Icom Museum Definition Input Sought From Icom Uk Members And Volunteers Required For Remote Working Group

Author Archive for Dana Andrew

ICOM Museum Definition: input sought from ICOM UK members and volunteers required for remote working group

A new museum definition was proposed at ICOM Conference in Kyoto this year.  The decision on the proposed new definition was postponed.  Colleagues within ICOM UK are keen to share their views and the ICOM UK Committee are keen to represent and communicate with members on this area of work.  We propose to do this in the following ways.



Monday 13 January, National Museum of Scotland, Edinburgh, 13:00 – 15:00

Please email Jilly Burns if you would like to attend this session j.burns@nms.ac.uk


Tuesday 14 January, London, venue sought

Please contact us at uk.icom.museum@gmail.com if you could offer a venue in London for this discussion group.



We ask you to complete this questionnaire before Friday 17 January 2020.




Jilly Burns, Head of National & International Partnerships will be leading on this consultation.  She would like to set up a remote working group (4 – 6 people) to review consultation findings and input on a draft report.  This work will require input (by email only) 13 – 31 January 2020.

If you could give your time to support this piece of work please contact Jilly before Thursday 19 December on j.burns@nms.ac.uk

The Fitzwilliam Museum visit Egypt with an ICOM UK – British Council Travel Grant – Part 1: Constructing coffins in Alexandria

Julie Dawson, Head of Conservation at the Fitzwilliam Museum in Cambridge was awarded an ICOM UK – British Council Travel Grant of £1,500 to travel to Egypt with colleagues from the museum.  This is the first part of the blog that Julie wrote during her trip to Egypt.

What does the market town of Wisbech in north Cambridgeshire have in common with Cairo and Damietta in Egypt? Rather surprisingly, the answer is the coffins of Nespawershefyt, an Egyptian official who lived at around 1000 BCE. To be more precise, these are the three locations where the Fitzwilliam Museum’s Ancient Egyptian Coffins Project has delivered ‘pop-up’ museum sessions on the production and decoration of Egyptian coffins, in which Nespawershefyt’s coffin set has been the star of the show.

I have just returned from an 18-day visit to Egypt. This trip continued a capacity-building project that our coffins team started in January 2019. We have been working with curators and conservators in the Egyptian Museum Cairo (EMC) to develop and implement professional research-based training and support for interdisciplinary study, documentation and interpretation of the EMC’s internationally significant collection of coffins.

Fig. 1 Eid Rezk Mertah and Mohamed Ibrahim demonstrate the bow-drill.

Alongside this, through the spring and summer this year, we were broadening the reach of our own coffins’ research through a ‘pop-up’ museum. This ‘appeared’ – unannounced – at locations such as pubs, supermarkets and drop-in centres in areas where communities suffer social deprivation and low cultural provision, for example, the University of Cambridge Museums’ partner town of Wisbech.

After visits to the EMC earlier in the year to deliver a series of lectures on research and dissemination methodologies and a 4-day practical workshop on coffin production and decoration, in July we dipped a toe into ‘popping-up’ in Cairo. Our EMC colleagues were a little wary at first, but quickly gained confidence in a type of outreach enterprise that was entirely new to them.

Fig. 2 Workshop participants try out the mortise chisel and mallet.

Next came a request to do the coffins’ workshop for museum professionals and academics in Alexandria and to follow this with ‘pop-ups’ out and about in Damietta, a city on the Mediterranean coast that is the centre of modern-day furniture production in Egypt. Our intention this time was that our teams would co-deliver all the events: a key aim of our programme with EMC is to establish an Egyptian peer-to-peer training network for curators and conservators.

Together with two curators and three conservators[1], all of whom had attended the workshop at EMC, my colleague Helen Strudwick (Associate Curator, Ancient Egypt) and I designed a 2-day workshop focused on coffin construction with just a small session on decoration. It was held 17 – 18 November in the Bibliotheca Alexandrina in Alexandria and was intended for 20 participants – but we were happy to squeeze in the 38 who signed up!

After talks on curatorial approaches to the examination of coffins we turned to technology and the critical role that this can play in understanding the development and meaning of coffins in ancient Egypt. Nesrin El-Hadidi, Professor of Conservation at the Faculty of Archaeology, Cairo University introduced the participants to the properties of woods used for coffins. We then talked about and demonstrated (fig. 1) a set of replica tools made in Cairo to the specification of Dr Geoffrey Killen, a leading specialist on ancient Egyptian woodworking and furniture. Everyone had plenty of opportunities to try these out (fig. 2)! We also examined joints, tool marks and other signs of carpentry practice and how to interpret these on objects. We concluded with a series of case studies of coffins in the EMC, the Fitzwilliam Museum and the British Museum followed by some sessions looking at coffins in the galleries of the Bibliotheca’s Museum of Antiquities (fig. 3).

Fig. 3 Participants examine a coffin in the galleries of the Museum of Antiquities, Bibliotheca Alexandrina.

The enthusiasm and sheer enjoyment of the participants were extraordinary! We have recorded feedback from as many as possible and will be doing a formal evaluation, but the overwhelming impression was of having created a light-bulb moment. A curator from the Museum of Antiquities at the Bibliotheca told us that he now had a new structure to apply to his examination of coffins and an understanding of features that he had never even considered before. Three staff from the Alexandria National Museum, whom we ran into on an informal visit to the Museum a couple of days after workshop, told us excitedly that they had already been incorporating fresh approaches into their teaching of school groups.

