prevalentemente su servizi di supporto alla visita in loco (48%) e catalogazione e digitalizzazione della collezione (46%), attività entrambe propedeutiche a un ripensamento della value proposition sia online che onsite. Spostandosi sul futuro, le stesse voci costituiscono anche la priorità di investimento per i prossimi due anni (rispettivamente per il 33% e il 22% delle istituzioni), seguite da comunicazione e customer care (14%) e attività educative e didattiche (13%).
L'investimento in sistemi di ticketing, gestione delle prenotazioni e controllo degli accessi, invece, è stato indicato tra le priorità per il futuro solo dal 6% dei rispondenti (questo nonostante solo il 23% abbia attualmente un sistema di online ticketing), così come la digitalizzazione delle attività di sicurezza e sorveglianza. Non solo oggi l'86% dei ricavi da biglietteria deriva dalla vendita diretta in loco, ma tra i musei che hanno un sistema di controllo accessi (93%) prevale lo stacco del biglietto d'ingresso (71%), rispetto a sistemi automatizzati come lettori di codici a barre (11% su carta e 6% su display) e tornelli o varchi contapersone (7%). Eppure, l'emergenza sanitaria induce a un totale ripensamento anche degli aspetti legati alla logistica e all'organizzazione del journey dell'utente che richiederà sistemi tecnologici che consentano la prenotazione online, il contingentamento degli accessi e sistemi di sicurezza e controllo di quanto avviene all'interno dell'istituzione culturale.
Oltre i sistemi occorrono le persone competenti che facilitino la trasformazione. L'investimento sulle persone: attualmente il 51% dei musei non si avvale di nessun professionista, interno o esterno, con competenze legate al digitale. Il restante 39% dispone di competenze interne e/o ricorre a consulenti esterni per la gestione del digitale, ma solo il 12% ha un team dedicato composto da più persone.
Una competenza che sarà sempre più rilevante, anche alla luce dello spostamento del baricentro verso l'attività online, riguarda l'analisi e l'utilizzo strategico dei dati. Conoscere i clienti, le loro abitudini e esigenze, il livello di gradimento dell'esperienza vissuta sono informazioni che consentono di gestire i rischi e migliorare il servizio offerto; monitorare specifici indicatori di performance relativi alla propria organizzazione permette di migliorare la pianificazione e l'efficacia delle attività.

Le nuove possibilità per lo sviluppo dell'offerta
"Considerando che entrate da biglietteria e finanziamenti pubblici potrebbero essere impattati negativamente dalla crisi generata dall'emergenza sanitaria, da un lato a causa del contingentamento degli accessi che inciderà sul numero di biglietti staccati, dall'altro a causa dello stress sulle finanze pubbliche che potrà avere ripercussione anche sui finanziamenti per la cultura, è utile concentrare l'attenzione su fonti di ricavo alternative a queste" spiega Eleonora Lorenzini, direttore dell'Osservatorio Innovazione Digitale nei Beni e Attività Culturali.
In particolare, è interessante soffermare l'attenzione su servizi come la vendita di immagini per finalità di ricerca, riproduzione e commerciali (già offerti dal 32% dei musei) e sui servizi di abbonamento per l'accesso a servizi tramite sito web e applicazione (2%). Questi ultimi, in particolare, sono tra i modelli che ultimamente sono stati proposti per ottenere introiti legati all'attività online dei musei. Diversi esponenti dell'ecosistema culturale, infatti, hanno sostenuto la necessità di studiare forme di abbonamento o biglietto più ricche di quelle attualmente a disposizione, che contemplino l'accesso a itinerari e percorsi tematici, in cui l'integrazione online-onsite permetterà di tornare più volte al museo e accedere a contenuti sul web on demand. "Il contesto attuale si presenta particolarmente favorevole per sperimentazioni sia da parte delle istituzioni culturali che da parte del pubblico che manifesta interesse verso nuovi approcci, con preferenza verso quelli a maggior grado di interazione" conclude Eleonora Lorenzini "Sebbene non possiamo ancora sapere con certezza quanto e in che modo questo contesto muterà vista la mancanza di paradigmi di riferimento, possiamo affermare che la flessibilità, la capacità di reinventarsi e di sfruttare le potenzialità delle nuove tecnologie rispondendo alle esigenze del pubblico saranno essenziali in un futuro più prossimo di quanto ci aspettavamo".

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Nel lockdown musei più social, ma solo uno su quattro ha un piano digitale

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La ricerca dell'Osservatorio innovazione Digitale nei beni e attività Culturali del Politecnico di Milano ha analizzato 430 enti verificando che il 51% dei musei non ha wi-fi e solo il 23% ha il ticketing online, sebbene l'85% ha un sito web

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MUSEUMS AROUND THE WORLDIN THE FACE OF COVID-19 - UNESCO REPORT MAY 2020

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MUSEUMS AROUND THE WORLDIN THE FACE OF COVID-19 - UNESCO REPORT MAY 2020

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With the majority of cultural institutions forced to close their doors, the cultural sector has been one

of the most affected. Tourism has largely ceased, impacting surrounding communities both socially

and economically, and plunging artists and cultural professionals into a state of extreme economic

and social fragility. Confined populations, unable to share and celebrate their heritage - notably

their intangible cultural heritage - have suffered the loss of fundamental and structuring cultural

elements of their daily social and individual lives.

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The onset of COVID-19 was swift and unpredictable. We now have a once-in-a-generation opportunity to thoughtfully build toward a more equitable, resilient, and vibrant city, but we will need to be measured, data-driven, and deliberate to ensure a safe and sustainable return.

ReOpen DC is about working together as a community to reopen Washington, DC in a way that is safe and sustainable. Together, we will create a plan that is based in science and tailored to the needs of our community.

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The onset of COVID-19 was swift and unpredictable. We now have a once-in-a-generation opportunity to thoughtfully build toward a more equitable, resilient, and vibrant city, but we will need to be measured, data-driven, and deliberate to ensure a safe and sustainable return.

ReOpen DC is about working together as a community to reopen Washington, DC in a way that is safe and sustainable. Together, we will create a plan that is based in science and tailored to the needs of our community.
Download Copy of ReOpen DC Advisory Group Recommendations
What We Heard

Summary of Recommendations to the ReOpen DC Advisory Group Steering Committee from 11 Sector Committees

Education and Childcare

Equity, Disparity Reduction, Vulnerable Populations

Faith, Arts, Culture, Hotels, Sports, and Entertainment

Government Operations, Public Safety, and Criminal Justice

Human Services, Social Services, and Health

Open Spaces and Recreation

Public Health Innovation and Workforce

Real Estate and Construction

Restaurants and Food

Small Business and Retail

Transportation and Infrastructure

About the ReOpen DC Advisory Group

The Advisory Group delivered recommendations to the Mayor that:

Propose how to ReOpenDC toward its values and priorities

Recommend deployment of the best approaches and innovations from DC residents, and from around the country and globe

Propose a phased reopening with mitigation guidelines by sector to ensure a safe and responsive process

Recommended Reopening Stages

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ReOpen DC Advisory Group Chairpersons

Reopen DC Advisory Group Co-Chairpersons

ReOpen DC Advisory Group Committees

Mayor's Charge

On Thursday, April 23, 2020, Mayor Bowser announced her plans to ReOpen DC. She said that we have a once-in-a-generation opportunity to not just reopen our city, but to build a more equitable DC. We will need to be measured, data-driven, and deliberate to ensure a safe and sustainable return. ReOpen DC is about working together as a community to reopen Washington, DC in a way that is safe and sustainable. Together, we will create a plan that is based in science and tailored to the needs of our community.

The ReOpen DC Advisory Group will advise Mayor Bowser on how to bring Washington, DC back to life after the unprecedented response to COVD-19 in our city, our nation and our world. More than 3,000 DC residents have been infected by the corona virus (much less than early modeling suggested). There have been 150 DC lives lost to COV19 as of April 22.

The economic life of Washington DC has been substantially shut down since March 16, 2020, when our schools and government operations were closed or their operations significantly modified. These closures were followed by a ban on large gatherings, closures of restaurant and bars, and the shuttering of non-essential businesses and culminated with the Mayor issuing a Stay at Home Order.

The District's unprecedented response to the pandemic has shuttered vibrant businesses, driven over 70,000 DC workers to file for unemployment and have created a $700 million revenue gaps in the District's current 2020 budget and even more in FY21 and the ensuing years of our multi-year budget.

Mayor Bowser has created the ReOpen DC Advisory Group, made up of a Steering Committee and 11 Sector Committees, to help envision and plan for a sustainable reopening through community-driven guidance, in accordance with the JHU report. They will develop recommendations to:

Propose how to ReOpen DC toward its values and priorities

Recommend deployment of the best approaches and innovations from DC residents, and from around the country and globe

Propose a phased reopening with mitigation guidelines by sector to ensure a safe and responsive process

Mayor Bowser has charged the group to anchor its efforts in four values:

Health: We value a healthy and safe city: In addition to ensuring our residents are healthy, this is an opportunity to prioritize the improvement of health outcomes, the development of more responsive emergency services a healthy environment, and a reduction in traffic fatalities, injuries, and crime.

Opportunity: We value creating a chance for residents to thrive. As Through recovery, we can help residents achieve their goals through supporting a vibrant job market and planning for new job opportunities through education and training. We can support our small businesses and entrepreneurs with technical and financial assistance to come back stronger.

Prosperity: We value a vibrant city. We know that restarting our city is critical for our businesses and residents and will take shared responsibility. We will need to ensure a strong financial recovery for our government and businesses, to support critical investments in our schools, infrastructure, social services, childcare, world-class places and spaces, and housing for families.​

Equity: We value improving outcomes for our most vulnerable. Affordable housing, convenient and healthy communities, healthy food, local business development, retail options, and great community facilities should be found close to home and in all neighborhoods across the city by targeting resources to those communities that need them most.

The above four HOPE values are adapted from the eight DC Values developed during the Comprehensive Plan Update engagement process that reflect the concerns that are most important to DC residents. The full report is available at dc2me.com.

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Download Copy of ReOpen DC Advisory Group Recommendations Education and Childcare Equity, Disparity Reduction, Vulnerable Populations Faith, Arts, Culture, Hotels, Sports, and Entertainment Government Operations, Public Safety, and Criminal Justice Human Services, Social Services, and Health Open Spaces and Recreation Public Health Innovation and Workforce Real Estate and Construction Restaurants

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In Phase 2 of reopening, theaters and museums are a go. But the Smithsonian will take it slow.

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In Phase 2 of reopening, theaters and museums are a go. But the Smithsonian will take it slow.

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Restrictions would ease somewhat in Phase 3, which would be triggered by a continued decrease in the spread of the virus. Museums could host limited tours and admit 10 people per 1,000 square feet, not to exceed 75 percent of capacity. Theaters could admit up to 250 people, with social distancing. The final stage in moving toward unrestricted reopening of all venues would begin when a vaccine or cure is widely administered, which could take years.

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Visitors lined up outside the National Museum of African American History and Culture at its six-month anniversary on March 20, 2017. (Bill O'Leary/The Washington Post)

When speaking about the Smithsonian's plan to reopen its museums, Secretary Lonnie G. Bunch III has told staff that they have to stop thinking of an on-off switch and instead consider the modulated approach of a dimmer switch.

"We've all adopted that analogy," said Doug Hall, acting deputy undersecretary for administration and the institution's coordinating officer for covid-19 response. The value of the progressive lighting metaphor, he said, comes from its contrast to the Smithsonian's abrupt shutdown, which happened over two days in mid-March.

"You won't be flipping the switch on [this time]. It will be slow, with the lights getting brighter," Hall said. "And if it gets bad for a bit, we can sit still for a while or go back slightly."

Hall is one of dozens of cultural leaders focused on reopening the museums and venues that are a driving force in Washington, which has been under a stay-at-home order for months. D.C. Mayor Muriel E. Bowser said Wednesday that the order would be lifted Friday as the city moves into Phase 1 of reopening, which she described as "stay at home lite." The first phase allows for the reemergence of businesses and services, including some parks and recreational spaces, hair salons and restaurants with outdoor seating.

Bowser's ReOpen D.C. Advisory Group delivered a report last week recommending a four-stage recovery that allows museums and indoor venues (entertainment spaces, arenas and theaters) to open with significant restrictions in the second phase, which still has no starting date. Bowser said the reopening is based on a continued decrease in the community spread of the coronavirus as well as sufficient capacity for health care, testing and contact tracing. She said the criteria for reaching Phase 2 would be shared later in the week.

The advisory group recommends that museums be allowed to admit five people per 1,000 square feet, with total capacity not to exceed 50 percent and physical distancing of at least six feet. Theaters could have up to 50 people with physical distancing.

Sign up for our Coronavirus Updates newsletter to track the outbreak. All stories linked in the newsletter are free to access.

Restrictions would ease somewhat in Phase 3, which would be triggered by a continued decrease in the spread of the virus. Museums could host limited tours and admit 10 people per 1,000 square feet, not to exceed 75 percent of capacity. Theaters could admit up to 250 people, with social distancing. The final stage in moving toward unrestricted reopening of all venues would begin when a vaccine or cure is widely administered, which could take years.

The move toward recovery means that arts leaders are turning their attention to deep-cleaning regimens and personal protective equipment(PPE) requirements that include mandatory face masks, crowd control and visitor flow. Art museums and small to midsize facilities will probably have an easier transition, while interactive attractions and kid-friendly venues, such as the International Spy Museum and the National Children's Museum, will have ongoing cleaning issues to tackle. Many performing arts events will struggle with the financial challenges that will come with severely reduced audience size.

The organizations are eager to return, but are cautious about sharing their plans.

"I'm not in a rush to do this wrong," said Dorothy Kosinski, director and chief executive of the Phillips Collection.

When music and theater come back: Planning for a socially-distant future

Washington's largest attractions are keeping their plans under wraps until more data is available. Officials at the Kennedy Center, which is closed until at least Aug. 9, are looking at how to use the center's 19 indoor spaces and the Reach's 130,000-square-foot green space for "live experiences," a spokeswoman said. Details are still weeks away. The National Gallery of Art is not ready to share details, either. And Smithsonian executives will only say that they plan to open two or three museums at first, followed a month or so later with a second wave of institutions.

"There's a sweet spot. Some museums lend themselves to being able to be cleaned, but there's also the public's desire" to visit, Hall said. The facilities and dates haven't been finalized, he said. "All of them will open at some point."

In keeping with the mayor's task force recommendations - which the Smithsonian, a federal entity, is not bound to follow - Hall said the institution is adopting a multiphase schedule. "It's also a way of dipping our toe in the water, practicing new policies and procedures," he said.

Susan Fisher Sterling, director of the National Museum of Women in the Arts, has selected July 7 for the tentative reopening of the private museum. "That is a moment of hope," she said. "We felt that setting the date helps us move toward our goal of serving the public."

The museum will open with timed admission for up to 200 visitors a day, about two-thirds of the average attendance for the first 10 weeks of the year. Procedures will be in place for a no-touch experience, with security officers at the entrance and maps and tours migrating to digital platforms. The museum is still working out the details for reopening its restaurant, Dirty South Deli.

Sterling said the museum offers a contemplative setting that rarely draws big crowds.

"As the leader of a midsize museum, I have never really worried that much about crowds," Sterling said. "We're a manageable size. And I think that's a good thing right now."

Smithsonian cuts top executives pay in move to avoid furloughs

The Phillips Collection hopes to bring its staff back this summer, including some who have been furloughed, and will use the time to work through social distancing procedures in anticipation of a public reopening in the fall. Its reopening committee is fine-tuning its plans to add hand sanitizer stations and install plexiglass at the ticket counter, as well as creating a timed-admission system to control visitor flow. None of these efforts will be wasted if the opening is delayed.

"We need to lead with optimism, but we can't be foolish," Kosinski said. "The scientists are warning us of a second wave, and we're not out of the first wave."

Crystal Bowyer, president and chief executive of the National Children's Museum, anticipates reopening her STEM-focused facility in Phase 2, which she expects to arrive in August. The museum will cap attendance at 100for each two-hour session, or about 30 percent of capacity. Some exhibits - especially those for toddlers - will be modified or closed for safety reasons. Visitors age 2 and older will be required to wear masks, she said, and the museum will be cleaned between each session.

That plan depends on Congress passing a bill that would provide free rent to the congressionally designated museum, which pays $1.1 million annually to the federal government for its Woodrow Wilson Plaza location. "We have to break even. With the reduced capacity, we can do that as long as we don't have to pay the rent," Bowyer said.

Reopening a theater will be even more challenging. In addition to limiting audience size, the task force recommends that actors be required to wear PPE and not make physical contact during in-person rehearsals. (The stage actors' union this week advised its members not to return to work until theaters follow its guidelines for safe work conditions.) And even when audiences could grow to 250 people, they would need to be seated in socially distanced configurations.

Shakespeare Theatre Company Executive Director Chris Jennings expects to announce a revised schedule within the next few weeks that might include nontraditional settings, including outdoor, and a mix of live and streaming events. Edgar Dobie, executive producer of Arena Stage, said none of the scenarios he is considering include performances before Phase 3.

National survey reveals dire situation for independent artists, with almost two-thirds now unemployed

"I don't see us performing for 50 people. The economics of that don't work," he said.

Dobie predicts that Arena will present only one production at a time and open the smallest of its three venues first. Like many other nonprofit arts groups, Arena will need to rely more on donations than it typically does, since limited audiences will keep tickets and other earned revenue low. Donors have stepped up, he said - an encouraging sign.

"We are seeing so many votes of confidence every day from our patrons," he said. "They are renewing subscriptions when they are not sure of the when of it."

It's a different calculation for arts groups without a venue, such as Washington Performing Arts, a multidisciplinary arts presenter based in the District. President and chief executive Jenny Bilfield expects to unveil a schedule with no orchestras. Smaller ensembles and soloists are possible, and while some events might be held in a concert venue, all will be digital with high-quality audio and visual components.

"Just because the venues are ready doesn't mean the people are ready," Bilfield said, noting that customer-service work of refunding tickets or converting them to donations would cripple a small organization like hers. Instead, they will focus on programs they know they can deliver, even if it means a live performance without an audience that is streamed for patrons.

"We're using technology and digital platforms as a way to form closer relationships with patrons and artists," Bilfield said, noting that a patron survey revealed a willingness to pay for a streaming concert. "I see it as a tool, and as a direction for next year. And we will find a way of maintaining it once we are able to return."

Coronavirus: What you need to read

The Washington Post is providing some coronavirus coverage free, including:
Updated May 29, 2020 Show More Show Less

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In Phase 2 of reopening, theaters and museums are a go. But the Smithsonian will take it slow.

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When speaking about the Smithsonian's plan to reopen its museums, Secretary Lonnie G. Bunch III has told staff that they have to stop thinking of an on-off switch and instead consider the modulated approach of a dimmer switch. "We've all adopted that analogy," said Doug Hall, acting deputy undersecretary for administration and the institution's coordinating officer for covid-19 response.

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Post-Covid era looks bleak for galleries and museums

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Post-Covid era looks bleak for galleries and museums

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More than half of UK museum directors are concerned their institutions will no longer be viable in the wake of the coronavirus crisis, as social-distancing controls threaten to hit visitor numbers and income.

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More than half of UK museum directors are concerned their institutions will no longer be viable in the wake of the coronavirus crisis, as social-distancing controls threaten to hit visitor numbers and income.

Museums and galleries have been closed since March under lockdown rules, and there are growing fears among curators and directors about the long-term impact of the public health crisis on their ability to stay afloat.

Six out of seven directors said they were worried about their ability to attract visitors back after the restrictions are lifted. Some 56 per cent were concerned about the viability of their organisations, as ticket sales and other commercial operations such as shops and cafés are a vital source of income at museums and galleries.

The figures come from a survey of 427 museum directors and professionals published on Thursday by Art Fund, the UK art fundraising charity, which supports museum acquisitions and curatorial training.

Sarah Philp, Art Fund director of programmes and policy, said the survey findings bore out anecdotal fears of an "existential crisis" for many museums and galleries.

The Art Fund research did not name institutions or directors. But Ms Philp said there were some museums that feared they would be unable to reopen even after restrictions had been lifted. Few institutions have deep financial reserves and the spring and summer months are when they make most of their money.

Those without the cushion of national or local authority funding are particularly vulnerable. "The irony is that in the situation we're in, those museums that have done best at commercialising and diversifying their income streams are in the most immediate danger," said Ms Philp.

Museums in England will not be allowed to open until at least July 4, a date that may also be put back depending on government advice.

When they do reopen, social distancing arrangements and controls on visitor numbers will be needed. Museums are planning different arrangements for reopening, depending on their location, the type of building they occupy and the nature of their collections.

Ms Philp said directors were having to plan for two opposing situations: that people would not feel safe in returning or alternatively that they would flood back in dangerous numbers. "In both of those scenarios they're trying to work out how to operate in a safe and responsible way," she said.

With fewer visitors anticipated, revenues generated by ticket sales, shops and cafés are set to fall yet the crisis is likely to mean higher costs in cleaning and front-of-house staff.

Directors are turning to museums in mainland Europe for practical advice on reopening, since some have already begun to reopen there, with reduced footfall, guided tours and wearable devices to ensure social distancing.

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Post-Covid era looks bleak for galleries and museums

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More than half of UK museum directors are concerned their institutions will no longer be viable in the wake of the coronavirus crisis, as social-distancing controls threaten to hit visitor numbers and income.

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How Should a Museum Reopen in a Post-COVID World? Here Is Everything You Need to Know to Do It Safely, According to Experts

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How Should a Museum Reopen in a Post-COVID World? Here Is Everything You Need to Know to Do It Safely, According to Experts

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All the guidelines about how to reopen are overwhelming. András Szántó and Adrian Ellis have compiled the current wisdom in one place.

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Art museums in the United States are figuring out when and how to reopen. They will be greeted by a changed world. To resume operations successfully, they need not only to minimize the risk of infection by the COVID-19 virus to visitors, volunteers, and staff, but also-critically-to instill confidence in all three parties.

In the absence of coordinated government policy or a commonly recognized and certified standard that a museum can demonstrate that it has met, museum leaders are looking to one another for advice, as well as to peer organizations worldwide, some of which are now reopening. They are seeking to coordinate efforts regionally and locally, in order to pool expertise and procurement power; to instill public confidence; and to encourage the adoption of agreed practices in visitors and audiences. Professional and sectoral bodies, including the AAM, AAMD, ICOM, and CIMAM, have put out initial guidance, as have organizations in the adjacent fields of entertainment, performing arts, retail, sport, and tourism.

That said, each museum has to find its own tailored solution within common frameworks, and in its own time. What all of them share is the need to work through a bewilderingly complex array of operational and policy considerations, and quickly.

There is no one-size-fits-all approach. Each museum's location and its particular configuration of buildings and physical spaces will call for different design solutions. The financial implications of various opening scenarios are also more or less punitive. City and state regulations differ, making choices-such as whether to require or request that visitors wear a face mask-a judgement call with practical, legal, and, regrettably, even political ramifications. (You can read personal accounts on the reopening process from three different museum directors here.)

Technologies for mass temperature testing and measuring social distance are developing, but for the most part not yet operational. The availability of cleaning materials, PPE, protective dividers, and other equipment varies enormously. Every community is in a different place on the trajectory of the pandemic. And at some unknown point-as most believe and all hope-this moment will be behind us, requiring museums to revisit whatever measures have been put in place.

The prospect of reopening under the current circumstances also raises vexing strategic dilemmas. In recent years, museums have developed a sophisticated understanding of the many barriers to entry they inadvertently create, and how to overcome them, in order to pursue agendas informed by equity and social justice. No one wishes to raise additional barriers now. But visiting museums will inevitably become more difficult, not less, for the foreseeable future, and this will affect some visitors more than others. For example, differently abled people are more likely to use high-touch equipment, such as museum-provided wheelchairs or elevators.

We are some way from the "no-touch" museum, in which carefully elaborated protocols and technologies are harnessed to create a frictionless visitor experience. Interior retrofits to accommodate social distancing and more healthy airflows may in due course make for less obtrusive ways of ensuring public health, if the pandemic lasts long enough to require these kinds of structural changes.

So how to navigate this maze? The table below consolidates current thinking about the operational realities of reopening in a way that could be helpful to museum professionals at the sharp end of re-entry, as they try to find their way to a sustainable balance of public access, public safety, and financial and organizational reality. The chart is a work of aggregation rather than invention, and it has no claim to being the first or the final word on how to reopen, let alone when. Rather, it is a snapshot of informed guidance and opinion currently available, drawing on sources in the museum field and outside of it as of May 2020. (For a full list of sources, scroll to the bottom and click to unroll.)

The bold headings on the chart list seven broad operational areas that require attention in the context of reopening. The bulleted headings identify specific measures that are candidates for action, generating a checklist intended to help museum managers and staff to establish their relevance. Click on each bulleted header to unroll additional, more detailed planning steps. These are merely prompts for consideration given that the urgency, feasibility, and cost of implementing the measures differs greatly among institutions.

While our aim has been to synthesize the myriad practical considerations museums must tackle to reopen, we are equally aware that reopening is not simply about a set of activities required to welcome back the public. It is also about dealing with the psychological toll that COVID-19 has taken on museum staff. Tactical planning tools like this are by definition operationally focused. At its simplest: museums and their leaders will need to create welcoming conditions for their staff to feel safe and supported if these institutions are to operate.

This exercise was prompted by the overwhelming response to András's recent Artnet News article, which argued for the importance of art museums' reopening as soon as practicable and made some initial suggestions as to how they might do so. For helping us collect and organize the material, we wish to thank, in particular, Adam Levine, who took up his position as director of the Toledo Museum of Art in the middle of the lockdown period. We also thank Christine Anagnos (AAMD), Mary Ceruti (Walker Art Center), Kaywin Feldman (National Gallery of Art), and Amy Gilman (Chazen Museum of Art), Sarah Pasti, and Lisa Beth Podos, among others, for their foundational work, observations, and feedback.

Finally, our planning chart is deliberately silent on the larger, more substantive visioning museums will have to consider after the pandemic. What lies on the other side of reopening is surely articulating a purpose in a changed context, defining appropriate and sustainable programming, and advancing connections and partnerships that inform an institution's contribution to society. But these ambitions can only be realized if museums are open.
Adrian Ellis is a director of AEA Consulting and the chair of the Global Cultural Districts Network. András Szántó is an author and the founder of András Szántó LLC in New York.
Reopening Museums: An Interactive Planning Tool (Just Click Each Line to Expand)
Access a downloadable PDF of this table

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How Does a Museum Reopen in a Post-COVID World? Two Leading Consultants Have Compiled an Exhaustive Checklist Here

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Art museums in the United States are figuring out when and how to reopen. They will be greeted by a changed world. To resume operations successfully, they need not only to minimize the risk of infection by the COVID-19 virus to visitors, volunteers, and staff, but also-critically-to instill confidence in all three parties.

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Five European museum directors explain their reopening strategies

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Five European museum directors explain their reopening strategies

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From capped visitor numbers to surgical gloves and temperature checks, here's how cultural institutions are getting ready to leave lockdown

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The closure of Europe's museums was swift. Three months on, their reawakening is a slower, more anxious transition, dictated by government orders and public health guidance. Preventing museum-goers from touching the art suddenly pales next to the challenges of welcoming them back during a pandemic-ensuring they keep a safe distance from staff, each other and common surfaces. But for all the constraints, people are returning to physical experiences of art. The Art Newspaper spoke to museums in five countries leaving lockdown about their strategies for reopening safely, and what the public reaction has been so far.

GERMANY

German museums have reopened gradually, according to the specific guidelines issued by the country's 16 states. Brandenburg led the way, allowing small rural museums to reopen on 22 April. The Brandenburg State Museum for Modern Art in Cottbus, around 100km from Berlin, followed on 1 May.

It is providing poles and ribbons exactly 1.5m long so visitors can maintain the minimum distance allowed between members of different households. The distance is also marked on the foyer floor. Other precautions include a plexiglass shield protecting staff at the ticket counter and dispensers of hand sanitiser that "cost a fortune", says the museum's director, Ulrike Kremeier.

Capacity is limited to 100 visitors at a time, with staff regulating the flow through the galleries to ensure 20 sq. m per person. "Our visitors are sensible people," Kremeier says. "I don't anticipate problems." Group tours probably will not start again until the autumn. Masks are not obligatory but are recommended.

The museum is launching a series of pandemic-inspired collection displays, exploring the themes of the handshake (until 5 July), masks (11 July-30 August) and gloves (5 September-11 October). A new video in the foyer examines solutions devised by artists of the past for personal protection in public, such as Weegee's photograph Boy Meets Girl-From Mars (around 1955), in which a couple embraces through bubble helmets.
Catherine Hickley
POLAND

Energetic behind-the-scenes preparations allowed the Royal Castle in Warsaw to be the first major Polish museum to reopen after government restrictions were relaxed for cultural institutions on 4 May. "The castle is waiting, the castle continues," says its director, Wojciech Fałkowski.

The speedy reopening was helped by the museum's non-narrative layout, which offered more freedom to create a new one-way tour route. There is no air-conditioning (a potential means of spreading the virus), the two lifts are rarely used, and ticket windows were already shielded. Audioguides have been locked away and only individual visitors are permitted.

Visitors must wear masks and stay 2m away from each other and museum staff, who have replaced white cotton gloves with plastic surgical ones. Visitor numbers are capped at 100 per hour, and the exhibits limited to a handful of historic interiors. Victims of the pruned tour are the castle's star Rembrandt paintings, Girl in a Picture Frame and The Scholar at the Lectern (both 1641), which remain in a separate gallery on a different floor.

Despite the absence of the Rembrandts, attendance so far has been brisk, revealing a pent-up desire for culture among Poles who had been subject to stay-at-home orders from 12 March. But no one can say when the numbers will return to those for 2019, a record year when the castle welcomed more than a million visitors.
Stuart Dowell
FRANCE

While major museums in Paris remain closed-the region is classified as a "red zone" due to its higher virus risk-the bijou Institut Giacometti reopened on 15 May, four days after France eased the lockdown for small museums.

A maximum of ten visitors can book a 20-minute time slot online (a quarter of the previous capacity). Opening times are now an hour later, 11am-7pm, so staff can avoid public transport during peak hours.

Bookings for the first three days sold out. "The interest was immediate-people were waiting for direct contact with art again," says Catherine Grenier, the institute's president.

Safety measures follow advice from the French health ministry, the institute's partner in Beijing and the reopening strategies of German museums. Red tape demarcates the socially distanced queue outside the Art Deco building and hand sanitiser is available at the front desk, where one member of staff works behind plexiglass. According to a "visitors' charter", everyone must bring their own masks and stand at least 1.5m apart.

The exhibition In Search of Lost Works (extended to 21 June) remains unchanged, except the printed booklet has been replaced by an audioguide that visitors can access on their smartphones via the website or by scanning a QR code.

Though there are no plans to address the pandemic in future displays, Grenier says Giacometti's work "always" evokes themes of "fragility, weakness, resistance and humanity".
Anna Sansom
AUSTRIA

The first Viennese museums to emerge from lockdown, the imperial palaces and the Lower Belvedere, greeted visitors from 15 May with shielded ticket counters, instructions to wear masks at all times and disinfectant dispensers.

The Austrian government also prescribes 10 sq. m of space per visitor, a rule that drastically limits access to museums and galleries. Daily capacity at Schönbrunn Palace is now 1,750, far below the peak of 10,000 on busy days before the pandemic, says the director Klaus Panholzer. However, he adds: "Our joy for the restart has overcome every difficulty to get ready in such a short time."

On 11 March, Austria ordered all cultural venues to close until 30 June, but on 17 April a new decree allowed museums to reopen by mid-May. "That new announcement came as a great surprise to the federal museums," says Stella Rollig, the director of the Belvedere. "Having to reopen so quickly naturally presented organisational problems, but we are complying with all rules, and security measures are being well received by the visitors."

The first weekend brought 750 visitors to the Lower Belvedere, where the Into the Night exhibition was resumed (until 1 June). In the Upper Belvedere, due to reopen on 1 July, the usual time-slot bookings might be combined with a one-way system to prevent overcrowding. Most other Viennese museums are staggering their reopenings from late May to 1 July.
Flavia Foradini
ITALY

Closed since 8 March, Italian museums and sites have reopened in dribs and drabs from 18 May. First were those that had the resources to enforce state safety regulations, including the Galleria Borghese in Rome, Castello di Rivoli near Turin and Pompeii archaeological park.

A number of private institutions also reopened quickly, such as Milan's Poldi Pezzoli house museum and Turin's Sandretto Re Rebaudengo Foundation (with mandatory masks and a maximum of 15 visitors at a time, accompanied by guides) and Camera photography centre.

Camera now expects 700 visitors a week, compared to the 3,000 who flocked to the current exhibition of the Bertero collection (until 30 August) in nine days before the lockdown. People can pre-book admission online or wait in the queue outside. Camera has screened off the ticket desk and is supplying disinfectant gel; visitors must wear face masks and, to browse the books in the shop, disposable gloves.

Arrows and coloured dots on the floor signal the one-way route and a 1m minimum separation-precautions common to other Italian museums. The main innovation at Camera, according to the director Walter Guadagnini, is the QR code in each room linking to an exhibition audioguide on people's smartphones "to avoid contagion".
Alessandro Martini

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Five European museum directors explain their reopening strategies

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The closure of Europe's museums was swift. Three months on, their reawakening is a slower, more anxious transition, dictated by government orders and public health guidance. Preventing museum-goers from touching the art suddenly pales next to the challenges of welcoming them back during a pandemic-ensuring they keep a safe distance from staff, each other and common surfaces.

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Museu Municipal de Tavira reabre no Dia Internacional dos Museus

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Museu Municipal de Tavira reabre no Dia Internacional dos Museus

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O Museu Municipal de Tavira vai reabrir na segunda-feira, 18, Dia Internacional dos Museus, com a inauguração, pelas 11:00 horas, da exposição «A Principal do Reino do Algarve – Tavira nos séculos XV e XVI», com transmissão online.

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UK government appoints commissioner to get culture sector 'back up and running'

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UK government appoints commissioner to get culture sector 'back up and running'

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Neil Mendoza has today been appointed the UK government’s Commissioner for Cultural Recovery and Renewal. He will be responsible for providing the Department for Digital, Culture, Media & Sport (DCMS) with “an expert and independent voice” to deal with the coronavirus pandemic’s impact on the arts.

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Neil Mendoza has today been appointed the UK government's Commissioner for Cultural Recovery and Renewal. He will be responsible for providing the Department for Digital, Culture, Media & Sport (DCMS) with "an expert and independent voice" to deal with the coronavirus pandemic's impact on the arts.

Mendoza, the provost of Oxford's Oriel College, led a review of England's museums in 2017. On that occasion he set out to recommend what the government could do "to assist in creating and maintaining a thriving, sustainable and effective museum sector". No one then could have foreseen the coronavirus crisis which has now closed museums, heritage sites, theatres and concert halls.

Oliver Dowden, the culture secretary who appointed Mendoza, says that as commissioner he has been charged with helping to get the cultural and creative sectors "back up and running".

Drawing on his experience in the cultural sector, Mendoza has already started work to garner "the strongest, most innovative ideas" for renewal. The greatest long-term problem is of course funding. With a forthcoming government spending review, DCMS will be lobbying Treasury for additional money, but at a time when there are seemingly endless needy causes. The hope is that Mendoza's input will help provide the necessary ammunition for the cultural sector.

Alongside the Mendoza appointment DCMS is also leading a newly established Recreation & Leisure Taskforce, which will develop plans for how the sector can be revived. Chaired by Dowden, its members include Mendoza and Arts Council England chairman Nicholas Serota. The taskforce's first meeting takes place today and it will then meet weekly. The hope is that most venues will open this summer.

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UK government appoints commissioner to get culture sector 'back up and running'

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Neil Mendoza has today been appointed the UK government's Commissioner for Cultural Recovery and Renewal. He will be responsible for providing the Department for Digital, Culture, Media & Sport (DCMS) with "an expert and independent voice" to deal with the coronavirus pandemic's impact on the arts.

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Déconfinement des musées : prévoir la reprise d’activité et le retour des publics

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Déconfinement des musées : prévoir la reprise d’activité et le retour des publics

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Afin d’aider les musées à préparer leur propre reprise d’activité puis leur réouverture au public, le service des musées de France du ministère de la Culture met à disposition les fiches et publications ci-après. Pour tout renseignement complémentaire, les musées de France peuvent se rapprocher de la DRAC et des autorités localement compétentes.

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Reopening a Museum After Quarantine: See Photos of Temperature Checks, Face Masks and New Systems

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Reopening a Museum After Quarantine: See Photos of Temperature Checks, Face Masks and New Systems

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At long last, after closures that have stretched on for months, several museums around the world are beginning to reopen. Some institutions in China, South Korea, Switzerland, Japan, and Germany are already opened, and soon, select ones in Italy, Austria, France, and Denmark are expected to join them.

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La riapertura dei Musei: editoriale del 27 aprile 2020

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La riapertura dei Musei: editoriale del 27 aprile 2020

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Siamo consapevoli delle difficoltà che i musei si troveranno ad affrontare e sappiamo che non tutti saranno in grado di riprendere immediatamente le attività, ma il percorso di rinascita è ormai avviato e a noi tutti cercheremo di sostenerlo con senso di realtà, ma anche con un pizzico di utopia.

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La riapertura dei Musei: 18 maggio 2020

L'annuncio della graduale riapertura dei musei a partire dal 18 maggio - data che coincide per ICOM con la Giornata internazionale dei musei - costituisce un importante segnale di fiducia e di speranza nel futuro.

Grazie all'impiego del digitale e al loro spirito creativo i professionisti dei musei sono riusciti a mantenere, in questo periodo di emergenza, il filo dei rapporti con il pubblico fidelizzato e a creare un dialogo nuovo con un pubblico fidelizzato e con una platea più ampia di persone interessate all'arte e alla cultura, con professori e studenti, nel nostro paese e all'estero, ma i nostri musei, siti archeologici, monumenti, parchi storici vivono solo se frequentati, se animati dagli sguardi, dalle emozioni, dai pensieri di chi si immerge, corpo e anima, nella loro atmosfera, nella visione degli oggetti e nelle relazioni temporali e spaziali, ideali e materiali che essi evocano o che gli allestimenti suggeriscono.

Siamo consapevoli delle difficoltà che i musei si troveranno ad affrontare e sappiamo che non tutti saranno in grado di riprendere immediatamente le attività, ma il percorso di rinascita è ormai avviato e a noi tutti cercheremo di sostenerlo con senso di realtà, ma anche con un pizzico di utopia.

A monte bisognerà verificare le effettive disponibilità finanziarie, quantificare le perdite ele possibili entrate future; in qualche caso sarà necessario riesaminare i rapporti con i privati (profit e non profit) nella governance e nella gestione degli istituti, , rivedendo funzioni e responsabilità reciproche, ma occorrerà anche studiare nuove modalità di partecipazione delle associazioni del Terzo settore e incentivi per promuovere forme diffuse di filantropia.

La crisi che attraversiamo potrebbe costituire, d'altra parte, l'occasione per dare vita a forme più salde di cooperazione fra istituti, attraverso la creazione di servizi comuni e la condivisione di strumentazioni e personale qualificato, consentendo così anche ai musei più piccoli quel salto di qualità auspicato e promosso dal Sistema museale nazionale.

La situazione imporrà, ne siamo consapevoli, inevitabili revisioni della spesa, ma ci auguriamo che le amministrazioni responsabili non operino tagli orizzontali, automatici, e siano disposte a verificare invece con i direttori le economie realizzabili, rispettando le esigenze prioritarie e senza sacrificare, in ogni caso, la manutenzione delle strutture e delle collezioni. In ogni istituto sarà indispensabile una riprogrammazione delle modalità di fruizione - in considerazione della domanda reale e delle esigenze organizzative - e l'individuazione delle attività che non è possibile rimandare, cercando, per quanto possibile, di salvaguardare i livelli occupazionali professionisti museali che operano internamente o come collaboratori e che hanno consentito di erogare servizi culturali e sociali rilevanti. Per mantenere in vita i musei, piccoli e grandi, della Penisola e renderli attivi, visibili, utili, efficaci, non sarà sufficiente, insomma, riaprire le loro porte, ma occorrerà discutere a livello nazionale e locale, in via generale e caso per caso, la loro sostenibilità economica e la loro utilità sociale.

Come è stato sottolineato da più parti, e dalla stessa ICOM a livello internazionale, saranno indispensabili notevoli finanziamenti pubblici, europei, nazionali, regionali, in controtendenza con quanto avvenuto negli ultimi anni in tutto il mondo. Per ottenerli, in un periodo in cui sono certamente più pressanti le esigenze legate all'emergenza sanitaria, alla crisi delle imprese, alla disoccupazione, , alla riduzione del reddito familiare, i musei (come gli altri istituti e luoghi della cultura) dovranno dimostrare di essere dei riferimenti ineludibili per le comunità di prossimità, non solo custodi di tesori artistici e testimoni di memorie, ma soggetti attivi in grado di incidere sul miglioramento del benessere delle persone (particolarmente importante dopo un periodo di lutti, di preoccupazioni, di solitudine), e di concorrere, in sinergia con le istituzioni scolastiche e accademiche, al la diffusione della cultura e della coscienza civile, e con le autorità locali e l'associazionismo al l'attenuazione delle differenze sociali e alla rigenerazione urbana. Questo consentirà tra l'altro di intercettareenergie diverse e promuovere il contributo di tutti, dalle fondazioni di origine bancaria agli amici dei musei, dalle imprese del territorio ai singoli cittadini.

Parallelamente gli istituti dovranno ricercare possibili fonti di entrate per sopperire in parte ai ridotti incassi di bigliettazione, attraverso servizi di informazione e consulenza, creazione di prodotti editoriali e multimediali da proporre sul mercato, progetti speciali per particolari categorie di utenti, utilizzo del marchio ,condizioni particolari di gestione degli spazi e delle strutture.

Nel periodo di transizione che ci attende, la cosiddetta Fase 2, non sarà facile superare le difficoltà organizzative necessarie per garantire innanzitutto la salute del personale e dei visitatori. Sulla base delle indicazioni delle autorità sanitarie e amministrative, i musei devono mettere in piedi in tempi relativamente brevi dispositivi e procedure per evitare ogni possibile contagio, limitare i contatti fisici con superfici e oggetti, osservare le distanze di sicurezza, rivedendo le forme di biglietteria e accoglienza, di controllo e assistenza ai visitatori, riorganizzando gli spazi espositivi e programmando la direzione dei flussi e il numero massimo di persone per ciascuna sala. Ulteriore attenzione dovranno dedicare alla frequente pulizia e disinfezione dei servizi igienici, alla fornitura di materiale disinfettante per lavoratori e visitatori, all'areazione frequente degli ambienti, assicurando l'uso di metodi e prodotti già testati che non danneggino il patrimonio museale.

A tal fine, sono state prodotte Linee guida e vademecum, più o meno analitici, per guidare le scelte dei direttori dei musei e ICOM li metterà a disposizione sul proprio sito.

Nel programmare il nuovo assetto organizzativo appare indispensabile la condivisione delle scelte con tutto il personale e la formazione di coloro i quali si trovano a interagire con il pubblico e a governare eventuali situazioni di emergenza. Ugualmente importante è l'informazione puntuale, attraverso il sito web e un pannello all'ingresso del museo, sui comportamenti che il pubblico dovrà osservare scrupolosamente nel corso della visita, e che sarà ricordato gentilmente dal personale in caso di trasgressione. Tale attività sarà organizzata in coerenza con le finalità civiche ed educative del museo.

Non tutti i musei si troveranno ad affrontare nell'immediato gli stessi problemi. Gli istituti che hanno un'affluenza limitata di visitatori incontreranno minori difficoltà nell'assicurare il rispetto delle norme di distanziamento, ma scontano spesso una mancanza di direzione e di personale qualificato. I grandi musei, generalmente molto frequentati, sono ora obbligati ad attivare forme di bigliettazione e pagamento online, prevedere sistemi taglia-fila, tornelli elettronici e controlli capillari dei movimenti delle persone, assicurando che non abbiano un impatto negativo sulla qualità degli spazi storici. Essi sono certamente meglio organizzati e in grado di elaborare piani di valutazione dei rischi, ma soffrono per la drastica riduzione delle presenze legate al turismo internazionale, quei numeri che consentivano loro, finora, una notevole autonomia finanziaria.

Tuttavia, al di là delle differenze legate alla proprietà, alla dimensione, alla tipologia delle collezioni, i professionisti museali si troveranno dopo la pandemia ad affrontare una serie di questioni comuni.

Sarà necessario studiare politiche idonee per ribadire e rafforzare il ruolo del museo come servizio pubblico essenziale, ragionando non al chiuso del loro mondo, ma in un contesto più ampio; dovranno mettere in campo risorse creative e ricercare soluzioni innovative per attirare l'interesse dei viaggiatori e dialogare con pubblici diversi e interagire con il mondo della scuola, coinvolgendo altri esperti di discipline diverse e trasversali (pedagoghi, sociologi, psicologi, economisti, scienziati), ricercando utili alleanze nella società civile e negli amministratori pubblici per concorrere a costruire lo sviluppo sostenibile nei territori e delle città.

Per sostenere questo percorso di riflessione e sperimentazione, ICOM Italia ha aperto dei laboratori di approfondimento e discussione su temi (qui di seguito proposti) che saranno particolarmente rilevanti alla ripresa delle attività. Dopo aver raccolto in merito la documentazione nazionale e internazionale, che metterà a disposizione sul sito, intende aprire un ampio confronto sollecitando sperimentazioni e scambi di esperienze. Anche in collaborazione con altre associazioni museali e con istituzioni pubbliche e private.

L'utilizzazione delle piattaforme digitali, che hanno consentito in questi due mesi, oltre al lavoro agile, l'organizzazione di riunioni e webinar, faciliterà occasioni di formazione e di discussione, cui seguiràla graduale produzione di documenti e raccomandazioni da condividere con la comunità museale.

1. Analisi e riflessioni generali sull'impatto della pandemia sui musei
Numerose associazioni e istituzioni pubbliche, all'estero e in Italia, hanno avviato indagini per monitorare i danni causati dal lockdown agli istituti e alle persone occupate nel comparto. Alcuni esperti propongono riflessioni e proposte per la ripresa

2. La sicurezza nei musei e le nuove modalità di fruizione nei luoghi della cultura
La sicurezza e conservazione delle strutture e delle collezioni durante l'emergenza sono state oggetto da parte di ICOM di una specifica Raccomandazione Link. In vista dell'imminente riapertura dei luoghi della cultura è necessario adottare misure idonee per tutelare la salute dei lavoratori e dei visitatori

3. Museo e sviluppo sostenibile: politiche e azioni per il raggiungimento degli obiettivi dell'agenda 2030
I musei si interrogano sulle nuove sfide che dovranno affrontare per concorrere a costruire il benessere dei cittadini, la coesione sociale dei territori, il rispetto dell'ambiente e la salvaguardia dei beni e del paesaggio, declinando alla luce dei nuovi scenari gli Obiettivi dello Sviluppo sostenibile 2020-2030 promossi dalle Nazioni Unite.

4. La comunicazione digitale: l'esperienza dei musei al tempo dell'emergenza e le nuove strategie
A porte chiuse i musei hanno continuato la funzione di servizio pubblico attraverso una produzione di iniziative sul web di grande interesse che ICOM ha raccolto in bacheche Padlet e ha avviato un'indagine sulle iniziative di comunicazione digitale messe in atto dai Musie. Ma come in futuro la tecnologia digitale renderà più visibili, accessibili e competitivi i musei migliorando non solo le attività di comunicazione ma anche quelle legate alla conservazione, documentazione e ricerca del patrimonio culturale?

5. Musei, scuole e università
Anche le scuole e le università hanno sperimentato in tempi rapidi inedite forme di didattica e formazione a distanza. In questo scenario i musei potranno costruire nuove alleanze con docenti e studenti condividendo modalità diverse di fruire il patrimonio culturale, innovando le pratiche educative e costruendo insieme programmi e progetti che stimolino il senso di appartenenza del museo come luogo di crescita e conoscenza.

6. Dal turismo globale al pubblico di prossimità
In un clima di rischio sanitario I flussi turistici internazionali per molto tempo andranno incontro ad una drastica riduzione provocando un forte impatto sulle economie dei musei. Si dovranno ripensare le politiche di attrattività dei territori coinvolgendo i pubblici più prossimi e quelli ancora ai margini, sviluppando strategie di cooperazione tra i luoghi della cultura e le realtà produttive territoriali. Si potranno studiare inoltre modalità di accesso e tariffe diversificate da applicare in via sperimentale nei prossimi mesi

7. Collezioni permanenti e mostre: come cambiare l'offerta in ambito espositivo
La diminuzione del pubblico e delle risorse pubbliche cambierà anche il modo di concepire le mostre. Non più mega esposizioni, ma mostre più sostenibili, basate su seri percorsi di ricerca che valorizzino le collezioni museali esposte e le opere nei depositi evitando meccanismi puramente commerciali.

8. Gli obiettivi della nuova programmazione europea dopo la pandemia
La nuova programmazione europea 2021-2027 dovrà porsi obiettivi strategici per promuovere l'offerta culturale e turistica in una prospettiva di sviluppo sostenibile e integrato dei territori investendo a favore dell'innovazione tecnologica e della crescita occupazionale del settore culturale e delle industrie creative.

9. Iniziative a sostegno del settore museale e dei professionisti più a rischio
I musei, soprattutto i più piccoli e i musei privati, versano oggi in situazioni economiche estremamente gravi e gli operatori che hanno garantito, fino ad oggi, servizi essenziali per la vita dei musei avranno la necessità di essere tutelati con investimenti pubblici e misure economiche straordinarie.

10. Smart working in ambito museale: ripensare le attività on ed off line
L'accelerazione del lavoro agile al tempo dell'emergenza ha dimostrato che anche nel settore museale si è intrapreso un percorso senza ritorno che mette in gioco nuove competenze e professionalità, per espletare attività ordinarie e progettare inedite forme di fruizione e diffusione culturale anche nell'ottica di promuovere e rafforzare quelle attività che non possono prescindere dal rapporto diretto con le collezioni e il pubblico.

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La riapertura dei Musei: editoriale del 27 aprile 2020 - ICOM Italia

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06/03/2020 - 30/09/2020 @ 0:00 - L'annuncio della graduale riapertura dei musei a partire dal 18 maggio - data che coincide per ICOM con la Giornata internazionale dei musei - costituisce un importante segnale di fiducia e di speranza nel futuro.

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Bozza Dl Rilancio, da bonus vacanze ai musei: quasi 4 mld per cultura e turismo

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Bozza Dl Rilancio, da bonus vacanze ai musei: quasi 4 mld per cultura e turismo

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A queste misure si aggiungono quelle condivise con tutti gli altri settori produttivi del Paese, gli ammortizzatori sociali e le indennità per i lavoratori dello spettacolo e del turismo

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Le ultime bozze, ancora non definitive che AgCult ha potuto visionare, del Decreto Legge Rilancio che stanno circolando in queste ore confermano interventi consistenti per i settori della cultura e del turismo con l'obiettivo di far fronte alla crisi derivata dalle misure messe in atto per contrastare il contagio da Covid-19. Cultura e turismo sono i settori maggiormente colpiti dalle prescrizioni del governo e ora ricevono stanziamenti aggiuntivi per quasi 4 miliardi di euro. Ecco nel dettaglio le misure specifiche per i due settori che si aggiungono a quelle comuni a tutti i settori produttivi del Paese come ad esempio gli ammortizzatori sociali o gli assegni per i lavoratori dello spettacolo e del settore turistico.

TAX CREDIT VACANZE

Sale a 50.000 euro il limite di reddito Isee sotto al quale si avrà diritto al tax credit vacanze. Nella versione precedente il limite era fissato a 35.000 euro con un costo ipotizzato per le casse dello Stato pari a 2,5 miliardi di euro. Presumibilmente il costo, nella versione attuale, sarà anche maggiore. Il credito d'imposta è utilizzabile, dal 1° luglio al 31 dicembre 2020, da un solo componente per nucleo familiare nella misura di 500 euro per ogni nucleo familiare, per il pagamento di servizi offerti in ambito nazionale dalle imprese turistico ricettive e dai bed &breakfast che esercitano attività turistico ricettiva in possesso dei titoli prescritti dalla normativa nazionale e regionale. La misura del credito è di 300 euro per i nuclei familiari composti da due persone e di 150 euro per quelli composti da una sola persona. Il credito è fruibile nella misura dell'80 per cento in forma di sconto sul corrispettivo dovuto, anticipato dai fornitori presso i quali la spesa è stata sostenuta, e per il 20 per cento in forma di detrazione di imposta in sede di dichiarazione dei redditi da parte dell'avente diritto.

ESENZIONE IMU PER ALBERGHI E STABILIMENTI BALNEARI

Esenzione dall'imposta municipale propria-IMU per il settore turistico. In considerazione degli effetti connessi all'emergenza sanitaria da COVID 2019, sono esentati dalla prima rata relativa all'anno 2020, dell'imposta municipale propria (IMU) gli immobili adibiti a stabilimenti balneari marittimi, lacuali e fluviali e gli immobili rientranti nella categoria catastale D/2 (alberghi o pensioni), a condizione che i proprietari siano anche gestori delle attività.

Per il ristoro ai comuni a fronte delle minori delle entrate derivanti da questa disposizione, è istituito, nello stato di previsione del Ministero dell'interno, un fondo con una dotazione di 122,5 milioni di euro per l'anno 2020. Alla ripartizione del Fondo si provvede con decreto del Ministro dell'interno di concerto con il Ministro dell'economia e delle finanze, previa intesa in sede di Conferenza Stato-città ed autonomie locali, da adottare entro trenta giorni dalla data di entrata in vigore del presente decreto.

FONDO CDP TURISMO

Al fine di sostenere il settore turistico mediante operazioni di mercato, è istituito nello stato di previsione del Ministero per i beni e le attività culturali e per il turismo un fondo con una dotazione di 50 milioni di euro per l'anno 2020. Il fondo è finalizzato alla sottoscrizione di quote o azioni di organismi di investimento collettivo del risparmio e fondi di investimento, gestiti da società di gestione del risparmio, in funzione di acquisto, ristrutturazione e valorizzazione di immobili destinati ad attività turistico-ricettive. Il Fondo può essere incrementato, per l'anno 2020, nella misura di 200 milioni di euro a valere su quota delle risorse del Fondo sviluppo e coesione (FSC).

PROMOZIONE TURISTICA

Allo scopo di favorire la ripresa dei flussi turistici in ambito nazionale, nello stato di previsione del Ministero per i beni e le attività culturali e per il turismo è istituito il "Fondo per la promozione del turismo in Italia", con una dotazione di 30 milioni di euro per l'anno 2020. Con decreto del Ministro per i beni e le attività culturali e per il turismo, da adottare entro trenta giorni dalla data di entrata in vigore del presente decreto, sono individuati, anche avvalendosi dell'Enit-Agenzia nazionale del turismo, i soggetti destinatari delle risorse e le iniziative da finanziare e sono definite le modalità di assegnazione.

CONTRIBUTO SANIFICAZIONI STRUTTURE TURISTICHE

Nello stato di previsione del Ministero per i beni e le attività culturali e per il turismo è istituito un fondo con una dotazione di 50 milioni di euro per l'anno 2020, per la concessione di contributi in favore delle imprese turistico ricettive, delle aziende termali e degli stabilimenti balneari, quale concorso nelle spese di sanificazione degli ambienti e degli strumenti di lavoro e di adeguamento degli spazi conseguente alle misure di contenimento contro la diffusione del Covid-19. Con decreto del Ministro per i beni e le attività culturali e per il turismo sono stabilite le modalità e le condizioni per l'accesso ai contributi. Il contributo di cui al presente comma è cumulabile con altre agevolazioni per le medesime spese, comunque nel limite dei costi sostenuti.

ESONERO TASSA OCCUPAZIONE DI SUOLO PUBBLICO

Al fine di promuovere la ripresa delle attività turistico, danneggiate dall'emergenza epidemiologica da COVID-19, bar, ristoranti, gelaterie, pasticcerie, locali notturni, etc, titolari di concessioni o di autorizzazioni per l'utilizzazione del suolo pubblico sono esonerati fino al 31 ottobre 2020 dal pagamento della tassa per l'occupazione di spazi ed aree pubbliche. E' quanto si legge nell'ultima bozza del Decreto Legge Rilancio che sta circolando in queste ore e che AgCult è in grado di anticipare. Sempre fino al 31 ottobre 2020, le domande di nuove concessioni per l'occupazione di suolo pubblico ovvero di ampliamento delle superfici già concesse sono presentate mediante istanza all'ufficio competente dell'Ente locale, con allegata la sola planimetria in deroga alla normativa vigente.

Ai soli fini di assicurare il rispetto delle misure di distanziamento connesse all'emergenza da COVID-19, e comunque non oltre il 31 ottobre 2020, la posa in opera temporanea su vie, piazze, strade e altri spazi aperti di interesse culturale o paesaggistico, da parte di bar, ristoranti, gelaterie, pasticcerie, locali notturni, etc, di strutture amovibili, quali dehors, elementi di arredo urbano, attrezzature, pedane, tavolini, sedute e ombrelloni, purché funzionali all'attività di ristorazione, non è subordinata alle autorizzazioni del Codice dei Beni culturali. Per il ristoro ai comuni delle minori entrate, è istituito, nello stato di previsione del Ministero dell'interno, un fondo con una dotazione di 85 milioni di euro per l'anno 2020. Alla ripartizione del Fondo tra gli enti interessati si provvede, in proporzione alla somma delle entrate per tassa e canone occupazione spazi e aree pubbliche al 31 dicembre 2019.

FONDO SPETTACOLO, CINEMA E AUDIOVISIVO

I Fondi per le emergenze dedicati ai settori dello spettacolo, del cinema e dell'audiovisivo sono incrementati fino a 255 milioni di euro per l'anno 2020, di cui 155 milioni di euro per la parte corrente e 100 milioni di euro per gli interventi in conto capitale. Il Fondo di parte corrente può essere incrementato, per l'anno 2020, nella misura di 50 milioni di euro a valere su quota delle risorse del Fondo sviluppo e coesione (FSC).

FONDO EDITORIA E LUOGHI DELLA CULTURA PRIVATI

Istituito anche un Fondo emergenze imprese e istituzioni culturali, con una dotazione di 225 milioni di euro per l'anno 2020, per il sostegno al settore delle librerie, dell'intera filiera dell'editoria e dei musei e degli altri istituti e luoghi della cultura non appartenenti allo Stato. Il Fondo interviene anche per il ristoro delle perdite derivanti dall'annullamento di spettacoli, fiere, congressi e mostre. Le modalità di ripartizione e assegnazione delle risorse tra gli operatori del settore sono rimesse a uno più decreti del Ministro per i beni e le attività culturali e per il turismo, da adottare entro 30 giorni dall'entrata in vigore della legge di conversione del decreto-legge, tenendo conto dell'impatto economico negativo nei settori conseguente all'adozione delle misure di contenimento del COVID-19.

FONDO MUSEI STATALI

Si chiede di autorizzare anche la spesa di 100 milioni di euro per l'anno 2020 per assicurare il funzionamento degli istituti e luoghi della cultura statali afferenti al settore museale, in considerazione del mancato introito dei biglietti durante il periodo di chiusura al pubblico conseguente all'adozione delle misure di contenimento del Covid-19.

ANTICIPI FUS

Per il 2020, stante la sospensione delle attività delle fondazioni lirico-sinfoniche conseguente all'emergenza sanitaria da Covid-19, il Mibact chiede che la quota FUS sia ripartita sulla base della media delle percentuali assegnati nel triennio 2017-2019, in deroga ai criteri generali e alle percentuali di ripartizione.

Previsto anche un anticipo del contributo FUS in favore degli organismi, diversi dalle fondazioni lirico-sinfoniche, finanziati a valere sul Fondo per il triennio 2018-2020, pari all'80 per cento dell'importo riconosciuto per l'anno 2019. Con uno o più decreti del Ministro per i beni e le attività culturali e per il turismo saranno stabilite le modalità per l'erogazione della restante quota, tenendo conto delle attività effettivamente svolte nell'anno 2020 a fronte dell'emergenza sanitaria da Covid-19, della tutela dell'occupazione e della riprogrammazione degli spettacoli, nonché, in deroga alla durata triennale della programmazione, le modalità per l'erogazione dei contributi per l'anno 2021, anche sulla base delle attività effettivamente svolte e rendicontate nell'intero anno 2020.

Inoltre, gli organismi dello spettacolo dal vivo, decorso il primo periodo di applicazione pari a nove settimane di integrazione salariale, possono utilizzare le risorse loro erogate per l'anno 2020 a valere sul Fondo unico dello spettacolo anche per integrare le misure di sostegno del reddito dei propri dipendenti, in misura comunque non superiore alla parte fissa della retribuzione continuativamente erogata prevista dalla contrattazione collettiva nazionale, nel rispetto dell'equilibrio del bilancio e, in ogni caso, limitatamente al periodo di ridotta attività degli enti.

TAX CREDIT CINEMA

Al fine di mitigare gli effetti subiti dal settore cinematografico e audiovisivo a seguito dell'emergenza sanitaria Covid-19, il Ministro per i beni e le attività culturali e per il turismo chiede di poter adottare, limitatamente agli stanziamenti relativi all'anno 2020, uno o più decreti ai sensi della Legge sul cinema, anche in deroga alle percentuali previste per i crediti di imposta. Alle finalità di mitigazione degli effetti subiti dal settore cinematografico possono essere finalizzati anche i contributi previsti dalle sezioni III (contributi automatici), IV (contributi selettivi) e V (attività di promozione cinematografica e audiovisiva) del Capo III della legge.

PARMA 2021

In considerazione della impossibilità di procedere alle iniziative previste per il 2020 a causa dell'epidemia da COVID-19, si prevede un differimento dei termini all'anno 2021 del titolo di Capitale italiana della cultura.

ESTENSIONE ART BONUS

Tra le proposte si chiede anche di estendere la misura del credito di imposta per favorire le erogazioni liberali a sostegno della cultura (Art bonus) anche ai complessi strumentali, alle società concertistiche e corali, ai circhi e agli spettacoli viaggianti.

PIATTAFORMA DIGITALE

Prevista anche l'autorizzazione alla spesa di 10 milioni di euro per la realizzazione di una piattaforma digitale per la fruizione del patrimonio culturale e di spettacoli, anche mediante la partecipazione dell'Istituto nazionale di promozione.

RIMBORSO BIGLIETTI MUSEI E SPETTACOLI

Infine, si chiede di estendere a 18 mesi la validità dei voucher previsti per 12 mesi per il rimborso di biglietti per musei e spettacoli dal vivo.

FONDO CULTURA

È istituito, nello stato di previsione del Ministero per i beni e le attività culturali e per il turismo, un fondo con una dotazione di 50 milioni di euro per l'anno 2020, finalizzato alla promozione di investimenti e altri interventi per la tutela, la fruizione, la valorizzazione e la digitalizzazione del patrimonio culturale materiale e immateriale. Con decreto del Ministro per i beni e le attività culturali e per il turismo, di concerto con il Ministro dell'economia e delle finanze, sono stabilite modalità e condizioni di funzionamento del fondo. La dotazione del fondo può essere incrementata dall'apporto finanziario di soggetti privati, comprese le persone giuridiche private di cui dal titolo II del libro primo del codice civile.

Il Fondo può essere incrementato, per l'anno 2020, nella misura di 50 milioni di euro a valere su quota delle risorse del Fondo sviluppo e coesione (FSC).

RISORSE DA LIQUIDAZIONE EX IMAIE

Accelerare la chiusura della procedura di liquidazione dell'ex Imaie, l'Istituto per la tutela dei diritti connessi degli artisti interpreti esecutori, predisponendo che l'eventuale residuo attivo sia versato all'entrata del bilancio dello Stato ai fini del successivo trasferimento allo stato di previsione del Ministero per i beni e le attività culturali e per il turismo e ripartito tra gli artisti, gli interpreti e gli esecutori, secondo le modalità definite con decreto del Ministro per i beni e le attività culturali e per il turismo. Una cifra - aveva quantificato negli scorsi giorni il capogruppo M5S in commissione Cultura, ed ex sottosegretario al Mibact, Gianluca Vacca - che si aggirerebbe intorno ai 50 milioni di euro.

La norma prevede che i commissari liquidatori dell'IMAIE- Istituto Mutualistico Artisti Interpreti Esecutori in liquidazione, depositano il bilancio finale di liquidazione, in cui è indicata l'entità dei crediti vantati da artisti, interpreti ed esecutori, i nominativi dei creditori dell'ente e i crediti complessivamente riferibili ad artisti, interpreti, esecutori dell'area musicale e quelli riferibili ad artisti, interpreti, esecutori dell'area audiovisiva, come risultanti dagli stati passivi esecutivi per i quali sia stato autorizzato il pagamento dei creditori.

Approvato il bilancio finale, le somme corrispondenti al residuo attivo sono versate all'entrata del bilancio dello Stato per la successiva riassegnazione allo stato di previsione del MIBACT e ripartite in favore degli artisti, interpreti ed esecutori, secondo le modalità definite con decreto del Ministro per i beni e le attività culturali e per il turismo.

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Bozza Dl Rilancio, da bonus vacanze ai musei: quasi 4 mld per cultura e turismo

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Le ultime bozze, ancora non definitive che AgCult ha potuto visionare, del Decreto Legge Rilancio che stanno circolando in queste ore confermano interventi consistenti per i settori della cultura e del turismo con l'obiettivo di far fronte alla crisi derivata dalle misure messe in atto per contrastare il contagio da Covid-19.

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National Trust for Scotland declares emergency measures

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National Trust for Scotland declares emergency measures

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The National Trust for Scotland has announced a series of emergency actions in response to income loses and poor stock market conditions because of the Covid-19 pandemic.

The heritage body has warned that expected losses will equal its financial reserves, putting the future of 88 properties, 300,000-plus artefacts and land it manages at risk.

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More than 420 staff at risk of redundancy and phased reopening plans announced

The National Trust for Scotland has announced a series of emergency actions in response to income loses and poor stock market conditions because of the Covid-19 pandemic.

The heritage body has warned that expected losses will equal its financial reserves, putting the future of 88 properties, 300,000-plus artefacts and land it manages at risk.

Its emergencies measures include:

Placing 429 permanent members of staff at risk of redundancy

Opening a formal consultation process with its recognised trade union, Prospect

Approaching grant-giving bodies and the Scottish government for financial support

Seeking to sell non-heritage land and property

Scaling-back operations with 27 key properties potentially reopened this year on a limited basis, with others following next year

Preparing to launch an emergency fundraising appeal.

Closing its sites and holiday accommodation during the busiest part of the visitor season, coupled with people giving up their membership, means the trust's total charitable income from all sources is forecast to be down £28m this year - and is expected to fall again in 2021 even if current restrictions are relaxed.

It has also suffered estimated investment losses of £46m due to stock market conditions.

'With some level of restrictions likely to apply post lockdown, and having effectively missed the busiest part of the visitor season, I see little prospect of us being able to return to more normal levels of membership, visitation and income for the rest of this year and beyond," says Simon Skinner, the trust's chief executive.

"Even after we've done all we can to stave off the worst, it's crystal clear that we need radical action if we are to buy more time that will give the trust space to overcome income loss and weather depressed economic conditions."

The Scottish government has not announced any specific policies relating to museums reopening and is still advising people to stay home.

Once the lifting of restrictions is announced, the trust will scale back its current offering and introduce a phased re-opening of a core of 27 built heritage properties around the country, primarily those best able to accommodate social distancing.

The remainder of its properties will be managed on a care and maintenance basis, with the aim of opening a further 18 in 2021, and the rest once there is a general upturn in the economy and its capital reserves.

As well as looking to restructure its workforce, the trust is reviewing back office functions - meaning that more posts are likely to be at risk.

"This is a huge blow to workers at National Trust for Scotland who will be extremely worried about their futures," says David Avery, a Prospect negotiator. "We will do all we can to support members and argue strongly for the retention of jobs.

"Prospect will be raising this issue with the Scottish government as a matter of urgency. We are working with our members to see what steps can be feasibly taken at governmental level to support Scotland's cultural and tourism sectors.

"National Trust for Scotland has custodianship of many of Scotland's iconic landscapes and locations, which are key to rebuilding and recovering our economic and cultural life - they can't do that if they are closed."

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National Trust for Scotland declares emergency measures | Museums Association

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More than 420 staff at risk of redundancy and phased reopening plans announced The National Trust for Scotland has announced a series of emergency actions in response to income loses and poor stock market conditions because of the Covid-19 pandemic.

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Northern Ireland's outdoor museums will be first to reopen

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Northern Ireland's outdoor museums will be first to reopen

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Open-air museums in Northern Ireland will be the first in the nation to reopen under the coronavirus recovery plan published by the executive.
The roadmap to lifting lockdown restrictions has five-stages, but does not include a firm timetable or any indicative dates. First minister Arlene Foster said yesterday that she hoped the final stage would be reached by December.

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The executive has no timetable for its coronavirus recovery plan but hopes to reach the final stage by December

Open-air museums in Northern Ireland will be the first in the nation to reopen under the coronavirus recovery plan published by the executive.

The roadmap to lifting lockdown restrictions has five-stages, but does not include a firm timetable or any indicative dates. First minister Arlene Foster said yesterday that she hoped the final stage would be reached by December.

Open-air museums will reopen in step two of the plan, at the same time as selected libraries running restricted services.

The nation's outdoor museums include Ulster American Folk Park near Omagh and Ulster Folk Museum in Cultra. Both are part of National Museums Northern Ireland.

Other museums and galleries will reopen in step three, alongside libraries in general. This stage will also see the resumption of concert and theatre rehearsals, and training for team sports on a non-contact basis.

Stages have also been set out for other parts of the economy, but the executive says different sectors may progress to each stage at different times. The government will decide when to relax restrictions based on evidence and analysis, the capacity of health and social care services, and assessment of the wider impacts on health, society and the economy.

The executive says it is working closely with other UK nations and the Irish government to ensure a co-operative approach, but adds that there may be some differences of approach.

The Northern Irish recovery plan says "it is anticipated that the approach to be taken as the restrictions are relaxed will continue to be based on common principles across these islands, although there may be times when there are nuanced differences of approach as a result of the circumstances in differing jurisdictions or of the timing of decision-making".

Under the recovery plan published by the UK government, museums and other cultural venues in England will open no earlier than 4 July.

An online Museums Association members' meeting for Northern Ireland will be held on 10 June.

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Northern Ireland's outdoor museums will be first to reopen | Museums Association

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The executive has no timetable for its coronavirus recovery plan but hopes to reach the final stage by December Open-air museums in Northern Ireland will be the first in the nation to reopen under the coronavirus recovery plan published by the executive.

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English museums to stay closed until at least July

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English museums to stay closed until at least July

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Museums Journal understands that the reopening of museums and the wider cultural sector will be part of step three. But there is no guarantee that any museums will be among the first wave of venues to reopen. At the time of publishing, the Department for Digital, Culture, Media and Sport had not responded to a query from Museums Journal to clarify the position of museums.

The ability to ensure social distancing will be crucial for venues that want to reopen. The plan says “some venues which are, by design, crowded and where it may prove difficult to enact distancing may still not be able to re-open safely at this point, or may be able to open safely only in part”.

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The employee furlough scheme has been extended until October, but employers will have to contribute more from August onwards

Museums in England will remain closed until at least July, according to the UK government's roadmap for easing the coronavirus lockdown published this week.

The government has also extended the employee furlough scheme until October, indicating that some sectors are expected to take considerably longer than this to emerge from the crisis.

Some English leisure venues and public spaces will be able to reopen in step three of the government's Covid-19 recovery strategy, on the condition they meet safety guidelines.

Museums Journal understands that the reopening of museums and the wider cultural sector will be part of step three. But there is no guarantee that any museums will be among the first wave of venues to reopen. At the time of publishing, the Department for Digital, Culture, Media and Sport had not responded to a query from Museums Journal to clarify the position of museums.

The ability to ensure social distancing will be crucial for venues that want to reopen. The plan says "some venues which are, by design, crowded and where it may prove difficult to enact distancing may still not be able to re-open safely at this point, or may be able to open safely only in part".

The earliest step three can begin is 4 July, but this could be postponed depending on scientific advice and whether the government's five tests for easing lockdown measures are met. These include ensuring the NHS' ability to cope, a sustained fall in death rates, and a manageable rate of infection.

The Northern Irish government has published a separate five-stage coronavirus recovery plan, but this does not include a firm timetable or any indicative dates. Open air museums will reopen in step two of the plan, before other museums and galleries.

The Welsh and Scottish governments have not yet announced specific policies relating to museums reopening.

The UK government and devolved administrations will work together to ensure a coordinated response. However, restrictions could be lifted at different times across devolved administrations and across English regions, depending on local risk.

The government's strategy says: "In England, the government may adjust restrictions in some regions before others: a greater risk in Cornwall should not lead to disproportionate restrictions in Newcastle if the risk is lower."

The chancellor Rishi Sunak has also announced that the furlough scheme, which guarantees employees a proportion of their wages if their companies retain them, will continue until October.

The current scheme will run until the end of July, with the government contributing 80% of wages up to a £2,500 limit.

From August to October, employees can still receive this amount, but employers will be asked to start sharing the costs. Furloughed employees will also be able to return to work part time. Further details of the scheme will be announced later this month.

No additional measures have yet announced to support those not covered by the scheme, such as freelancers.

Responding to the announcement, Mike Clancy, general secretary of trade union Prospect, said: "We welcome the chancellor's announcement today that the Job Retention Scheme will be extended to the end of October with no reduction of support for workers, and that additional flexibility will be introduced to manage the transition back to work.

"However now that the government have conceded that many workers will need to remain furloughed for many more months, it is even more urgent that those who are excluded from government support due to arbitrary cut-offs are now brought into the scheme and do not face the prospect of six months with no income.

"The Treasury must urgently re-engage with Prospect and other organisations to fix the holes in the scheme and ensure all workers get the support they need."

Alistair Brown, policy officer at the Museums Association (MA), said: "The government's announcement provides the first, tentative steps towards reopening museums in England. But the 4 July date is not guaranteed and we must wait for further guidance from government on how reopening will happen and what steps we will need to take to ensure staff and public safety.

"Whatever the exact date, we want staff and the public to be confident that they can return to our galleries and spaces safely, and we will be working closely with government to make sure that clear guidelines and support is in place for the sector. Once a date for reopening is more firmly established by government, individual museums will need to make the decision on when to reopen on a case by case basis, dependent on their own appraisal of their public health, financial and operational concerns.

"As we begin to think about reopening, we also need to make sure that there is ongoing financial support for museums when reopening occurs. It is already clear that income from the vital spring and summer season has been wiped out and visitor numbers will be reduced for an extended period in many museums."

He added: "It's good news that the chancellor has extended the furlough scheme until October - the scheme has been instrumental in helping museums and their employees to survive the lockdown so far, and will be even more important in supporting the sector as it reopens to the public. There is still lots to do - but this is good news for museums and their employees across all nations of the UK."

MA director Sharon Heal said: "Clear guidance and support will be needed in order for museums to reopen to the public and our first priority must be the health and safety of staff, volunteers and the public. Clarity from governments about proposed reopening timescales is useful but each institution will be the best judge of when and if it is feasible to reopen and what support is needed to be able to do so."

It is expected that even after reopening, museum business models will have to adapt significantly, and that many venues will face ongoing financial challenges.

The MA's recent statement on reopening museums says the process will be "risky and difficult" for many institutions. It argues that museums should be eligible for emergency public support "during an extended period following the end of the lockdown".

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English museums to stay closed until at least July | Museums Association

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The employee furlough scheme has been extended until October, but employers will have to contribute more from August onwards Museums in England will remain closed until at least July, according to the UK government's roadmap for easing the coronavirus lockdown published this week.

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Coronavirus, linee guide Mibact per sanificare archivi, biblioteche, musei

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Coronavirus, linee guide Mibact per sanificare archivi, biblioteche, musei

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‘Quarantena’ anche per libri e opere d’arte. Testi predisposti dall’Icpal e dall’Opificio delle pietre dure

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Linee guida - Raccomandazioni per le riaperture di musei, biblioteche e archivi e la messa in sicurezza di utenti-visitatori, personale, spazi e materiali

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Linee guida - Raccomandazioni per le riaperture di musei, biblioteche e archivi e la messa in sicurezza di utenti-visitatori, personale, spazi e materiali

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L’elenco riporta riferimenti a documenti e materiali reperibili online a carattere informativo e privi di valore prescrittivo per quanto riguarda le istituzioni culturali dell’Emilia Romagna

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Istituto per i beni artistici - culturali e naturali

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L' emanata il 30 aprile 2020 dalla Presidenza della Giunta regionale dell'Emilia-Romagna ha stabilito che da lunedì 4 maggio è consentita la riapertura delle biblioteche per la sola attività di prestito ordinanza. Si tratta, in ogni caso, di una riapertura graduale, che conoscerà un nuovo significativo passaggio dal 18 maggio, quando, oltre alle biblioteche, sarà consentita la riapertura anche di musei e archivi.

Le aperture sono in ogni caso condizionate dalla presenza di condizioni di sicurezza per chi accede agli istituti culturali e per il personale interno, oltre, infine, che per le esigenze di sanificazione dei materiali (libri e documenti). Pertanto, considerata anche l'estrema varietà delle singole situazioni, non tutti gli istituti riapriranno contemporaneamente o garantendo l'accesso a tutti i servizi, a tutti gli spazi, accesso che, quasi sicuramente per tutti gli istituti , sarà caratterizzato da orari e modalità diverse dai precedenti e dettate dalle nuove esigenze.
Gli utenti e i visitatori sono quindi tenuti a informarsi - sul web o per via telefonica - presso i singoli istituti per verificarne modalità e orari.
In allegato trovate materiali informativi sulle modalità di accesso agli istituti culturali e, in genere, su come il mondo degli operatori culturali sta affrontando il tema delle riaperture:
Accesso agli istituti culturali: informazioni e raccomandazioni per gli utenti/visitatori (pdf, 324.96 KB) Indicazioni operative per la ripresa del prestito bibliotecario IBC-RER (pdf, 254.1 KB) Panoramica di Linee guida / Raccomandazioni nazionali e internazionali per le riaperture di musei, biblioteche e archivi e la messa in sicurezza di utenti/visitatori, personale, spazi e materiali

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Verso la riapertura: biblioteche, archivi e musei si preparano per la fase 2

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L' emanata il 30 aprile 2020 dalla Presidenza della Giunta regionale dell'Emilia-Romagna ha stabilito che da lunedì 4 maggio è consentita la riapertura delle biblioteche per la sola attività di prestito ordinanza . Si tratta, in ogni caso, di una riapertura graduale, che conoscerà un nuovo significativo passaggio dal 18 maggio, quando, oltre alle biblioteche, sarà consentita la riapertura anche di musei e archivi.

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Museums and end of lockdown: Ensuring the safety of the public and staff

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Museums and end of lockdown: Ensuring the safety of the public and staff

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As lockdowns gradually come to an end in several regions and countries, museums have to revise and update their health security protocols to reopen properly. While national regulations vary depending on the specific evolution of the COVID-19 pandemic, there are some basic measures that can be taken to protect the health of both visitors and staff.

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As lockdowns gradually come to an end in several regions and countries, museums have to revise and update their health security protocols to reopen properly. While national regulations vary depending on the specific evolution of the COVID-19 pandemic, there are some basic measures that can be taken to protect the health of both visitors and staff.

Preparing for the arrival of the public

Define a maximum number of visitors allowed into the museum and inform the public about it

Define a maximum number of visitors per exhibition room and inform the public (it is recommended to set a maximum number of people per square meters to allow a safety distance of 1.5 m between each visitor)

Determine average visit time to establish time slots

Consider a gradual reopening of exhibitions

As far as possible, set up a booking system (online, by phone and/or by e-mail). Set up an online ticketing system. Online tickets can be scanned by visitors themselves at the entrance to the museum

Consider extended opening hours

Consider opening hours dedicated to certain groups of public (e.g. > 65 years of age)

Deny access to persons showing symptoms of the disease

Notify the public of context-related restrictions on the institution's website (if applicable) and before entering the museum

Public access - adapting the flow of visitors

Avoid or manage lines at entrances and counters

Consider ground markings for lines to ensure that the recommended distance of 1.5 m is maintained

Ensuring distance between visitors and reception counters, possibly installing glass to protect staff and visitors

Close the cloakrooms requiring the presence of staff (lockers can remain available if they are disinfected regularly between uses) to avoid unnecessary handling and contact

Ensure that separate flows of entrances and exits are maintained and provide a one-way tour of the rooms (if possible)

Guided tours and educational offers can be provided if the safety distance between participants is respected. If this is the case, define specific time slots for group visits and restrict their size

The openings of common commercial areas (cafeteria, bookshop, shops) are subject to specific national regulations

Public access - strengthening health measures

Install hand sanitizer dispensers at the entrance of the museum and provide warning signs to encourage visitors to respect the health measures in force

Ensure that visitors have access to toilets (allowing them to wash their hands with soap and hot water and giving preference to disposable hygienic material in this respect) and adapt this access to the rules of social distancing in force (marking on the ground, etc.)

Ensure that devices such as audio guides, headphones and other similar equipment that require handling are systematically disinfected after each use

Disability-assisted facilities and exposed devices with control buttons for educational purposes should be cleaned frequently with disinfectants

Interior doors will remain open (if possible). Otherwise, they must be disinfected each time they are used

Public access - restricting some access if necessary

Restricting access to rooms and facilities that cannot be fully cleaned or disinfected

Closing installations (e.g. contemporary art) that involve visitor interaction

Lifts must be reserved for persons with reduced mobility, ensuring that the distance of 1.5 m is respected between each user. The control buttons must be disinfected after each use

If the common areas do not allow the application of the rules of social distancing, an adjustment of timetables and traffic could be considered

Reception and security staff

Security staff must be present at the reception desk and in the museum rooms to ensure not only that there is sufficient distance between the visitor and the works on display, but also to make sure there is sufficient distance between visitors themselves. If necessary, to guarantee the safety of the works and visitors, the teams can be supplemented by additional staff

Provide staff with adequate protective devices (cash register protection, masks, disinfectants), mandatory condition for opening to the public

Cleaning and conservation measures

Increase cleaning intervals according to national regulations

All areas of the museum accessible to the public will be cleaned daily, as a minimum

To guarantee the conservation of museum collections, keep following our recommendations and guidelines

Consider sustainable adaptation of emergency plans

Extend work loans to minimize movement, handling, and transportation

The areas accessible to staff will be cleaned in accordance with national guidelines

Common equipment used by several staff members will need to be disinfected regularly. In the absence of disinfection standards, this equipment shall not be used

Staff will clean their workplace daily with alcohol-based wipes or paper towels, regardless of the cleaning service in place

Any employee whose activity does not require an on-site presence will continue to work from home and in accordance with national regulations

Finally, it is recommended that museums that are not in a position to respond to these measures extend their temporary closings.

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Museums and end of lockdown: Ensuring the safety of the public and staff - ICOM

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As lockdowns gradually come to an end in several regions and countries, museums have to revise and update their health security protocols to reopen properly. While national regulations vary depending on the specific evolution of the COVID-19 pandemic, there are some basic measures that can be taken to protect the health of both visitors and staff.

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Riaprono i musei a Milano. Il piano, le informazioni, le sperimentazioni

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Riaprono i musei a Milano. Il piano, le informazioni, le sperimentazioni

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I MUSEI ITALIANI DOVREBBERO RIAPRIRE, SALVO DIVERSE DISPOSIZIONI DEL GOVERNO, IL 18 MAGGIO (O PIÙ VEROSIMILMENTE IL 19 ESSENDO IL LUNEDÌ GIORNO DI CHIUSURA PER MOLTI SPAZI DELLA CULTURA). IN ATTESA DI NUOVE DISPOSIZIONI, IL COMUNE DI MILANO HA ELABORATO UN PIANO DI RIAPERTURA SPERIMENTALE DEI PROPRI MUSEI. ECCO IN COSA CONSISTE

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I musei italiani dovrebbero riaprire, salvo diverse disposizioni del governo, il 18 maggio (o più verosimilmente il 19 essendo il lunedì giorno di chiusura per molti spazi della cultura). In attesa di nuove disposizioni, il Comune di Milano ha elaborato un piano di riapertura sperimentale dei propri musei. Ecco in cosa consiste

Durante il suo discorso al Senato dello scorso 6 maggio, il Ministro per i Beni Culturali e del Turismo Dario Franceschini ha affermato come in questi giorni si stia "ragionando sulla ripartenza dei musei dal 18 maggio" e che "anche in questo caso arriveranno indicazioni dal Comitato tecnico-scientifico". La sanificazione e la riorganizzazione degli spazi, il distanziamento sociale e l'utilizzo dei presidi di protezione personale, misure queste già valide per ogni tipologia di situazione sociale e lavorativa, saranno alla base anche della "fase 2" di musei e luoghi di cultura, come già anticipato nel vademecum redatto da ConfCultura e rivolto a tutti gli operatori del settore. In attesa dell'emanazione del provvedimento da parte del Governo che ufficializzi l'apertura dei musei su tutto il territorio nazionale a partire dal 18 maggio, il Comune di Milano si è portato avanti presentando il Piano di riapertura sperimentale dei musei civici milanesi a partire dal prossimo 19 maggio.

RIAPRONO I MUSEI A MILANO. PIANO E INFORMAZIONI

Presentato l'8 maggio in Commissione Cultura/Turismo dall'assessore Filippo Del Corno e dal direttore Cultura Marco Minoja, il Piano segue le indicazioni contenute nel documento "Milano 2020. Strategia di adattamento. Documento aperto al contributo della città" pubblicato lo scorso aprile. In merito alla ripresa delle attività museali nel periodo post lockdown, le aperture avverranno tenendo conto della differente capienza dei musei e "a scacchiera" rispetto al territorio della città: nell'arco della settimana, verranno quindi aperti i musei di diversi distretti urbani, e durante il weekend quelli che si trovano nei pressi di parchi pubblici resteranno chiusi per evitare l'aumento dell'affluenza negli spazi verdi. "Cominciamo dal 18 maggio un percorso che conduce alla ripresa delle attività culturali, attraverso misure sperimentali che sono funzionali a un ritorno alla normalità della fruizione culturale nella nostra città", ha dichiarato Filippo Del Corno. "Accoglieremo quindi proposte, suggerimenti e richieste che arriveranno dai visitatori o da altri soggetti e istituzioni culturali, e utilizzeremo gli spazi dei musei nei giorni di chiusura per attività didattiche e progetti dedicati ai bambini, da vivere in sicurezza. Intendiamo cogliere questa opportunità di sperimentazione anche per offrire una prospettiva nuova sulla modalità di fruizione delle collezioni museali, lontana da criteri di valutazione basati sui numeri e più vicina al valore della scoperta o della rilettura più intima e consapevole delle opere: un nuovo approccio che può essere fattore di crescita personale e collettivo".

RIAPRONO I MUSEI A MILANO. IL CALENDARIO

Oltre alle modalità, è stato elaborato anche un calendario che scandisce i tempi delle riaperture: martedì 19, mercoledì 20 e giovedì 21 maggio è prevista l'apertura dei Musei del Castello Sforzesco, del Museo di Storia Naturale, della GAM|Galleria d'Arte Moderna, dell'Acquario Civico e della Casa Museo Boschi-Di Stefano; venerdì 22, sabato 23 e domenica 24 maggio apriranno il Museo del Novecento, il Museo Civico Archeologico, Palazzo Morando|Costume Moda Immagine e il MUDEC|Museo delle Culture. Dal 26 maggio fino al 21 giugno invece, in linea con le indicazioni sanitarie e normative, nell'arco della settimana i musei saranno aperti a giorni alterni: martedì e mercoledì saranno aperti la GAM, il Museo di Storia Naturale, il Museo del Risorgimento e l'Acquario; giovedì i Musei del Castello Sforzesco, Casa Boschi-Di Stefano e Studio Museo Francesco Messina; venerdì i Musei del Castello Sforzesco, Casa Boschi-Di Stefano, Studio Museo Francesco Messina e il MUDEC; sabato e domenica il Museo del Novecento, Palazzo Morando, il Museo Archeologico e il MUDEC. Tutti i musei resteranno chiusi il lunedì. Per visitare i musei civici, sarà necessario prenotarsi online.

LA RIAPERTURA DI PALAZZO REALE E DEL PAC

Palazzo Reale invece riaprirà le sue sale al pubblico dal 28 maggio, dal giovedì alla domenica, con la riapertura della mostra dedicata a Georges de la Tour (fino al 27 settembre), di Tuthankamon. Viaggio oltre le tenebre (fino al 30 agosto) e Roberto Cotroneo. Genius Loci (fino al 26 luglio). Anche in questo caso, per visitare le mostre sarà necessaria la prenotazione. Il PAC|Padiglione d'Arte Contemporanea ha posticipato a ottobre l'inaugurazione della personale di Tania Bruguera, e a partire dal 25 giugno e pe tutta l'estate proporrà una nuova versione di Performing PAC. Made of Sound, focalizzata sull'interazione tra arte contemporanea e musica.
- Desirée Maida

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Ecco come riaprono i musei a Milano. Pronto il piano

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I musei italiani dovrebbero riaprire, salvo diverse disposizioni del governo, il 18 maggio (o più verosimilmente il 19 essendo il lunedì giorno di chiusura per molti spazi della cultura). In attesa di nuove disposizioni, il Comune di Milano ha elaborato un piano di riapertura sperimentale dei propri musei.

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Museums in Belgium and Italy to reopen mid-May under phased lifting of lockdown

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Museums in Belgium and Italy to reopen mid-May under phased lifting of lockdown

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Belgian museum director says his institution is “ready to serve as a test room”

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A Belgian museum director says he welcomes the opportunity for his gallery to act as a "test room" for cultural institutions opening up post-lockdown in the wake of the coronavirus crisis. The Museum van Hedendaagse Kunst (MHKA) in Antwerp plans to reopen on 19 May in line with the guidelines issued by the National Security Council, which includes the Belgian prime minister and Minister-Presidents from the regions.

The MHKA will present the work of the Belgian filmmaker Els Dietvorst and California-born artist Tramaine de Senna when it reopens. Bart De Baere, the director of the contemporary art museum, says in an online statement: "Museums are like parks; spaces in which the individual experience can intertwine with the public space of being together. In the coming months, as a society, we face the challenge to find a new, positive balance between personal freedom and care for our relationship with others. We, at the MHKA, are ready to serve as a test room for that post-lock down experience."

But the Brussels Times newspaper points out that relaxation of these measures can only happen if social distancing is maintained, face masks are available, hygiene rules and workplace protocols are respected, and up to 40,000 tests a day are carried out.

An online statement from the MHKA adds: "Together with our fellow museums in Antwerp and Flanders, we hope that, as a test case, we will be able to provide experiences that will allow other cultural sub-sectors [such as opera and theatre] to reopen." Crucially, the MHKA says it wants to "make a case for reopening, in the wake of the museums, art spaces such as Wiels [in Brussels] and Z33 [in Hasselt], and large [commercial] art galleries such as Zeno X Gallery or Tim Van Laere Gallery in Antwerp."

The Royal Museums of Fine Arts, comprising six museums based in Brussels, will re-open gradually. "The Old Masters Museum will reopen to the public on Tuesday 19 May. The precise prevention measures will be announced very shortly. The other collections of the Royal Museums of Fine Arts of Belgium will reopen at a later stage," says a statement on the museums' website.

Meanwhile, the Italian prime minister, Giuseppe Conte, has outlined lockdown easing measures which include reopening museums, cultural venues and libraries on 18 May; this also depends on implementing necessary safety measures. Conte warned: "If we do not respect the precautions the curve will go up, the deaths will increase, and we will have irreversible damage to our economy. If you love Italy, keep your distance."

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Museums in Belgium and Italy to reopen mid-May under phased lifting of lockdown

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A Belgian museum director says he welcomes the opportunity for his gallery to act as a "test room" for cultural institutions opening up post-lockdown in the wake of the coronavirus crisis. The Museum van Hedendaagse Kunst (MHKA) in Antwerp plans to reopen on 19 May in line with the guidelines issued by the National Security Council, which includes the Belgian prime minister and Minister-Presidents from the regions.

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Il Kunsthistorisches Museum di Vienna riapre il 30 maggio. E il costo d'ingresso lo decidono i visitatori

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Il Kunsthistorisches Museum di Vienna riapre il 30 maggio. E il costo d'ingresso lo decidono i visitatori

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Al contrario di quanto aveva comunicato a inizio aprile, quando prospettava una riapertura per il 1° di luglio, il Kunsthistorisches Museum di Vienna ha fatto sapere, pochi minuti fa, che la ripartenza ci sarà molto prima del previsto, e l’istituto aprirà dunque le porte al pubblico il 30 maggio. “Grazie alle incoraggianti previsioni sul contenimento del coronavirus”, ha scritto il KHM in una nota, “possiamo riaprire il Kunsthistorisches Museum per tutti i visitatori a partire da sabato 30 maggio 2020”.

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Al contrario di quanto aveva comunicato a inizio aprile, quando prospettava una riapertura per il 1° di luglio, il Kunsthistorisches Museum di Vienna ha fatto sapere, pochi minuti fa, che la ripartenza ci sarà molto prima del previsto, e l'istituto aprirà dunque le porte al pubblico il 30 maggio. "Grazie alle incoraggianti previsioni sul contenimento del coronavirus", ha scritto il KHM in una nota, "possiamo riaprire il Kunsthistorisches Museum per tutti i visitatori a partire da sabato 30 maggio 2020".

Ma non solo: non ci saranno biglietti regolari fino al 30 giugno. "Avete dovuto fare a meno del museo per molto tempo", si legge ancora nella nota, "quindi abbiamo escogitato qualcosa di speciale per voi per le prime settimane di riapertura: dal 30 maggio alla fine di giugno 2020, non ci saranno le regolari tariffe di ingresso. Vi invitiamo, invece, a pagare semplicemente in base al motto pay as you wish. Saremo ovviamente contenti di qualsiasi supporto tu voglia dare al museo, perché vogliamo consentire a tutti, indipendentemente dalla loro attuale situazione finanziaria, di visitare il museo". Saranno dunque i visitatori a scegliere quanto pagare il loro ingresso al museo viennese.

Il Kunsthistorisches Museum coglie inoltre l'occasione per lanciare le sue iniziative per la festa della mamma, che si celebra il prossimo 10 maggio: l'invito è a omaggiare la propria mamma o la propria nonna con una donazione nell'ambito del progetto di adozione delle opere d'arte del museo (con un'offerta si possono sostenere le spese di manutenzione di un'opera d'arte), oppure con un oggetto da acquistare nello shop del museo che ha aperto una sezione apposita sulla festa della mamma.

Infine, il museo lancia la sua iniziativa per il #GivingTuesdayNOW, una giornata globale di unione che si svolgerà il 5 maggio 2020 come risposta all'emergenza Covid-19: l'invito del Kunsthistorisches Museum è quello di supportare il museo con una donazione (attraverso una apposita pagina) per aiutare l'istituto a far fronte alla crisi.

Il Kunsthistorisches Museum di Vienna riapre il 30 maggio. E il costo d'ingresso lo decidono i visitatori

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Il Kunsthistorisches Museum di Vienna riapre il 30 maggio. E il costo d'ingresso lo decidono i visitatori

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Al contrario di quanto aveva comunicato a inizio aprile, quando prospettava una riapertura per il 1° di luglio, il Kunsthistorisches Museum di Vienna ha fatto sapere, pochi minuti fa, che la ripartenza ci sarà molto prima del previsto, e l'istituto aprirà dunque le porte al pubblico il 30 maggio.

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CORONAVIRUS : RÉOUVERTURE DES MUSÉES DE LA VILLE DE PARIS À LA MI-JUIN ET EN JUILLET ?

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CORONAVIRUS : RÉOUVERTURE DES MUSÉES DE LA VILLE DE PARIS À LA MI-JUIN ET EN JUILLET ?

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Bonne nouvelle pour les musées de la Ville de Paris ! Pour faire face au coronavirus et à la crise économique qui en découle, Christophe Girard, adjoint chargé de la culture à la Mairie de Paris, a annoncé que les musées dépendant de la ville pourraient rouvrir dès mi-juin, partiellement, dans le respect des mesures sanitaires en vigueur après le confinement. Sont donc concernés, entre autres, le Petit Palais, le Musée d'Art Moderne, le Musée Cernuschi, le Musée de la Libération de Paris, le Musée de la Vie Romantique ou encore les Catacombes.

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Par Laurent P. · Photos par My B. · Publié le 8 mai 2020 à 16h26 · Mis à jour le 8 mai 2020 à 18h21

Bonne nouvelle pour les musées de la Ville de Paris ! Pour faire face au coronavirus et à la crise économique qui en découle, Christophe Girard, adjoint chargé de la culture à la Mairie de Paris, a annoncé que les musées dépendant de la ville pourraient rouvrir dès mi-juin, partiellement, dans le respect des mesures sanitaires en vigueur après le confinement. Sont donc concernés, entre autres, le Petit Palais, le Musée d'Art Moderne, le Musée Cernuschi, le Musée de la Libération de Paris, le Musée de la Vie Romantique ou encore les Catacombes.

Malgré le coronavirus, les musées commencent à y voir plus clair quant à une réouverture... Et parmi les pistes à suivre, celle que va mettre en place Paris Musées pour ses établissements et dévoilés à nos confrères de Télérama par Christophe Girard, adjoint chargé de la culture à la Mairie de Paris. Ainsi donc, les musées de la ville vont ainsi pouvoir rouvrir à la mi-juin mais vont devoir s'adapter en privilégiant " certaines de leurs salles et certaines de leurs collections pour qu'on ne dépasse jamais l'objectif de groupes successifs de 10 personnes dans l'espace public", comme l'explique l'adjoint à la Maire de Paris.

Christophe Girard en a également profité pour annoncer qu'il préparait, concernant ces musées, aux côtés de quatre conservateurs, " des concerts, de la danse, du cinéma, des installations et des spectacles, en extérieur surtout, dans les parcs, jardins et sur de petites places" pour le mois d'août. Des collections a découvrir, mais également des concerts et autres événements qu'il va falloir organiser " par groupe de dix successifs" et proposer ainsi une " autre manière" de consommer l'art tout en respectant les consignes sanitaires. Un véritable enjeu pour les musées et un galop d'essai pour tous ceux qui ouvriront plus tard et qui cherchent à voir ce qui fonctionne ou non.

Quoi qu'il en soit, " la quête éperdue des records de fréquentation dans les grandes expositions parisiennes de ces dernières années va être bouleversée", évoque-t-il. Et de poursuivre : " Je trouvais ça atroce, cette course à l'échalote culturelle qui ne servait en rien à mieux regarder les œuvres. Il faut sortir de ces critères d'industrie culturelle mais se rééduquer à voir, à être dans l'effort de la découverte, à prendre le temps de la déambulation". Il conclut : " Les musées doivent se penser autrement qu'en termes de massification. On s'est trop abîmé ainsi. Et la démocratisation culturelle n'y a rien gagné".

Une réouverture des musées de la ville étalée sur le temps

Jeudi 7 mai dernier, Paris Musées a également apporté des précisions sur la réouverture de ses musées. ainsi, l'objectif est de rouvrir plusieurs des musées de la Ville de Paris dès le 16 juin prochain, comme le musée Bourdelle, le musée de la Libération de Paris - musée du général Leclerc - musée Jean Moulin, le musée de la Vie Romantique, le musée Cernuschi, les Catacombes ainsi que la maison de Balzac. En revanche, en ce qui concerner le musée d'Art moderne de la Ville de Paris et le musée Cognacq-Jay, ceux-ci devraient rouvrir en juillet.

Concernant les expositions présentées avant la fermeture des établissements, celle-ci seront prolongées. Ainsi, l'exposition Les Contes étranges de N.H. Jacobsen, qui se tient au musée Bourdelle, est prolongée jusqu'au 26 septembre 2020, tandis que l'exposition Coeur, qui a lieu au musée de la Vie Romantique, se terminera finalement le 13 septembre prochain. Du côté du musée de la Libération de Paris, l'exposition 1940 : Les Parisiens dans l'Exode est prolongée jusqu'au 13 décembre 2020 et du côté de la maison de Balzac, l'exposition La Comédie humaine, Balzac par Eduardo Arroyo se terminera le 16 août prochain.

À partir du 16 juin, Paris Musées souhaite ouvrir l'exposition La force du dessin - Chefs d'œuvre de la Collection Prat qui sera présentée jusqu'au 4 octobre 2020 au Petit Palais. La Crypte archéologique de l'Ile de la Cité présentera quant à elle l'exposition Notre Dame de Paris, de Victor Hugo à Viollet le Duc, après la réouverture du parvis de Notre Dame.

Enfin, en ce qui concerne le musée Carnavalet, le Palais Galliera et la maison de Victor Hugo, ceux-ci reprendront progressivement leurs travaux de rénovation pour réouvrir dans les mois à venir. Le musée Zadkine ouvrira quant à lui à l'automne, avec l'exposition Chagall-Zadkine.

A noter que les petits musées, eux, vont pouvoir rouvrir dès le 11 mai. Et concernant les autres grands musées parisiens, comme le ou encore le Musée d'Orsay, aucune annonce n'a été faite pour le moment par l'adjoint au maire. Il faudra probablement attendre une annonce officielle du ministère de la Culture ou des musées eux-même pour en savoir tous les détails.

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Informations pratiques

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Coronavirus : réouverture des musées de la Ville de Paris à la mi-juin et en juillet ?

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Bonne nouvelle pour les musées de la Ville de Paris ! Pour faire face au coronavirus et à la crise économique qui en découle, Christophe Girard, adjoint chargé de la culture à la Mairie de Paris, a annoncé que les musées dépendant de la ville pourraient rouvrir dès mi-juin, partiellement, dans le respect des mesures sanitaires en vigueur après le confinement.

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Sanificazione e beni culturali, Restauratori Senza Frontiere: attenzione ai prodotti che si usano

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Sanificazione e beni culturali, Restauratori Senza Frontiere: attenzione ai prodotti che si usano

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“Al di là dell’urgenza degli interventi di sanificazione richiesti dalla attuale situazione relativa alla pandemia e in vista del ritorno alla normalità, il problema della più semplice ed ordinaria igienizzazione di questi luoghi richiede analoghe cautele e attenzione ai prodotti che si usano. Musei, biblioteche, sedi di istituzioni storiche pubbliche e private, vengono il più delle volte igienizzati da normali imprese di pulizie, quelle che ancora oggi spesso usano prodotti commerciali, non idonei per le superfici storiche come pavimenti in cotto, in parquet, oppure in pietra, spesso anche infissi e/o vetrate di pregio. Inoltre, le sostanze volatili rilasciate dai prodotti impiegati (per es. ammoniaca, o cloro) possono raggiungere anche i manufatti conservati nell’ ambiente (dipinti, sculture, stoffe, manufatti cartacei, ecc.)”.

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Lo scorso 29 aprile l'organizzazione Restauratori Senza Frontiere Italia ha inviato al Mibact un documento, con l'intento di sottoporre le criticità in merito ai trattamenti di sanificazione richiesti in questo periodo a seguito dell'epidemia di Covid19, anche per gli ambienti di interesse storico e artistico.

"L'Istituto Superiore di Sanità - si legge nella missiva firmata da Marisa Laurenzi Tabasso, Presidente del Comitato Scientifico di RSF Italia - indica 'acqua e sapone e/o alcol etilico 75% e/o ipoclorito di sodio 0,5%' per pulire i diversi ambienti, materiali e arredi. Nel caso però di ambienti e materiali di rilevanza culturale queste indicazioni vanno attentamente valutate per evitare di produrre danni sui diversi manufatti trattati direttamente con i prodotti per la sanificazione o, indirettamente, a causa di vapori o gas che possono sprigionarsi dai prodotti stessi".

"Il Dott. Nazzareno Gabrielli, chimico, Socio onorario di Restauratori Senza Frontiere-Italia e già direttore dei Gabinetti Scientifici dei Musei Vaticani, ha recentemente indirizzato al MIBACT un messaggio per allertare gli uffici responsabili delle tutela e della fruizione di immobili e collezioni di interesse storico-artistico affinché si presti la massima attenzione ai prodotti che si dovranno impiegare per la loro sanificazione. Il MIBACT ha tempestivamente informato tutti gli enti periferici competenti, diffondendo il messaggio del dott. Gabrielli".

"Al di là dell'urgenza degli interventi di sanificazione richiesti dalla attuale situazione relativa alla pandemia e in vista del ritorno alla normalità, il problema della più semplice ed ordinaria igienizzazione di questi luoghi richiede analoghe cautele e attenzione ai prodotti che si usano. Musei, biblioteche, sedi di istituzioni storiche pubbliche e private, vengono il più delle volte igienizzati da normali imprese di pulizie, quelle che ancora oggi spesso usano prodotti commerciali, non idonei per le superfici storiche come pavimenti in cotto, in parquet, oppure in pietra, spesso anche infissi e/o vetrate di pregio. Inoltre, le sostanze volatili rilasciate dai prodotti impiegati (per es. ammoniaca, o cloro) possono raggiungere anche i manufatti conservati nell' ambiente (dipinti, sculture, stoffe, manufatti cartacei, ecc.)".

"Questa situazione richiede con molta evidenza la necessità che gli organi competenti del MiBACT regolamentino con chiarezza le modalità per l'effettuazione degli interventi di pulizia di siti e monumenti sottoposti a vincolo storico, artistico, architettonico e archeologico, e indichino che tali interventi siano obbligatoriamente effettuati sotto il coordinamento e la Direzione Tecnica di un Restauratore qualificato di Beni Culturali. Quanto agli aspetti tecnici delle operazioni di sanificazione e igienizzazione (il tipo di prodotti da impiegare in funzione delle diverse tipologie di ambienti e manufatti), certamente gli Istituti Superiori del Ministero (ISCR, ICRCPAL) e avranno già dato o daranno tutte le indicazioni necessarie. Restauratori Senza Frontiere-Italia è comunque disponibile per contribuire, ove ce ne fosse la necessità, alla redazione di protocolli specifici".

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Sanificazione e beni culturali, Restauratori Senza Frontiere: attenzione ai prodotti che si usano

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Lo scorso 29 aprile l'organizzazione Restauratori Senza Frontiere Italia ha inviato al Mibact un documento, con l'intento di sottoporre le criticità in merito ai trattamenti di sanificazione richiesti in questo periodo a seguito dell'epidemia di Covid19, anche per gli ambienti di interesse storico e artistico.

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Riapertura musei: tutte le regole da seguire nel protocollo del Comitato Tecnico Scientifico

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Riapertura musei: tutte le regole da seguire nel protocollo del Comitato Tecnico Scientifico

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INGRESSI CONTINGENTATI, OBBLIGO DI MASCHERINA, DISPENSER DI GEL IGIENIZZANTI SPARSI PER LO SPAZIO, LIMITAZIONE DELL’USO DELLA BIGLIETTERIA E DEI CONTANTI: TUTTO CIÒ CHE DOBBIAMO SAPERE PER TORNARE A VISITARE I MUSEI.

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Ingressi contingentati, obbligo di mascherina, dispenser di gel igienizzanti sparsi per lo spazio, limitazione dell'uso della biglietteria e dei contanti: tutto ciò che dobbiamo sapere per tornare a visitare i musei.

Se ci saranno le condizioni sanitarie sufficienti, il 18 maggio ripartiranno le visite ai musei, ma in una veste molto diversa da quella a cui eravamo abituati. Intanto che mostre e istituzioni culturali si riorganizzano, facendo i conti con una situazione mai sperimentata prima, il Comitato Tecnico-Scientifico ha definito i protocolli necessari per la riapertura. Mentre molte norme saranno estese indistintamente a ogni sito culturale, una prima differenziazione è data dalla tipologia degli spazi (sito all'aperto, sito in locali confinati, sito ibrido), alle dimensioni e alla concentrazione dei flussi di visitatori. Questi ultimi sono considerati i più critici - segnalati in una tabella, al primo posto troviamo il Colosseo, con oltre 7 milioni di visitatori l'anno - e sono quelli che dovranno predisporsi a seguire in le regole in modo più scrupoloso; tuttavia, data l'assenza di turismo internazionale che persisterà per lungo tempo, anche questo aspetto potrebbe essere da riconsiderare. Ecco allora di seguito il nutrito elenco di regole che dovremo seguire nei prossimi mesi per godere nuovamente dei nostri musei.

MUSEI: LE NUOVE NORME DI SICUREZZA

Gestione degli ingressi e delle uscite. Visite contingentate numero di visitatori e fasce orarie, di modo da non gravare sugli "orari di punta" e la mobilità in relazione al pendolarismo (con l'invito a coordinarsi con le infrastrutture territoriali).

Obbligo di mascherine per i visitatori e per il personale museale

Gli spazi comuni come servizi di ristoro e commerciali dedicati al merchandising e vendita libri, vanno adeguati alle norme di contingentamento dei visitatori e distanziamento sociale

Utilizzo della segnaletica per far rispettare la distanza fisica di almeno 1 metro anche presso biglietteria e sportelli informativi, nei negozi ecc., nonché all'esterno dei siti

Prevedere percorsi a senso unico

Regolare i servizi igienici in modo da garantire il distanziamento sociale

Garantire la pulizia giornaliera degli ambienti, delle postazioni di lavoro e delle aree comuni prestando particolare attenzione alle superfici di contatto di frequente utilizzo

Posizionamento di dispenser per sanificazione delle mani in più punti

Limitare l'utilizzo di touch screen

Limitare l'utilizzo di pagamenti in contanti

Evitare file alle biglietterie incentivando l'acquisto di biglietti tramite app e siti web

Soprattutto all'inizio, si sconsiglia l'uso di audioguide (che in tal caso andranno sanificate ogni volta), sostituendole con materiale informativo cartaceo

Posizionamento di video esplicativi per le norme da seguire all'interno degli spazi

MUSEI: LE NORME PER IL PERSONALE

Anche il personale a partire dalla riapertura dei musei dovrà attenersi a un rigido protocollo normativo che impedisca la diffusione del contagio, con alcune condizioni garantite dal datore di lavoro. In generale, molte di queste norme sono comuni agli altri ambienti lavorativi e si possono ritrovare nei testi emanati in precedenza, come la Normativa specifica in materia di salute e sicurezza sul lavoro (D.Lgs 81/08 e ss.mm.ii.) o il "Protocollo condiviso con le parti sociali" di regolazione delle misure per il contrasto e il contenimento della diffusione del virus Covid-19 negli ambienti di lavoro del 24 aprile 2020. Al personale dovrà essere garantita la fornitura stabile di mascherine, che dovranno essere indossate correttamente all'interno degli spazi. La condizione di salute dei dipendenti dovrà essere verificata una volta rientrati dal contenimento sociale. Dovrà essere consentito lo smart working, alle figure professionali per cui questo è possibile, privilegiando chi risiede in un comune o in una regione differente. In generale, si caldeggia una riapertura graduale, anche sperimentale (su questo Milano è già partita con un piano strategico, rappresentando un possibile modello), dando precedenza ai luoghi all'aperto e ai musei che nel 2018 e 2019 non hanno mai fatto registrare alte frequenze. Si ricorda, infine, che il protocollo va applicato rigorosamente ai siti ad alta concentrazione di pubblico, ovvero quelli che superano i 100 mila visitatori annui. Per piccole strutture che hanno visitatori solo su appuntamento o limitato accesso al pubblico, queste norme sono semplificabili, pur sempre attenendosi nell'ottica della prevenzione del rischio da contagio garantendo distanziamento sociale, uso delle mascherine e misure igieniche. Ora non resta da capire se e quando i musei piccoli e grandi riusciranno ad organizzarsi. Una cosa è certa: non tutti ce la faranno per l'inizio della prossima settimana come previsto dal timing governativo.

- Giulia Ronchi

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Riapertura dei musei. Ecco tutte le regole

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Ingressi contingentati, obbligo di mascherina, dispenser di gel igienizzanti sparsi per lo spazio, limitazione dell'uso della biglietteria e dei contanti: tutto ciò che dobbiamo sapere per tornare a visitare i musei. Se ci saranno le condizioni sanitarie sufficienti, il 18 maggio ripartiranno le visite ai musei, ma in una veste molto diversa da quella a cui eravamo abituati.

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Coronavirus. Linee guida per la tutela e la conservazione del patrimonio culturale

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Coronavirus. Linee guida per la tutela e la conservazione del patrimonio culturale

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La Direzione Generale Educazione, ricerca e istituti culturali pubblica le linee guida per la tutela e la conservazione del patrimonio culturale redatte dall’Istituto centrale per la patologia degli archivi e del libro e dall’Opificio delle Pietre Dure con riferimento alle “Misure di contenimento per la prevenzione dal contagio da coronavirus – verifica della compatibilità con le esigenze di tutela e conservazione del patrimonio culturale”.

Le linee guida sono rivolte a tutti gli istituti e i luoghi della cultura

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Direzione Generale Educazione, ricerca e istituti culturali

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La Direzione Generale Educazione, ricerca e istituti culturali pubblica le linee guida per la tutela e la conservazione del patrimonio culturale redatte dall'Istituto centrale per la patologia degli archivi e del libro e dall'Opificio delle Pietre Dure con riferimento alle "Misure di contenimento per la prevenzione dal contagio da coronavirus - verifica della compatibilità con le esigenze di tutela e conservazione del patrimonio culturale".

Le linee guida sono rivolte a tutti gli istituti e i luoghi della cultura e riguardano la gestione di:

operazioni di sanificazione degli ambienti degli istituti archivistici e delle biblioteche (linee guida ICPAL)

operazioni di sanificazione degli ambienti destinati a musei e laboratori dove sono presenti opere d'arte (linee guida OPD).

Documenti utili
Linee Guida ICPAL Linee guida OPD

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Coronavirus. Linee guida per la tutela e la conservazione del patrimonio culturale

# data[].attributes.attachment_link.description
La Direzione Generale Educazione, ricerca e istituti culturali pubblica le linee guida per la tutela e la conservazione del patrimonio culturale redatte dall'Istituto centrale per la patologia degli archivi e del libro e dall'Opificio delle Pietre Dure con riferimento alle "Misure di contenimento per la prevenzione dal contagio da coronavirus - verifica della compatibilità con le esigenze di tutela e conservazione del patrimonio culturale".

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Sechs Wochen Corona-Lockdown, das dauert vielen im Kulturbereich schon zu lange. Nun stehen die Museen hierzulande vor der Wiederöffnung. Vor dem Tag X mischen sich vielerorts Hoffnung und Sorge.

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Eine Woche noch, dann könnte das Kunstmuseum Barberini in Potsdam seine Pforten wieder öffnen, hofft Dorothee Entrupp. Sie koordiniert und überwacht die Vorbereitungen. "Wir haben ein ausgefeiltes Hygiene- und Sicherheitskonzept erarbeitet", sagt Entrupp der Deutschen Welle. Danach gilt vom ersten Tag an Maskenpflicht. Abstandsregeln müssen eingehalten werden. Besucher werden auf einem ausgeklügelten Rundweg durch das mehrgeschossige Gebäude geleitet. Kassen wurden mit sogenannten Spuckschutzwänden ausgestattet. Audioguide-Geräte sind nicht mehr ausleihbar, stattdessen können Besucher eine Info-App auf ihr eigenes Handy laden. Eintrittskarten gibt es - bis auf wenige Restkarten - nur noch online, und für begrenzte Zeitfenster. "Die Sicherheit und Gesundheit unserer Mitarbeiter und Besucher hat oberste Priorität", betont Entrupp.

Vor der Wiedereröffnung: das Museum Barberini in Potsdam

Ähnliches sagen derzeit viele deutsche Museen. Und ähnlich ungewiss ist vielerorts der genaue Wiederöffnungstermin. Im Barberini etwa hat die Stadt Potsdam das letzte Wort. Zuvor hatte das Land Brandenburg grünes Licht für eine Öffnung der Museen erteilt, als erstes Bundesland neben Thüringen. "Rein technisch sehe ich wenig Probleme", sagt Eckart Köhne, Präsident des Deutschen Museumsbundes. "Wir haben große Flächen, wir besitzen das Know-How für Eintrittsregelungen, um alle Vorschriften einzuhalten." Natürlich könne man nicht sofort wieder in den Normalbetrieb gehen, so Köhne. "Aber warum sollte es schwieriger sein, ein Museum zu öffnen als beispielsweise ein Autohaus?"

Eckart Köhne, Präsident des Deutschen Museumsbundes
Öffnung unter strengen Auflagen
Um die strengen Hygieneauflagen einhalten zu können, hat der Museumsbund schon mal zusätzliches Geld für seine 3800 Mitgliedsmuseen gefordert: Für eine schrittweise Öffnung werde mehr Personal gebraucht, sagt Museumsbund-Geschäftsführer David Vuillaume der DW - und das trotz geringerer Einnahmen und weniger Besuchern. Noch 2019 zählten die 7000 Deutschen Museen fast 115 Millionen Besucher. Doch seit Mitte März ist der Besucherstrom versiegt, gezwungenermaßen.

Das Runterfahren des Museumsbetriebs, so scheint es, war viel unkomplizierter als der Weg aus dem Lockdown: "Es ist nicht trivial, ein Museum wieder aufzumachen", sagte der Präsident der Stiftung Preußischer Kulturbesitz, Hermann Parzinger der Nachrichtenagentur dpa. Berlins berühmte Museen jedenfalls wollen in der Corona-Krise nur langsam wieder ihre Pforten öffnen. Zu den Staatlichen Museen der von Bund und Ländern getragenen Stiftung zählen 13 Sammlungen in 19 Häusern. Die als Weltkulturerbe ausgewiesene Museumsinsel im Zentrum Berlins besuchten zuletzt jährlich gut drei Millionen Menschen.

Sieht die Wiedereröffnung der Museen kritisch: Hermann Parzinger, Präsident der Stiftung Preußischer Kulturbesitz
Angst vor dem Besucheransturm
In Thüringen wollen in dieser Woche bis zu 20 Häuser wieder öffnen, davon die Mehrheit in städtischer Trägerschaft. Ihnen hat der Landes-Museumsverband Empfehlungen an die Hand gegeben, die vom Abstandhalten über Besucherführung bis zum Schutz von Mitarbeitern und Besuchern reichen. "Unser Hygienekonzept steht", meldet etwa Matthias Hartmann, Chef des Naturkundemuseums Erfurt. Normalerweise kommen jeden Monat bis zu 5000 Menschen - je zur Hälfte Familien und Schulklassen - in seine Sammlungen. Solange die Schulen noch geschlossen sind, fürchtet Hartmann einen Besucheransturm erlebnisfreudiger Menschen, die der häuslichen Enge entfliehen wollen. "Dann wird es bei uns kritisch!"

Naturkundemuseum Erfurt / Blick in die Präparationsabteilung

Voller Vorfreude blickt dagegen Thomas Müller, Chef der Kornbrennerei Nordhausen und des dazugehörenden Privatmuseums, auf den Tag X, wenn es wieder losgeht: "Wir sind gut vorbereitet", sagt Müller der DW. Während der Corona-bedingten Schließungszeit haben zwei der fünf Mitarbeiter die 5000 Exponate fotografiert, inventarisiert und digitalisiert. "Unser neuer multimedialer Museumsguide führt die Besucher jetzt durch die alte Brennerei", so Müller, "nur auf die Verkostung müssen wir vorerst verzichten."
Neue Videoreihe im Kölner Ludwig-Museum
Alte Standgefäße aus Glas, Porzellan und Holz, ein Apothekergarten voller Heilpflanzen, vor allem aber das historische Labor des Apothekers und Chemikers Johann Christian Wiegleb (1732-1800) erwarten die Besucher im Thüringer Apothekenmuseum Bad Langensalza. Wiegleb gründete die erste private Lehranstalt Deutschlands zur Ausbildung von Pharmaziegesellen. Museumsleiterin Sabine Tominski rechnet mit einem "Kraftakt", wenn ihr Haus in dieser Woche wieder öffnet, das in dem historischen Haus Rosenthal aus dem 16. Jahrhundert residiert.

Blick in das Labor des deutschen Pharmazie-Pioniers Johann Christian Wiegleb

Derweil laufen im Kölner Museum Ludwig die Vorbereitungen auf Hochtouren. Zur anstehenden Wiederöffnung hat das auf moderne Kunst spezialisierte Haus eine siebenteilige Videoreihe im Internet gestartet, die einzelne Werke und Kunstpositionen der aktuellen Schau "Mapping the Collection" vorstellt. "In der Coronazeit haben wir unser digitales Programm massiv hochgefahren", sagt Sprecherin Sonja Hempel. Gleiches bestätigt ihr Kollege Sven Bergmann von der Bonner Bundeskunsthalle. "Wir lernen aus dieser Zeit," so Bergmann, "dass man nicht alles digital darstellen kann." Trotz schönster Filme, virtueller 360-Grad-Rundgänge und vielem mehr sei der Museumsbesuch vor dem Original eben nicht ersetzbar. Die Bundeskunsthallewill nach der Wiederöffnung ihre Schau "Wir Kapitalisten" verlängern. Mit der Dauer von einem Tag war sie die kürzeste Ausstellung in der Geschichte der Bonner Kunsthalle.

In Dresden haben die Behörden angekündigt, dass die dortigen Museen ab dem 4. Mai öffnen dürfen. Die Staatlichen Kunstsammlungen Dresden sind ein Museumsverband aus 15 Museen. Am 4. Mai will man die Führungen durch die im Residenzschloss untergebrachten Sammlungen wieder aufnehmen - unter anderem im Grünen Gewölbe, wo im vergangenen November ein spektakulärer Juwelenraub stattfand. Doch gehen die Staatlichen Kunstsammlungen noch einen Schritt weiter: Sie haben auch ein Bildungsprogramm für Kinder aufgelegt, die während des Corona-Ausbruchs zu Hause festsaßen. Im Kurs "Wie hoch ist...?" etwa können Kinder ein 450 Jahre altes mathematisches Instrument ausprobieren. "Wer in Zeiten von #bleibtdaheeme ("zu Hause bleiben") Abwechslung sucht," so Claudia Schmidt, Leiterin der Museumspädaogik, "findet hier auf jeden Fall etwas, das die Zeit wie im Flug vergehen lässt."

Wie in den Hamburger Deichtorhallen ist auch in der Frankfurter Kunsthalle Schirn noch offen, wann der Museumsbetrieb wieder starten kann. In der Schirn, wo vor der Schließung die Mammutschau "Phantastische Frauen" startete, hofft Sprecherin Johanna Pulz ebenfalls auf eine Verlängerung. Bei 80 Leihgebern aus aller Welt stellt das die Kuratoren vor besondere Herausforderungen: "Da gibt es viel abzustimmen, und viele Transportfragen sind zu klären", sagt Pulz. Im Museum fragen viele Anrufer, wann sie endlich wieder ins Museum können. "Hoffentlich bald!"

Fantastische Kunst: Die starken Frauen des Surrealismus

"Fantastische Frauen"

Der Titel "Surreale Welten von Meret Oppenheim bis Frida Kahlo" setzt mit den Namen dieser prominenten Künstlerinnen nur Eckpunkte. Ein Großteil der 34 ausgestellten Künstlerinnen aus Europa, Mexiko und den USA ist unbekannt. Ihre Namen sind in Katalogen und Nachschlagewerken zum Surrealismus selten zu finden. Bis zum 24. Mai ist die Ausstellung in der Schirn Kunsthalle in Frankfurt zu sehen.

Autorin/Autor: Heike Mund

Kurzarbeit in den Museen
Neben vager Hoffnung hat die Corona-Krise unter den Museumsleuten auch handfeste Sorgen ausgelöst. Zum einen erlaubt ein brandneuer Zusatz-Tarifvertrag Deutschlands Städten und Gemeinden ab sofort, die Beschäftigten ihrer Museen in die - weniger gut bezahlte - Kurzarbeit zu schicken. Und tatsächlich gibt es bereits Häuser - etwa in Thüringen - die davon Gebrauch machen. "So zementiert man die Schließung noch länger", warnt Museumsbund-Präsident Köhne, "und könnte die Museen sehr beschädigen!" Schlimmer noch wären Budgetkürzungen als Folge des Drucks auf die öffentlichen Kassen: "Das wäre ein fataler Schritt", so Köhne zur DW, "denn mit dem Kürzen an der Kultur hat noch nie jemand einen Haushalt saniert!"
Update: Nach Informationen der Funke Mediengruppe vom 30.04. stellt die Beauftragte der Bundesregierung für Kultur zehn Millionen Euro für das Programm "Neustart" aus dem Kulturetat bereit. Insbesondere kleine und mittlere Museen, Ausstellungshallen, Gedenkstätten sowie soziokulturelle Zentren und Kulturhäuser stehen im Fokus der Maßnahmen, wie es demnach aus dem Kanzleramt heißt.

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Schrittweise Wiederöffnung: Deutschlands Museen fürchten Budgetkürzungen | DW | 30.04.2020

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Eine Woche noch, dann könnte das Kunstmuseum Barberini in Potsdam seine Pforten wieder öffnen, hofft Dorothee Entrupp. Sie koordiniert und überwacht die Vorbereitungen. "Wir haben ein ausgefeiltes Hygiene- und Sicherheitskonzept erarbeitet", sagt Entrupp der Deutschen Welle. Danach gilt vom ersten Tag an Maskenpflicht. Abstandsregeln müssen eingehalten werden.

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When Museums Reopen, Will Their Form and Function Have Changed?

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When Museums Reopen, Will Their Form and Function Have Changed?

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The COVID-19 crisis has accelerated the transition into the digital realm, with museums working hard to make the most of what is currently available.

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When asked to picture a museum, it's likely that you will imagine a building full of various objects and artifacts displayed on white walls and in glass cases. The dominance of the physicality of such a space-the building-and the established methods of looking and behaving in these kinds of places are clear and remain at the forefront of what defines a museum, perhaps even more so than the "what" or "why" of their contents.

The role of museums as we understand them today-monumental, domineering and enduring-is the product of deliberate efforts made by 19th century philanthropists in an attempt to emphasize standards of ethics, culture and, with that, colonial power. Museums morphed from intimate personal collections (or cabinets) of artifacts presented to friends at dinner parties into large collections that could assert morals and entertain the masses.
SEE ALSO: Jerry Saltz Talks 'How to Be an Artist' in a New and Unfamiliar World
The outbreak of COVID-19 has catapulted us into something closely resembling a science-fiction novel, leaving us to define our new normal through the fog of tragedy, isolation and uncertainty. With this, the rituals we follow are forced into the limelight, demanding that we assess and scrutinize where meaning lies, especially as the physical symbols of our institutions lay empty for the foreseeable future, defenseless against the powers of microscopic invaders.

Museums, alongside places of worship, schools, banks and other formal institutions, are being forced to adapt in order to reduce losses, despite little preparation or agility. However, all is not lost. Fear drives people towards art as a form of solace, if only as a means to contemplate and reflect on the swift upending of our realities. With no clear end point and no guarantee that the post-COVID-19 world will return us to familiar life patterns and behaviors, museums now have to find ways to meet audiences where they are-at home.

Generally speaking, it's been a challenge for museums to stay up to date with new technologies. The speed with which they evolve makes it difficult for museums to stay current, though some have certainly made significant progress. As the chaos of COVID-19 unfolds, the Guggenheim in Venice, the New Museum and David Zwirner gallery are just several examples of exhibitors that have already started experimenting with ways to open up to audiences virtually. Hashtags, live curators' talks, digital archives, and VR tours have taken over our Instagram feeds and inboxes, but is that all there is or can we expect more?

Being online allows museums and galleries to democratize their collections, opening up to the possibility of reaching audiences worldwide. Art collections that were once restricted and accessible by a limited few can be shared globally, at least digitally, allowing for more people to appreciate and learn about art regardless of their location. It also vastly improves the carbon footprint of the art world, as well as saving valuable time and resources as audiences can participate through their smartphones, without needing to travel or even to leave their sofas.

As well as being able to access conventional museum archives and talks online, there are also a range of entities that were born and raised there, including Art Basel Online Viewing Rooms, Acute Art, CADAF, dot.gallery, and Silicon Valet, to name a few. Although they're all utilizing an array of emerging technologies and for different reasons, the overarching ideology offers a respite for artists, curators and audiences to connect in ways much like those opposed to the Salon back in 1863.

These spaces, albeit free from the demands of materiality, have a new set of hurdles to overcome. The internet is highly saturated and difficult to navigate at the best of times, and acquiring an audience online takes extra efforts and unique approaches. This has led to a somewhat underground following of certain online spaces, exacerbated by the technologies used and word-of-mouth reputation.

The challenges to overcome are considerable but, like everything else, people will be motivated to adapt if the outcome is worth it. As it stands, the art world needs to ensure that it's doing everything possible to embrace these new solutions and to make them work to the advantage of everyone involved. Typical problems that hinder the physical world will be easier to maneuver or are simply non-existent online, setting museums up for an exciting journey ahead. It takes a lot of effort, which is why it's critically important that we lean on each other and work as a collective, balancing experience and expertise across media.

Although we are used to art being viewed in a physical space, we can already see the urgent need to step back from the physicality of exhibition spaces to create a digital environment that offers a new way of experiencing art.

The COVID-19 crisis has accelerated the transition into the digital realm, with museums working hard to make the most of what is currently available. Along with the Serpentine Gallery, the Wellcome Collection, and with our initiatives at MoCDA, using the internet as a tool to reach audiences in new ways has the potential to make deeper connections with audiences and to offer alternative methods of experiencing art. Making an effort to learn more about different online dynamics will benefit institutions both now and in the long term.

Regardless of what tools and platforms we use, having a deep understanding of the way people interact with art, both online and offline, and how that differs, will make the transition more seamless and open up space for experimentation, creativity and, most importantly, collaboration.

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When Museums Reopen, Will Their Form and Function Have Changed?

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When asked to picture a museum, it's likely that you will imagine a building full of various objects and artifacts displayed on white walls and in glass cases.

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Meeting Visitor Needs: What Will Make People Feel Safe by Age & Income (DATA)

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Meeting Visitor Needs: What Will Make People Feel Safe by Age & Income (DATA)

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What will make people feel safe visiting again varies by age and income. Here’s what it means for your engagement strategy.

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What will make people feel safe visiting again varies by age and income. Here's what it means for your engagement strategy.

Switch into your favorite sweatpants, pour yourself a fresh cup of coffee, and settle in. We've got a lot of data updates today, featuring some additional segmentation criteria.

In this article, we're going to share:

An update on the distribution of demand for cultural organization types

An update on what will make people feel safe so you can see changes (or lack thereof) over time

What will make people feel safe revisiting exhibit and performance-based institutions cut by age

What will make people feel safe revisiting exhibit and performance-based institutions cut by household income

This information is intended to inform your expectations, operations, procedures, messaging, and audience targeting. As is the case in every article we publish, it aims to provide national findings that are certain during these uncertain times. While we are able to shine a light on audience perceptions, you're the experts on what this information will mean and how it should specifically apply to your individual institutions.

People intend to visit cultural organizations again... but demand for organization types is being redistributed

Let's start with a data update on demand redistribution.

Intentions to visit cultural organizations are on the rise within the United States - particularly as some states begin to slowly reopen. We currently observe that people who enjoy cultural experiences intend to return to these experiences fully within three months - and their intentions to visit a cultural organization within one month are (currently) on the move and approaching last year's values for this same time period. People are starting to think about and plan visits to cultural institutions again.

But this doesn't mean that people's intentions to visit all institutions are the same as they were pre-coronavirus. Instead, we are observing a redistribution of demand.

We asked people the following question: On a scale of 1 to 100 where a response of 1 means "a significant decrease in my likelihood of visiting," a response of 50 means "the same" or "no change in my likelihood of visiting," and a response of 100 means a "significant increase in my likelihood of visiting": How likely are you to visit a(n) [organization type] after the current coronavirus-related restrictions are removed and you are able to resume your normal activities?

The May 4 th update contemplates an additional 2,387 respondents. You can learn more about this metric and its implications here.

A response of 50 indicates no change whatsoever in intended future visitation behaviors. In essence, people responding 50 intend to engage with the indicated organization type as they would if COVID-19 never existed. Any response greater than 50 indicates a proportionately higher level of demand for a type of organization. Inversely, any response less than 50 indicates proportionately lessened demand.

This research does not necessarily mean that people prefer to visit botanic gardens more than symphonies. Instead, this research measures how likely people are to return to their normal, pre-coronavirus behaviors. It means that people whose normal behavior is to go to symphonies report being less likely to return to the symphony after the COVID-19 restrictions have been lifted. It means people whose normal behavior is to go to botanic gardens may be more likely to visit than usual after COVID-19 restrictions are lifted.

Cultural experiences that allow for a visitor's relative freedom of movement, particularly those featuring outdoor spaces, will likely benefit from increased demand upon reopening. This category of experiences includes outdoor historic sites, parks, zoos, botanic gardens, etc. This stands to reason, as people may feel confident that - especially with operational adaptations for safety - attendees may be able to adhere to social distancing practices while still enjoying these experiences.

Experiences involving enclosed spaces with minimal visitor movement - such as performing arts enterprises - indicate lessened demand. This may indicate apprehension around remaining stationary in a confined or enclosed space with many other people while the coronavirus is still spreading and no vaccine is yet available.

Entities perceptually offering tactile experiences - such as science centers - also may not immediately reengage their typical visitor volume. We are observing this trend for children's museums as well. This may be due to the perception that fully enjoying these experiences may require touching objects and thus risk transmitting the virus.

We think it's important to show you this data over time because it is clear that these perceptions have remained largely durable. They aren't changing significantly over time and serve as a reasonable basis to inform strategies responsive to these perceptual challenges.

Evolving to make people feel safe is an expectation

While we see that people intend to visit cultural organizations again in the relative near term, we also observe that a sizable percentage of visitors do not feel comfortable doing so without first observing significant operational changes. More directly: People expect cultural organizations to make changes to prioritize the safety of potential visitors.

Though this expectation is observed for likely visitors to both exhibit and performance-based entities, we are observing that performance-based cultural entities may face different (and steeper) challenges compared to exhibit-based cultural entities in an immediate post-coronavirus world.

We've been tracking this data for several weeks, too. The April 14-May 4 update to this chart contemplates an additional 3,007 respondents. We asked, "What would make you feel safe and comfortable visiting a [insert organization type] again?"

First, we collected people's answers to this question using a process called lexical analysis that allows us to broadly categorize responses from people using their own words. The technologies that enable this process help to minimize the risks of unintentional biases that occur when facilitators translate or summarize a respondent's statements. These categorized responses are then used to populate the response range of a multiple-choice question. In other words, we did not internally brainstorm these options and present them in a survey based on our best guess of what people would say. The options came directly from survey respondents.

Thankfully, some of these items are within an organization's control. While cultural entities may not be able to make a vaccine available, they can take other measures to make people feel safe. This may include limiting crowds within the facility, moving programs outdoors, or making sure hand sanitizer is available when you reopen your doors. You can read more about the implications of these findings here.

These findings underscore two points that may be critical to the survival of cultural entities upon reopening:

Ensuring that cultural entities will provide a safe - or as safe as possible - experience may be a prerequisite to motivating attendance. But there's more to this information than immediately meets the eye.

A) It may be especially important to make efficient spending choices

By the time they reopen, cultural organizations will have been closed for weeks, if not months. Some will not survive the pandemic, and those that do will need to figure out how to move forward with potentially a whole lot of lost revenue and altered (and perhaps limited) operations. Many institutions are or will be in survival mode. This may call for even more thoughtfulness than usual, and for prioritizing more efficient approaches than were required in the past.

It's worth noting that this chart indicates what people are saying will make them feel safe returning. They haven't yet returned (most organizations currently aren't open), so these items may change as people start to revisit again and they are able to assess their perceived risk on the ground. If somebody attends and doesn't feel safe, they may not return again. Even worse, they may tell others, creating a negative impact on visitation volume because word of mouth endorsement is critical to securing attendance. Critically, if an organization doesn't show that it cares about safety through their actions, then revisitation may not take place at all.

Though it may be financially difficult, investing in new safety measures and operations will be important to bring back audiences. Making sure leaders know how much certain safety practices matter to people is what makes this research so valuable.

B) Knowing your audiences may prove vital

Our most likely guests to return upon reopening - by far - are the people who already know and enjoy the experiences that we provide. We call them active visitors.

I'm sitting in quarantine dreaming of wandering a museum, ordering a veggie burger at a booth restaurant with my friends, and feeling the palpable energy of a live theater performance during a night out with a loved one. That's just me. These are things that I enjoyed before COVID-19 struck and they are things that I almost desperately yearn to do again. But I, personally, am not sitting here planning my visit to a monster truck show. I'm not thinking, "I cannot wait to do a thing that never especially interested me before during a time in which leaving my home at all may be a perceived health risk to myself and others."

(You might love monster truck shows! Right on! That's just a random personal example. For you, it may be something completely different.)

Here's my point: Your active visitors - those people who already know and like you - are likely to be your most important audiences upon reopening. Members and subscribers are likely to be particularly important. Active visitors are by far the most cost-effective segment to target, they are more likely to positively endorse your organization, and they are the most likely to visit in the first place because they are the kind of people who enjoy visiting cultural organizations.

(This doesn't mean that parks, monuments, botanic gardens, zoos, and other entities where people may be especially able to adhere to social distancing practices may not also attract some inactive visitors seeking potentially safe things to do. It simply underscores that active visitors are the most efficient targets at this time.)

Many institutions possess some form of audience research conducted prior to COVID-19. Even if your audience research was not particularly robust and detailed, your entity likely knows a fair amount about its closest constituents. Exhale a bit. This is good news.

To that end, let's provide you with some information to help your organization effectively and efficiently target its core audiences...

What will make people feel safe, sorted by household income?

It's a fact. The propensity to visit cultural organizations generally increases by household income. This may be because educational attainment - one of the leading indicators of a person's interest in and likelihood of visiting a cultural organization - also tends to correlate with household income.

The chart below indicates the propensity of individual market members to visit a cultural organization plotted by their respective household incomes. The y-axis shows one's relative propensity to visit an organization ranging from 0-100, where low values indicate little propensity to visit, and high values (think >70) indicate a likely visitor. The x-axis indicates the household incomes of these same market members.

The trend line displays the general correlation between household income and propensity to visit. The greater one's household income, the more likely one generally is to be a cultural organization attendee. This isn't likely to surprise many cultural executives, but reminding leaders of this fact right now is arguably even more important than it was pre-pandemic. It may be uncomfortable to some, but it's clear that wealthier individuals generally have a higher propensity to visit. Data shows they also spend more money onsite and come back more often. The funds to get back to effective programming (and hiring back staff, reviving projects, and continuing outreach) need to be regained from tighter-than-usual budgets. Efficiency is likely to be extremely important. This certainly isn't about ignoring anyone. It's about how to get back to welcoming everyone again.

With this in mind, take a look at what audiences say will make them feel comfortable visiting cultural organizations again segmented by household income. Exhibit-based organizations include entities such as museums, gardens, historic sites, zoos, and aquariums. Performance-based organizations included entities such as symphonies, theaters, ballets, and live music concerts.

It's clear that performing arts organizations generally face more dramatic operational changes in order to help patrons feel safe and comfortable visiting. Interestingly, nearly a quarter of likely visitors will feel safer visiting if there's onsite health monitoring at performing arts entities. This number is significantly lower for exhibit-based organizations, with approximately 3% of respondents - regardless of income bracket - citing health monitoring as being particularly comforting to their visitation thoughts.

Potential guests with annual household incomes greater than $100,000 are noteworthy in two areas: First, the decision to reopen in itself makes this cohort feel safer than those in lower-income brackets. Data shows that people trust cultural organizations, and these audiences may trust them most of all - at least in terms of their deciding to open at a time that is safe for the community. Consider that many cultural entities closed their doors before it was mandated with the message that they were doing their part to flatten the curve. It may stand to reason that among these audience members, in particular, the values of safety driving the decision to close may similarly drive the decision to reopen.

Second, individuals in higher household income brackets are more likely to believe that no significant change is required to prioritize safety. This is the case for both performance and exhibit-based organizations - though the percentages are not so high as to suggest the ability to simply prop open the doors without also adopting other safety-motivated measures and expect anywhere near a typical attendance volume.

In sum, higher household income visitors have the greatest intent to visit, spend more money onsite, visit more often, have a higher propensity to attend, have a higher level of trust in the decision to reopen, and are less likely to believe that significant changes are required upon reopening.

This is good news! These cultural-experience-loving people can potentially help entities build back up operations and mission-based programs over time. Here's better news yet - you likely have already identified some of these people as members and subscribers. You probably know a lot about them!

What will make people feel safe by age?

Obviously, of course, there are many other factors that correlate with how safe people feel onsite and what precautions matter most to them. In examining the data, it becomes clear that audience opinions and perceptions also vary by age.

Like household income, there are some things we know about the age of attendees from market and audience research tracking 224 cultural organizations in the US. For instance, we know millennials make up the largest percentage of adult attendance to cultural entities. However, because they are such a large generation, they are the only age cohort entities are not engaging at representative rates.

We also know the average age of attendees varies by type of enterprise. For example, we know the average age of adult attendees to symphonies in the US is 61. The age of theatergoers is heavily dependent upon programming. The average age of adult visitors to exhibit-based organizations ranges from 36 years old for zoos and aquariums to 43 years old for botanic gardens. Unlike household income, which correlates with a greater propensity to visit across the board, different organizations have different mean ages as well as target age groups for programming. There isn't a grand directive in these charts for all or even most cultural organizations. For these reasons and more, we present the next two charts simply to put data in your hands to inform your own operations. Understanding the nuance that exists between the range of ages that your organization serves will help you personalize responses intended to maximally comfort these audiences. It may even help inform the development of specific responses to serve specific audiences.

It may come as no surprise that individuals under the age of 34 generally cite a requirement for fewer safety measures than people aged 35 and older. However, regardless of age, safety enhancements still appear to be a wise and necessary consideration to engage all audiences.

"So is our golden target a wealthy millennial because they would require the least changes?" Yes and no. If your organization successfully cultivated wealthier millennials as regular, paying attendees and supporters, then go get 'em! (And several entities have successfully done this.) If you didn't successfully cultivate millennials prior to COVID-19, they may be harder to attract now. Some entities have unfortunately conflated millennials with affordable access audiences, believing that cost is the primary barrier to attendance for millennials. It isn't. This may come back to haunt these entities, as millennials risk thinking, "Why pay to visit now when there was always a special program or discount before?" To make matters even more complicated, early research suggests millennial likely visitors are among the cultural cohorts most impacted by the economic recession right now. (This is a complex conversation worthy of its own article. We have data on this coming in the next several weeks. Stay tuned.)

There's a lot of good news here! As we learn more about what will make people feel safe and comfortable visiting, entities can devise more efficient and effective operations and messaging. Our hope is that these data provide some certainty in this time of rapid change and guesswork.

Things may evolve as entities in the United States begin to reopen. We will continue to monitor all of these metrics and more, and we'll keep sharing.

Be safe, everyone. We'll be back with updated intent to visit data on Monday.
Here are the COVID-19 data insights for cultural entities that we've published to date. Don't want to miss an update? Subscribe here to get the most recent data and analysis in your inbox.

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Meeting Visitor Needs: What Will Make People Feel Safe by Age & Income (DATA) - Colleen Dilenschneider

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What will make people feel safe visiting again varies by age and income. Here's what it means for your engagement strategy. Switch into your favorite sweatpants, pour yourself a fresh cup of coffee, and settle in. We've got a lotRead More ›

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How Might Museums Look Different When They Reopen After Coronavirus?

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How Might Museums Look Different When They Reopen After Coronavirus?

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Museums shut down during the Coronavirus lockdown are inching to towards reopening, with institutions across Europe and North America looking to welcome visitors again in May.

But with the Coronavirus crisis ongoing, museums have to walk a careful line balancing public safety with giving the public access to culture, art and history.

How might museums look different when they reopen their doors?

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Museums shut down during the Coronavirus lockdown are inching to towards reopening, with institutions across Europe and North America looking to welcome visitors again in May.

But with the Coronavirus crisis ongoing, museums have to walk a careful line balancing public safety with giving the public access to culture, art and history.

How might museums look different when they reopen their doors?
Ticketed Entry
Museum visitor numbers will be limited. This means that even institutions which are usually free to attend are going to have to introduce ticketed entry with time slots to avoid crowds and queues. The ticketed experience will be hands-free, so self scanned tickets are a must.
Plexiglass Dividers
Information and ticketing desks are going to be protected by plexiglass to block virus-containing droplets released by coughing, sneezing and speaking. Museum staff in these positions interact with dozens of visitors during their shifts, making them particularly venerable.
Interactives
Touchscreens, children's play areas and other interactives which require touch are going to be closed. Over time expect new interactives which don't require visitors to use their hands and a move towards 'bring your own device' experiences.
Arty Face Masks
Many countries require face masks to be worn by citizens, and several museums will start to sell their own face masks with artworks from their collection printed on them. Expect this to be the first addition to every museum store.
Strikes
As we saw at the Louvre at the start of the crisis , museum staff are not beyond stopping work if they don't feel that there has been appropriate action taken to protect their health. Expect tension at some museums as they reopen, and in some cases staff walking out.
Special Hours for Vulnerable Groups
Coronavirus is of particular concern to older audiences, many of whom are regular museum visitors. Expect museums to offer special visiting hours for this group, for example, the first two hours of the day could be reserved for those over seventy.
Death of Blockbusters
The before coronavirus. And with museum budgets hit by the crisis and visitor numbers restricted for some time, the costs involved in putting together such exhibitions seem prohibitive. In the short term though, do museums have the flexibility to change their plans and in the long term can they resist the lure of the blockbuster. death of blockbusters had been predicted

Permanent Collections
With museum finances impacted by the lockdown and continued coronavirus restrictions, expect museums to look to their permanent collections for new exhibitions. As we saw in the wake of the financial crisis, the frequency of exhibitions will also change, with fewer shows over the coming years.

More Local
With tourism impacted for some time to come, look to museums to think more locally. How can they better connect with local communities, how can they focus on helping local people and surviving the crisis together? (For many in the MuseumNext community this is nothing new, but in the wider museum sector the same isn't necessarily true)
New Audiences
Museums have been quick to make use of digital channels during the lockdown to offer distraction, education and humour. This made museums more accessible and more relatable for many, so one would hope that this would encourage new audiences to walk through the doors of museums. But will the experience that they want, be different from regular visitors?
A catalyst for change?
Is this crisis the catalyst for change that goes beyond plexiglass screens, face masks and temporary shifts in behaviour?

That decision lies with those working in museums. In times of upheaval, there is a greater opportunity to move quickly, to make change happen and to challenge the usual way of doing things.

How will you use this opportunity?

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How Might Museums Look Different When They Reopen After Coronavirus? - MuseumNext

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Museums shut down during the Coronavirus lockdown are inching to towards reopening, with institutions across Europe and North America looking to welcome visitors again in May. But with the Coronavirus crisis ongoing, museums have to walk a careful line balancing public safety with giving the public access to culture, art and history.

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Museums prepare to reopen amid coronavirus crisis

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Museums prepare to reopen amid coronavirus crisis

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As Germany lifts restrictions, museums all over the country are set to reopen to the public. Yet putting the necessary measures in place is no easy task.

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There's a lot to be done before art Museum Barberini, located in Potsdam, near Berlin, can reopen to the public on May 6, says Dorothee Entrupp, who is coordinating the reopening preparations to adhere to protection measures in COVID times. "We have developed a sophisticated hygiene and security concept," Entrupp told Deutsche Welle.

Masks, she says, will be compulsory from day one, and physical distancing rules must be observed. Visitors are guided through the multi-story building on a circular path so as not to cross by one another. Ticket offices will have so-called spit protection walls, and audio-guide devices will no longer be available as they pose as germ magnets. Instead, visitors can download an info app on their own mobile phones. Paper tickets are also a thing of the past - they are now only available online, and for limited time slots. "The safety and health of our employees and visitors is our top priority," emphasizes Entrupp.

Physical distancing rules will be enforced at the Museum Barberini in Potsdam

Many German museums currently have similar plans in place, as well as similarly uncertain opening dates. The new standards require that museums figure out how to make their spaces conform to hygiene and social distancing regulations. "From a purely technical point of view, I see few problems," says Eckart Köhne, president of the German Association of Museums. "We have large spaces, and we know how admission processes can comply with all the new regulations."

Eckart Köhne, president of the German Association of Museums

Of course, one could not immediately return to normal operations, Köhne told DW. "But why should it be more difficult to open a museum than, say, a car dealership?"
Opening under strict conditions
To be able to comply with the strict hygiene requirements, the Association of Museums has already demanded additional funding. More staff is needed, although museums will turn less of a profit and see fewer visitors, the association's managing director, David Vuillaume, told DW.

In 2019, the 7,000 museums across Germany had nearly 115 million visitors. But since the middle of March when they closed their doors, the stream of visitors has inevitably dried up.

Hermann Parzinger, president of the Prussian Cultural Heritage Foundation

"It's not trivial to reopen a museum," Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, overseeing Berlin's state museums, told German news agency dpa. Berlin's world-renowned museums plans to only slowly reopen their doors during the coronavirus crisis.

The state museums, which are supported by the federal government, include 13 collections in 19 museums. Many are located on Museum Island in the center of Berlin, a UNESCO World Heritage Site that has been visited by an average of three million people a year.

Yet, exactly which of these museums will open soonest - and how - is still a topic of discussion. "The state museums in Berlin are working on opening a few selected museums to limited public access, if possible by mid-May at the latest," wrote the Berlin state museums' administration in a statement.

Read more: How music festivals master the coronavirus crisis
Making use of the pause
In Thuringia, up to 20 museums want to reopen this week, and the region's State Museum Association has provided them with best-practice recommendations, ranging from keeping their distance to visitor guidance and the protection of employees and visitors. "Our hygiene concept is in place," reports Matthias Hartmann, head of the Erfurt Natural History Museum. Normally up to 5,000 people come to these collections every month.

The Thuringia Apothekenmuseum reopened on April 28, like other museums in the German state

Thomas Müller, head of the Nordhausen grain distillery and the private museum belonging to it, looks forward to the day it starts again: "We are well prepared," Müller told DW. Like many, they have used the extra time to check items off their to-do list. During the past weeks, employees photographed, inventoried and digitalized the 5,000 exhibition items. "Our new multimedia museum guide now takes visitors through the old distillery," says Müller, "but we have to do so without tasting events for the time being."
New digital offerings
Many museums are also taking advantage of the downtime by expanding online offerings. Preparations are in full swing at Museum Ludwig in Cologne, which specializes in modern art. The museum, like many, has expanded its digital options and launched a seven-part video series that presents works from the current show, "Mapping the Collection." "During the corona period, we massively boosted our digital program," said spokeswoman Sonja Hempel.
Read more: Beethoven's 'Ode to Joy' rings out during the corona crisis

Coronavirus-free: A virtual tour of Germany's photography biennial

Between sympathy and skepticism

"Photography has become a symbol of the extremes of today's society. It is deeply private, yet completely public," says curator David Campany. "We enjoy photography, but we are also skeptical of its power and how it can be manipulated - or at least we should be." Shown above, a collage by Kensuke Koike, one of the 70 artists of the biennale, reflects this idea well.

Author: Nadine Wojcik

In Dresden, authorities have announced that state museums will be allowed to open from May 4. The State Art Collection of Dresden, which comprises over 15 museums, will be among the most anticipated openings in the eastern German state.

On May 4, tours of the collections housed in the Residenzschloss will resume, including those in the Green Vault, where a spectacular jewel heist took place last November. Yet going a step further, the State Art Collections has also launched an educational program for children stuck at home during the outbreak. A program called "How high is..." allows children to learn to use a 450-year-old mathematical instrument in the museum's collection, for example.

The exhibition 'We Capitalists' at the Bundeskunsthalle in Bonn will be extended

Yet, despite impressive films, virtual 360-degree tours and much more, a visit to the museum in the flesh is simply not replaceable. "We've learned during this period that you can't show everything digitally!" said Sven Bergmann of the Bundeskunsthalle in Bonn.

After their reopening, the Bundeskunsthalle museum intends to extend its show "We Capitalists." Opened just one day before the coronavirus-related closure, it was the shortest exhibition in the history of the Kunsthalle.

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Museums prepare to reopen amid coronavirus crisis | DW | 30.04.2020

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There's a lot to be done before art Museum Barberini, located in Potsdam, near Berlin, can reopen to the public on May 6, says Dorothee Entrupp, who is coordinating the reopening preparations to adhere to protection measures in COVID times. "We have developed a sophisticated hygiene and security concept," Entrupp told Deutsche Welle.

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Reopening the museum sector: a statement from the Museums Association

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Reopening the museum sector: a statement from the Museums Association

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The decision to reopen any museum will be based on government and scientific advice, but it is increasingly clear that reopening will be a risky and difficult process for many museums, with a range of financial and operational considerations for directors, funders and policy-makers to take into account.

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What support is needed to facilitate reopening?

As the coronavirus crisis develops, museums across the UK are beginning to consider how and when they will be able to reopen their doors to the public.

The decision to reopen any museum will be based on government and scientific advice, but it is increasingly clear that reopening will be a risky and difficult process for many museums, with a range of financial and operational considerations for directors, funders and policy-makers to take into account.

The Museums Association (MA) believes that museums should be enabled to reopen to the public as soon as it is safe for public and staff to do so and all necessary public hygiene and social distancing measures are in place.

In order to facilitate reopening the following support is needed:

Museums should be eligible for emergency public support during an extended period following the end of lockdown to ensure their continued survival

Governments should provide clear and unambiguous messages to the public on the safety of visiting museums once it is appropriate to do so

Museums should play a prominent part in any campaign to encourage the public and international visitors to return to cultural venues in the UK

Any museum unable to reopen because of inability to comply with social distancing measures should be eligible for emergency funding to ensure their continued survival.

Financial Implications of Reopening
All museums in the UK are currently closed, leading to a huge deficit in budgets across all types of museum. The hardest hit are those museums that raise the largest proportion of their income from earned income, such as ticket sales, cafes, shops etc, although all museums are affected to some degree.

For many museums, the lockdown has come at the worst possible time - during peak spring and summer months when they generate the vast majority of their income and attract the largest proportion of visitors from the UK and overseas.

The MA is concerned that many of these organisations will not survive if the lockdown continues for many months. There is therefore a real and urgent need for museums to reopen and begin serving their communities and trading again. We believe that this is possible with due consideration for public health (see Operational Issues below).

However, there are also several issues that make reopening a complex financial decision:

The coronavirus lockdown has come at the worst possible time for many museums by wiping out their ability to trade during the key spring and summer months. It is possible that museums will not be able to reopen until well into the summer season, and possibly not until the autumn.

The loss of peak trading income, combined with the likelihood that visitation will be substantially reduced immediately following reopening, risks creating a second financial crisis for museums upon reopening. Many organisations will have used their reserves and will be incapable of paying staff and costs for the duration of the low season until peak trading begins again in spring 2021. This could result in another wave of job losses and potentially further insolvencies across the sector.

The MA believes that governments across the UK should commit to continue to support museums across the UK beyond the formal end of the lockdown.

It is unclear what the impact the coronavirus crisis will have on the public's behaviour after the lockdown is ended. It seems probable that the public will be cautious about attending public spaces and gatherings for some time to come. In particular, it is difficult to envisage international tourism returning to pre-crisis levels for several years.

We therefore anticipate that there will be a period of adjustment during which museums will need both public support and a reappraisal of business models in order to secure their operations in the long-term.

The MA is working with other sector bodies to better understand public attitudes on returning to cultural venues, and we would like to see governments working to gather and track data on public attitudes across domestic and international visitors so that museums can plan appropriately for their reopening.

At present there is little information available on how the lockdown might be lifted, which makes it difficult for museums to plan ahead for reopening. The possibility of a phased lifting of lockdown poses substantial questions for museums.

The financial viability of some museums will depend on whether the lifting of lockdown rules is differentiated by age group, geographic location, size of venue or other variables. The sooner governments are able to share thinking on how reopening will happen, the sooner the sector will be able to plan ahead.

We believe that it is possible for many museums to reopen to the public in the first phases of lifting the current lockdown. Many museums are well-placed to introduce social distancing measures similar to those currently used in supermarkets, such as maintaining 2m distance between visitors, timed entry, and eliminating cash payments.

However, such measures will come at a considerable financial cost, and some museums might not be able to justify the cost of reopening under such conditions. There is also a large group of museums where social distancing is more difficult to implement, including those with a focus on hands-on family engagement and those sited in historic properties with limited space.

Other operational issues that may complicate reopening include:

The availability of volunteers. A high proportion of volunteers are retirees who are likely to be some of the most concerned about returning to organisations where they will be exposed to public contact. Many smaller museums will struggle to provide a normal service without the support of volunteers.

The availability of staff. Some staff may be unavailable due to ill-health or self-isolation. Staff in local authority museums may have been redeployed to other services. Furloughed staff will need to be brought back into the institution. And although we anticipate fewer visitors, it is likely museums will need at least as many if not more staff in public areas to support social distancing and give reassurance - as well as a warm welcome back - to visitors.

The ability to produce temporary exhibitions. While permanent exhibitions will clearly be on display, many museums will need time to organise new temporary exhibitions, which involve new loan agreements and transportation of objects. For museums that rely mainly or wholly on temporary exhibitions, this is a serious issue.

The MA urges governments to learn from the examples of other countries reopening strategies, and to consider the different circumstances of different types and locations of museums when considering how to introduce reopening to the sector.

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Reopening the museum sector: a statement from the Museums Association | Museums Association

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What support is needed to facilitate reopening? As the coronavirus crisis develops, museums across the UK are beginning to consider how and when they will be able to reopen their doors to the public.

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La Commissione Colao lavora alla “fase 2”. Cosa accadrà nel mondo della cultura?

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La Commissione Colao lavora alla “fase 2”. Cosa accadrà nel mondo della cultura?

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IN QUESTE ORE LA TASK FORCE GUIDATA DA VITTORIO COLAO STA DELINEANDO TEMPI E MODALITÀ CON CUI LE ATTIVITÀ PRODUTTIVE DEL PAESE DOVRANNO RIPARTIRE DOPO IL LOCKDOWN. E TRA QUESTE SONO INCLUSE ANCHE QUELLE LEGATE AL MONDO DELL’ARTE E DELLA CULTURA

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In queste ore la task force guidata da Vittorio Colao sta delineando tempi e modalità con cui le attività produttive del Paese dovranno ripartire dopo il lockdown. E tra queste sono incluse anche quelle legate al mondo dell'arte e della cultura

Dopo settimane di lockdown e di decreti - con relative conferenze stampa del Premier Giuseppe Conte - con norme restrittive finalizzate al contenimento del contagio da Coronavirus, da giorni ormai si parla con sempre maggiore insistenza della tanto attesa ma anche problematica "fase 2", ovvero il momento della ripartenza del Paese, con la riapertura di industrie, attività commerciali e produttive di ogni tipologia. Naturalmente tutti questi step si avvicenderanno in maniera graduale e praticando il "distanziamento sociale", ad oggi unico metodo considerato efficace per ridurre il rischio del contagio. Quindi si tratterà di un lento ritorno alla normalità, mantenendo però le distanze nei rapporti interpersonali e soprattutto imparando a convivere con il virus, o forse sarebbe meglio dire a convivere con la consapevolezza che esiste questo "nemico" invisibile da cui dobbiamo difenderci in attesa del vaccino. Nonostante il lockdown sia stato prolungato fino al 3 maggio (con alcune nuove eccezioni, tra cui la decisione di riaprire le librerie come vi abbiamo lungamente raccontato qui), il governo è già al lavoro per delineare istruzioni e regole che guideranno il Paese nella "fase 2": la task force di esperti guidata da Vittorio Colao - di cui fanno parte manager, economisti, sociologi, psicologi, psichiatri, fisici e avvocati - è al lavoro per definire il piano delle riaperture, basandosi sulle differenti caratteristiche delle attività lavorative e soprattutto sui loro "livelli di rischio". Stando a questi parametri, qual è il livello di rischio delle attività culturali?

LA TABELLA DELLE CLASSI DI RISCHIO E AGGREGAZIONE SOCIALE

In queste ore la task force è riunita per lavorare a una prima relazione da consegnare al governo: una sorta di mappa in cui sono segnate le aree del Paese da cui ripartire (aspetto questo tra i più problematici da affrontare, dato che le regioni maggiormente colpite dal virus sono le più industrializzate d'Italia) e le norme da seguire per la ripartenza. Considerazioni, queste, elaborate attraverso una tabella, stilata in base ai codici Ateco e validata dal Comitato tecnico-scientifico, che suddivide le attività lavorative in quattro categorie: rischio basso, rischio medio basso, rischio medio alto e infine rischio alto dove per "rischio" si intendono i pericoli cui può essere soggetto il lavoratore e anche l'acquirente o fruitore del servizio.

FASE 2 CORONAVIRUS. COME RIPARTIRÀ IL MONDO DELLA CULTURA?

Nella tabella è evidenziata la voce "attività artistiche, sportive e intrattenimento", con un rischio integrato definito basso. Tra queste attività rientrano i musei, gli archivi, le biblioteche, con un livello però di "aggregazione sociale" pari a 3 in una scala che va da 1 a 4. Che potrebbe tradursi in questo modo: adottando le dovute misure di distanziamento sociale, musei, archivi e biblioteche potranno essere ben presto riaperti al pubblico.
Con tutte le precauzioni che saranno necessarie e sperando di entrare in maggio con una epidemia meno virulenta di oggi, un'ottima notizia per il mondo della cultura, ma facendo le dovute considerazioni. Se archivi e biblioteche saranno senza dubbio ripopolati da studiosi e ricercatori, i musei molto probabilmente non potranno godere dei loro usuali - e anche più numerosi - visitatori, ovvero i turisti. Che infatti da qui a breve possa decollare la stagione turistica è un'ipotesi pressoché remota, per non contare poi che nella tabella il trasporto aereo è definito con un indice di rischio integrato alto. In altri termini: i musei sono aperti, ma se per andare a vedere una collezione o una mostra è necessario prendere l'aereo, ecco che le possibilità di visitare quel museo calano in maniera esponenziale. In compenso però si possono rivedere e riscoprire i musei della propria città e, stando alla tabella, anche in totale sicurezza.
Della macro-sezione "servizi di informazione e comunicazione", rientrano le attività editoriali e la produzione cinematografica e video, entrambe indicate con rischio integrato basso e con classe di aggregazione sociale pari rispettivamente a 2 e 3. In questo caso però parliamo di attività lavorative che nel corso del lockdown non sono state completamente sospese; c'è da capire se e come cambierà anche per loro qualcosa nelle prossime settimane o mesi, in un contesto di riapertura generale.

E LE GALLERIE D'ARTE?

Nella tabella redatta dalla Commissione, le gallerie d'arte rientrano nella categoria "commercio al dettaglio", attualmente sospesa e con classe di rischio integrato medio-basso (secondo livello di rischio su quattro). Naturalmente la dicitura è generalizzata, dato che nel commercio al dettaglio rientrano tantissime sotto-tipologie di oggetti, e le opere d'arte non sono beni che di solito si acquistano tutti i giorni. E di conseguenza una galleria d'arte, eccezione fatta per i vernissage, non è frequentata come un qualsiasi altro negozio. Alla luce di queste considerazioni, le gallerie d'arte quindi potrebbero riprendere le loro attività, magari ricevendo i visitatori su appuntamento (come tra l'altro fanno già in molte) ed evitando, almeno in questa fase, le inaugurazioni affollate. Numerose gallerie, nonostante la momentanea chiusura, hanno continuato a lavorare organizzando mostre online e sfruttando le loro Viewing Room virtuali per promuovere i propri artisti, o addirittura aperto nuovi spazi digitali come nel caso di Massimo De Carlo. In attesa di sapere come e quando il mondo della cultura potrà ripartire e affrontare la "fase 2".
- Desirée Maida

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Fase 2. Quando riaprirà il mondo della cultura?

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In queste ore la task force guidata da Vittorio Colao sta delineando tempi e modalità con cui le attività produttive del Paese dovranno ripartire dopo il lockdown. E tra queste sono incluse anche quelle legate al mondo dell'arte e della cultura

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Shanghai's galleries reopen after Covid-19 with optimistic spate of spring shows

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Shanghai's galleries reopen after Covid-19 with optimistic spate of spring shows

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Temperature and health QR code checks at the entrance are still required

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A month after Shanghai began to ease out of a lockdown that started late January, nearly all of its art museums and commercial galleries have reopened, with a number debuting new exhibitions this weekend. Today, Almine Rech reopens its Bund adjacent space with Spring, an 11-artist group show including Vivian Springford, Li Qing and Zhang Wei. The bright-paletted show splits into sections for figurative and abstract paintings (until 6 June).

Local stalwarts ShanghArt reopened its flagship location at the West Bund Art and Design Centre by appointment only on 17 March, and on 12 April debuted group show Cache: From B to Z (until 12 June). The 38-artist or collective show includes musings on lockdown by Hu Jiemin and older work exploring isolation by Liu Weijian. No consumables necessitating mask removal were served, and contact registration and temperature and health QR code checks at the entrance necessitated a (physically distanced) queue. Over in the nearby West Bund galleries building, MadeIn and Don also held subdued public reopening on 12 April, respectively of solo shows by Ding Li and Xiang Zhenhua.

At the M50 Moganshan Lu gallery complex, a few gallery employees are rumoured to have been able to go to their offices and invite collectors as early as late February, and most spaces are now open to the public. Vanguard Gallery reopened on 3 March, though sales have been "very quiet" says the gallery's owner Lise Li. The gallery opened its new show High Fidelity of works by the painter Chen Xingye on 11 April (until 9 May). "We hadn't gotten any notification about reopening, we just checked with M50 management many times until they told us that we can come to work but visitors can't enter when I asked them for the first time in February," Li says. "Fortunately, the landlord promised to offer two months' rent free, but we needed to send a proposal and wait for a reply, now we are waiting for the reply, so I don't know if we can be lucky or not." She details that M50 now checks visitors temperatures and health codes and logs their contacts at the entrance of the complex. Tomorrow, M50's Gallery 55 opens Emergency Exit: Affectionately Yours (until 10 May), featuring 12 Chinese artists including Ju Anqi and Fu Xiaodong reflecting on their current fears.

A few of the city's art spaces remain dark though due to landlord specifications or staff unable to return to China since it closed reentry to all foreign nationals, including legal residents. For downtown Capsule Gallery, situated in a historic villa nestled deep within a residential lane, reopening required permission from the compound management. "With some restrictions on the numbers of visitors, under the understanding that I'll have to file their contacts and make sure of temperature checks and collect their data, I could finally announce a by-appointment soft reopening," on 9 April, says the gallery's founder Enrico Polato.

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Shanghai's galleries reopen after Covid-19 with optimistic spate of spring shows

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A month after Shanghai began to ease out of a lockdown that started late January, nearly all of its art museums and commercial galleries have reopened, with a number debuting new exhibitions this weekend. Today, Almine Rech reopens its Bund adjacent space with Spring, an 11-artist group show including Vivian Springford, Li Qing and Zhang Wei.

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CONTROLLI DELLA TEMPERATURA E INGRESSI CONTINGENTATI: I MUSEI POST-CORONAVIRUS

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CONTROLLI DELLA TEMPERATURA E INGRESSI CONTINGENTATI: I MUSEI POST-CORONAVIRUS

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Uno dei settori più colpiti dal (doveroso) lockdown per il Coronavirus è senza dubbio quello della cultura e, in particolare, il settore museale. Se il Ministro dei Beni Culturali, Dario Franceschini, sta pensando alla realizzazione di una sorta di “Netflix della cultura” in cui si vendano on-line prodotti culturali, per sopperire a questa mancanza, e il noto critico d’arte Vittorio Sgarbi, di intervento in intervento, spinge invece per la riapertura dei musei: “se possiamo andare in un supermercato – dice – possiamo andare anche in un museo”, l’attenzione in Italia resta ancora alta. Ma come potrebbe essere la fruizione culturale post-coronavirus?

Se in Italia dovremo aspettare almeno fino al 4 maggio per le prime linee guida che ci indichino come procedere ad una graduale riapertura delle attività, da Shangai arriva quello che potrebbe essere il nostro prossimo futuro.

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Controlli della temperatura e ingressi contingentati: i musei post-coronavirus - INTERNETTUALE

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Arriva da Shangai il primo scenario della riapertura di musei e gallerie d'arte che potrebbe rappresentare il prossimo futuro post-FASE 2 anche per musei e gallerie italiane con controlli della temperatura e ingressi contingentati. Ecco come potrebbero essere le disposizioni per i musei post-coronavirus anche nel nostro Paese.

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Le tour du monde du déconfinement dans les arts

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Le tour du monde du déconfinement dans les arts

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Un mois et demi après le début du confinement de la population sur une grande partie de la planète, plusieurs pays commencent à organiser un desserrement des dispositifs et pour quelques-uns d’entre eux ont même autorisé la réouverture de certains lieux d’art. Les correspondants du Journal des Arts dans les principales capitales vous tiennent informé au jour le jour.

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Le musée Bode sur l'île aux musées de Berlin.

Un mois et demi après le début du confinement de la population sur une grande partie de la planète, plusieurs pays commencent à organiser un desserrement des dispositifs et pour quelques-uns d'entre eux ont même autorisé la réouverture de certains lieux d'art. Les correspondants du Journal des Arts dans les principales capitales vous tiennent informé au jour le jour.

Allemagne (mis à jour le 23/04/2020)

Les lieux accueillant le public comme les galeries, les musées, les cinémas et les bibliothèques ainsi que les écoles ont été fermés le 16 mars en Bavière et en Sarre. Ces deux Lander ont été les premiers à imposer un confinement à leur population. Les autres quatorze Etats-Régions, qui sont en charge notamment de la politique culturelle et de l'éducation leur ont emboîté le pas très rapidement ensuite.

Depuis le 20 avril, les commerces de moins de 800 m² - dont les galeries d'art -, peuvent rouvrir leurs portes. Le port du masque est obligatoire dans les transports publics et dans les magasins en Sarre. Une distance de 1,5 mètre entre chaque personne doit être maintenue jusqu'au 3 mai.

Des négociations sur la réouverture des musées sont en cours dans plusieurs Lander.

Les écoles vont progressivement rouvrir à partir du 4 mai.

Les hôtels, bars, restaurants et boîtes de nuit resteront fermés jusqu'à nouvel ordre.

Les grands rassemblements, comme les concerts et les festivals, sont interdits jusqu'au 31 août.

Angela Merkel doit discuter avec les présidents des seize Lander, le 30 avril prochain, des nouvelles mesures à prendre en fonction de l'évolution de l'épidémie.

BELGIQUE (MIS à jour le 27 avril 2020)

Le gouvernement a annoncé le 15 avril, une nouvelle prolongation jusqu'au 3 mai.

Le Conseil national de sécurité a dévoilé vendredi 25 avril un plan de déconfinement en trois phases, soumis à l'évolution des conditions sanitaires. La première phase devrait se dérouler en 2 temps : le 4 mai, le travail reprendra progressivement dans les industries et les entreprises sans contact direct avec leurs clients; puis une semaine plus tard, le 11 mai, la reprise se généralisera aux commerces non-essentiels et notamment aux galeries d'art (à l'exception des restaurants, des cafés, des boîtes de nuit...).

Une deuxième phase est prévue le 18 mai avec une réouverture très progressive et partielle des écoles (sont concernées uniquement les écoles primaires et secondaires, avec un maximum de 10 élèves par classe). Les musées rouvriront également bien que sous condition (les modalités doivent être précisées).

Enfin, à compter du 8 juin, les restaurants puis les cafés et les bars, puis les attractions touristiques pourraient reprendre très progressivement leurs activités.

Les festivals et autres grands rassemblements restent toutefois interdits jusqu'au 31 août. La réouverture des maternelles et des universités et écoles supérieures est reportée au mois de septembre.

Les salles de spectacle quant à elles restent fermées jusqu'à nouvel ordre.

États-Unis (mis à jour le 24 avril 2020)

Plusieurs Etats républicains (ce sont les Etats fédérés, et non le gouvernement national (fédéral), qui sont chargés de décider des réouvertures) ont prévu de desserrer le confinement. Le gouverneur de Géorgie a ainsi annoncé que plusieurs petits commerces pourraient rouvrir dès le vendredi 24 avril. Seules les salles de sport, les coiffeurs, les barbiers pourront ouvrir sous certaines conditions, suivis trois jours après par les restaurants et les cinémas. Les musées resteront fermés jusqu'à nouvel ordre.

New York, le gouverneur Andrew Cuomo a fixé au 15 mai la levée des mesures de confinement volontaire. Le maire new-yorkais Bill de Blasio a indiqué qu'aucun évènement n'aura lieu avant juillet. En Californie, aucune date de fin de confinement n'a été annoncée par le gouverneur démocrate.

La Maison-Blanche a cependant donné des recommandations pour une réouverture en trois phases en cas de baisse du nombre de cas de Covid-19 sur 14 jours. Elle recommande dans sa phase 2 d'éviter les rassemblements de plus de 50 personnes et demande aux "lieux de grandes tailles" d'observer un "protocole de distanciation physique limité" dans la troisième et ultime phase.

FRANCE (mis à jour le 29/04/2020)

Les écoles, collège, lycées, universités sont fermés depuis le 12 mars. Les restaurants, bars, salles de spectacle, bibliothèques, établissements sportifs couverts, musée, centres d'art et galeries sont fermés depuis le 18 mars.

Les déplacements sont interdits depuis le 17 mars, sauf dans des cas précis et à condition d'être muni d'une attestation.

Edouard Philippe a annoncé le 29 avril les modalités pratiques du déconfinement progressif.

Les déplacements de moins de 100 km sont autorisés à partir du 11 mai, sans attestation de déplacement.

Tous les commerces (sauf les bars et restaurants pour lesquels la décision a été renvoyée fin mai) dont les galeries d'art (incertitudes pour les salles de ventes) vont rouvrir le 11 mai.

Les médiathèques, bibliothèques et " petits musées " pourront rouvrir le 11 mai.

" Les grands musées, qui attirent un grand nombre de visiteurs hors de leur bassin de vie, les cinémas, les théâtres et les salles de concert " resteront fermés après le 11 mai. Leur situation sera réévaluée le 2 juin.

" Les grandes manifestations sportives, culturelles, notamment les festivals, les grands salons professionnels, tous les événements qui regroupent plus 5 000 participants " sont interdits jusqu'en septembre.

ITALIE (mis à jour le 27/04/2020)

Les écoles, collège, lycées, universités resteront fermés jusqu'à la rentrée du mois de septembre.

4 mai : réouverture du secteur manufacturier et des chantiers de construction.

4 mai : allègement des restrictions de déplacement de la population. Les italiens pourront circuler dans leur région uniquement, munis d'une autorisation de déplacement, portant un masque et respectant une distance de sécurité d'un mètre.

18 mai : reprise du travail pour le commerce de détail dont les galeries, les entreprises manufacturières (non autorisés le 4 mai), les musées, les expositions et les bibliothèques.

1er juin : réouverture des commerces liés aux soins à la personne ainsi que des bars et des restaurants. Ces derniers pourront dès le 4 mai procéder à des ventes à emporter.

ROYAUME-UNI (mis à jour le 23/04/2020)

Tous les lieux non-essentiels ont dû fermer leurs portes depuis le discours prononcé par le premier ministre Boris Johnson le 23 mars. Seuls sont autorisés à ouvrir : supermarchés et magasins d'alimentation, pharmacies, stations essence, magasins de vélo, quincailleries, blanchisseries, loueurs de voiture, épiceries, kiosques à journaux, postes et banques.

Les lieux artistiques accueillant le public avaient tous fermé leurs portes au cours de la semaine précédant le 23 mars. Ils demeurent fermés.

Aucune date d'allègement du confinement n'a pour le moment été annoncée. Le processus prévu n'a pas non plus été dévoilé. La situation sera de nouveau étudiée au début du mois de mai.

Suisse (mis à jour le 27/04/2020)

Depuis le 16 mars dernier, date de la proclamation de l'état d'urgence dans l'ensemble des cantons suisses, tous les établissements culturels, sportifs et scolaires sont fermés au public ainsi que les commerces de biens non essentiels.

Le Conseil fédéral a rendu public le 16 avril son plan de déconfinement en trois temps: le 27 avril, commerces spécialisés (jardineries, magasins de bricolage...) et activités libérales de santé et de soins (coiffeurs, ostéopathes...) pourront à nouveau exercer; le 11 mai, réouverture des écoles maternelles et primaires, des autres commerces de détail (dont les galeries d'art) et retour à un fonctionnement normal des transports publics ; le 8 juin, réouverture des collèges, lycées et de quelques rares universités (la plupart ayant déjà annoncé leur fermeture jusqu'à la rentrée de septembre) ; les musées, bibliothèques et cinémas devraient aussi pouvoir ouvrir leurs portes au public à cette même date.

Les restaurants et bars restent fermés jusqu'à nouvel ordre. Les hôtels peuvent en théorie ouvrir mais sont en pratique en grande partie fermés.

Les grandes manifestations culturelles annoncent d'ores et déjà en ordre dispersé leur annulation pour les mois d'été. Pour l'heure, les rassemblements de plus de cinq personnes sont toujours interdits et ce jusqu'à nouvel ordre.

Le Conseil fédéral travaille à la mise en application concrète de ce déconfinement qui sera réadapté en fonction de l'évolution de la situation sanitaire. La question du port obligatoire ou non de masques reste encore fortement débattue. Prochaine communication officielle prévue pour le 29 avril.

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Le tour du monde du déconfinement dans les arts - 23 avril 2020 - lejournaldesarts.fr

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Un mois et demi après le début du confinement de la population sur une grande partie de la planète, plusieurs pays commencent à organiser un desserrement des dispositifs et pour quelques-uns d'entre eux ont même autorisé la réouverture de certains lieux d'art.

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Gruppi vietati e a 2 metri: ecco come andremo al museo nella fase 2

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Gruppi vietati e a 2 metri: ecco come andremo al museo nella fase 2

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In un vademecum di ConfCultura a disposizione di musei, operatori e visitatori per la prevenzione del contagio da coronavirus, formulato dagli esperti della Fondazione Italia in Salute, comitato scientifico presieduto da Walter Ricciardi, le linee guida su come ritorneremo nei musei e nei siti archeologici nella Fase 2.

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in foto: Gallera Degli Uffizi

Con l'avvicinarsi della fatidica Fase 2 ecco le linee guida elaborate da ConfCultura, a disposizione in un vademecum di musei, operatori e visitatori, per la prevenzione del contagio da coronavirus, formulato dagli esperti della Fondazione Italia in Salute, comitato scientifico è presieduto dal Prof. Walter Ricciardi.

"La protezione dal COVID-19 all'interno dei luoghi di cultura e nell'ambito di strutture educative è particolarmente importante" si legge nel documento. "Sono necessarie precauzioni per prevenire la potenziale diffusione dell'infezione, al contempo cercando di ripristinare il flusso delle persone e il piacere delle opportunità offerte dal nostro straordinario patrimonio artistico e culturale. Gli ambienti dedicati alla cultura come musei e siti e parchi archeologici, dovrebbero continuare a essere ambienti ospitali e di interesse per tutti, seppure riadattati nelle loro funzioni per tener conto del nuovo contesto di emergenza sanitaria."

Musei: le norme per il personale nella Fase 2

"Seguire alcuni principi di base può aiutare a mantenere il personale e i visitatori al sicuro ed evitare la diffusione della malattia" si legge nelle linee guida di ConfCultura. Vediamo, nello specifico quelle per gli operatori e per il personale dei musei e siti archeologici.

Gli operatori, e in generale tutto il personale, che abbiano sintomi restino a casa.

Gli operatori, e in generale tutto il personale, rispettino le distanze sociali di almeno 2 metri.

Gli operatori, e in generale tutto il personale, eseguano il lavaggio regolare delle mani con acqua e sapone o con soluzioni idroalcoliche o con disinfettanti per le mani.

Gli operatori, e in generale tutto il personale evitino l'uso promiscuo di oggetti.

Le mascherine facciali siano utilizzate per minimizzare l'escrezione di goccioline respiratorie, in aggiunta alle altre misure preventive consolidate (distanziamento fisico, igiene respiratoria, igiene delle mani).

Gli ambienti siano sottoposti a pulizia e disinfezione quotidiana generale e in particolare le superfici che vengono toccate da molte persone (ringhiere, tavoli, maniglie, attrezzature). E postazioni di lavaggio delle mani con acqua e sapone, i dispenser di soluzioni idroalcoliche o altri disinfettanti, siano disponibili in ogni stanza, agli ingressi e alle uscite, vicino alle sale caffè e ai servizi igienici.

I servizi igienici siano ripetutamente sanificati e decontaminati durante la giornata.

Il numero massimo di persone ammesse in ogni ambiente sia rispettato al fine di rispettare le distanze sociali utili per evitare possibili contagi.

I contenitori per i rifiuti siano resi disponibili e frequentemente rinnovati in ogni ambiente.

Le postazioni di lavoro particolarmente a rischio di contagio siano preventivamente identificate e oggetto di specifici protocolli.

L'uso degli ascensori sia limitato a condizioni strettamente necessarie.

Gli ambienti che prevedono l'esposizione di oggetti per l'acquisto (bookshop) mettano a disposizione l'uso di guanti usa e getta. E porte tra gli ambienti e le finestre siano tenute laddove possibile aperte nel rispetto dei microclimi a tutela delle opere d'arte.

Le visite di grandi gruppi di persone contemporaneamente siano evitate.

Le procedure in caso malessere di operatori o visitatori siano opportunamente codificate (avere disponibilità di guanti monouso e almeno una maschera con filtro FFP2 per assistenza con contatto ravvicinato con il visitatore. L'elenco dei contatti di emergenza sia pianificato e condiviso in anticipo con le autorità sanitarie locali.

Le informazioni sul COVID-19 e sulle misure di prevenzione dei contagi nei luoghi di cultura siano condivise a livello di tutto il personale.

Le informazioni sul COVID-19 e sulle misure di prevenzione dei contagi nei luoghi di cultura siano opportunamente trasferite a tutti i visitatori al momento dell'ingresso, e ripetute in apposite postazioni durante il percorso.

Le spiegazioni ad eventuali dubbi e la risposta alle domande sulle misure di prevenzione siano rese disponibili dal personale a tutti i visitatori

Fase 2 nei musei: le regole per i visitatori

"In una situazione di ripresa della normalità in uscita da un'epidemia è necessario tenere alto il livello di attenzione sui comportamenti corretti da seguire" si legge nel vademecum a disposizione di musei e luoghi della cultura. Questo l'elenco di norme generali, che andranno poi dettagliate, raccomandate invece per i visitatori:

Documentarsi opportunamente sulle linee guida da seguire al momento dell'ingresso e da fonti affidabili (brochure, personale addetto alle informazioni, poster).

Lavarsi spesso le mani, con acqua e sapone per almeno 20 secondi, oppure con soluzioni idroalcoliche o altri disinfettanti per le mani.

Proteggere sé stesso e gli altri mantenendo le necessarie distanze sociali di almeno 2 mt. Evitare di toccarsi occhi, naso, bocca, e in generale il viso, con le mani.

Indossare le mascherine per minimizzare l'escrezione di goccioline respiratorie in aggiunta alle altre misure di prevenzione

Evitare di condividere con gli altri cibo e bevande, tazze, bicchieri e posate per mangiare. Starnutire e/o tossire in un fazzoletto usa e getta (da eliminare prontamente) o nella piega del gomito.

Limitare all'indispensabile il contatto con le superfici comuni (tavoli, ringhiere, maniglie) ed evitare di contatto con gli oggetti in esposizione.

Condividere le buone regole di prevenzione con gli altri. Informare prontamente il personale museale in caso di malessere.

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Gruppi vietati e a 2 metri: ecco come andremo al museo nella fase 2

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In un vademecum di ConfCultura a disposizione di musei, operatori e visitatori per la prevenzione del contagio da coronavirus, formulato dagli esperti della Fondazione Italia in Salute, comitato scientifico presieduto da Walter Ricciardi, le linee guida su come ritorneremo nei musei e nei siti archeologici nella Fase 2.

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German museums prepare to reopen, gradually and with precautions

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German museums prepare to reopen, gradually and with precautions

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The Brandenburg Museum Association’s guidelines include building plexiglass shields for ticket desks, providing disinfectant for staff, taking credit cards instead of cash, regular cleaning, and limiting visitor numbers to one person per 15 sq. m. No group tours should be on offer and audioguides should only be handed out if it is possible to disinfect them thoroughly after each use. The national association has suggested special time-slots for vulnerable visitors, extended opening hours, and masks on request for visitors.

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In Brandenburg, the first of Germany's 16 states to allow museums to reopen after the coronavirus lockdown, small rural museums have opened their doors to the public for the first time today, with limits on visitor numbers and security precautions in place. It will take longer for bigger museums to follow suit, according to the German museums' association.

Only a few states have so far set a date from which museums may reopen: in Thuringia from 28 April, in Berlin and Saxony from 4 May. The Dresden State Art Collections are planning to open gradually starting 4 May, a spokeswoman says. "Probably not all of our museums will open that day," she says. "We have to implement a lot of new measures and we are working on a concept."

The Brandenburg Museum Association's guidelines include building plexiglass shields for ticket desks, providing disinfectant for staff, taking credit cards instead of cash, regular cleaning, and limiting visitor numbers to one person per 15 sq. m. No group tours should be on offer and audioguides should only be handed out if it is possible to disinfect them thoroughly after each use. The national association has suggested special time-slots for vulnerable visitors, extended opening hours, and masks on request for visitors.

"We think it will take longer for museums which are major tourist destinations to open," says David Vuillaume, the general manager of the German Museums Association. "There is a financial issue in that increased hygiene and security measures will incur higher costs, but there will be very few visitors because of a lack of tourism, and therefore little income."

They may also need longer to prepare, Vuillaume says. It can, for instance, take at least three weeks for plexiglass to be delivered, he points out. Berlin's State Museums, which include the major tourist attractions on Museum Island, will give more details next week on re-openings, a spokesman says. "The Prussian Cultural Heritage Foundation is currently looking at when which museums, libraries and institutes can open in compliance with safety measures," he says.

The Barberini Museum, a privately funded museum in the Brandenburg state capital of Potsdam, says it is "hoping to open our Monet exhibition to visitors shortly" but added that it "needs some time in order to apply the necessary safety precautions."

Vuillaume points out that all these additional measures are costing museums, which in Germany are predominantly publicly funded. Many have also lost considerable revenue from admissions during the lockdown. The Museums Association has so far focused its attention on lobbying for funding for artists, freelancers and the art trade, he says.

"We haven't put our own demands in the foreground so far," he says. "But now we are starting to ask for support too."

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German museums prepare to reopen, gradually and with precautions

# data[].attributes.attachment_link.description
In Brandenburg, the first of Germany's 16 states to allow museums to reopen after the coronavirus lockdown, small rural museums have opened their doors to the public for the first time today, with limits on visitor numbers and security precautions in place. It will take longer for bigger museums to follow suit, according to the German museums' association.