After Alexandria, Helen and I were able to continue our own research for a few days in the EMC. Helen then had to return to the UK, but for me, it was off to Damietta for the pop-ups.

More on this is in Part 2 of my blog next week!

[1] Conservators Eid Rezk Mertah, Mohamed Ibrahim and Dr Nour Mohamed Badr. Curators Moustafa Saad Ahmed and Gehad Shawky Ali.

Receipients of first round 2019-20 ICOM UK – British Council Travel Grant Scheme

We are delighted to announce the successful applicants from the first round of the 2019-20 ICOM UK – British Council Travel Grant.

Julie Dawson, Head of Conservation at the Fitzwilliam Museum in Cambridge has been awarded £1,500 to travel to Egypt.

Christopher Woodward, Director of the Garden Museum in London has been awarded £1,307 to travel to Brazil.

Toby Jones at the Medieval Ship Project in Newport, Wales has been awarded £1,500 to travel to the USA.

Gillian Ramsey, Assistant Curator at the Oriental Museum in Durham has been awarded £1,500 to travel to Japan.  Her visit is also being supported by a Jonathan Ruffer Curatorial Grant from the Art Fund.

Henna Bhatti from the Science Museum Group has been awarded £1,400 to travel to Pakistan.

Liam Correy, Emigration Curator at the Ulster American Folk Park (NMNI) in Northern Ireland has been awarded £1,500 to travel to the USA.

Norman Rodger, Projects Development Manager at the University of Edinburgh Collections, Scotland has been awarded £700 to travel to Switzerland.

Claudina Romero Mayorga, Education Officer at the Ure Museum of Greek Archaeology in Reading has been awarded £700 to travel to Cyprus.

As part of the scheme, the carbon footprint of the flights will be off-set by projets selected by the grant recipients.

We are also pleased to announce a second round of the 2019-20 ICOM UK – British Council Travel Grant Scheme.  The deadline for applications is 09:00 on Monday 2 March 2020 for travel to be completed by 14 December 2020.  Further information, eligibility criteria and the application form are available on the ICOM UK website at https://uk.icom.museum/about-us/bursaries/

ICOM CECA UK group and membership

Hello everyone!  I am Jenny Pistella and I am the ICOM CECA UK (Committee for Education and Cultural Action) National Correspondent.
I want to reach out to the CECA UK members and be in touch more about updates from CECA international activities and national events, workshops and opportunities.  If you’re already a member of CECA and live in the UK then please do email me on jennypistella@gmail.com.
We also have a Facebook page you can join here https://m.facebook.com/ICOMCECAUK/ and there’s also the CECA general twitter account https://mobile.twitter.com/icom_ceca which is good for keeping up to date with news and events.

I’d love to hear from you.  Looking forward to connecting more.

Best wishes,

Bridge Between European Cultural Centres (BECC) fully-funded training and staff exchange programme for young culture professionals under 35

Applications are now open for the 2020 Bridge between European Cultural Centres (BECC), the ENCC’s flagship capacity-building programme for young culture professionals. BECC combines training, a staff exchange and mentoring, and is open to ENCC members as well as non-members. This year we’ll take 12 selected participants to Turin, Italy, in March 2020, for a 4-day kickoff seminar in preparation of staff exchanges of a week or more in another cultural organisation in Europe (or beyond).

What’s it about?

Working with Hyperdiverse Audiences: Needs, Challenges and Opportunities is the topic of BECC 2020. It’s targeted to young professionals from cultural centres and other organisations, working with communities gathering many different nationalities, languages, cultures, age groups, gender settings and social-economic backgrounds.

Some questions we will try to address:

  • What kind of cultural centre is needed for hyperdiverse communities today?
  • How can organisations empower active participation of the different members of their community?
  • How to contribute to building societies that are more open and democratic?
  • How to react to the dynamics of change?
  • How to build and manage teams working inside these community centers?

Training on this topic will be enriched with soft skills coaching.

The 4-day training seminar, on 17-20 March 2020, will include experiential learning, self-directed learning, study visits, discussions, group and individual work, theory vs. practice, and democratic moderation. The programme is designed by the ENCC in collaboration with trainers Dagna Gmitrowicz (artist, trainer and coach, PO-DE) and Matteo Negrin (author, musician and cultural manager, IT).

The 7-day staff exchange, between April and August 2020, will be an opportunity to put the training into practice and get further perspectives.

Who can apply?

Junior professionals under 35, working in a cultural centre or another type of cultural organisation inside or outside the European Union. You must be involved in decision-making about your organisation’s programme, and have at least 1 year of experience working with a diverse community. You should also be strongly motivated to develop new models of local cooperation and community development, and be fluent in English.

How much does it cost?

BECC is fully-funded for all participants (with some limitations on maximum travel expenses). Non-members pay a small registration fee if they are selected. See more here.

How to apply

First, read the BECC general page to understand how the programme works.

Then download and carefully read the BECC 2020 call for applications. This is a long document which you might like to print, as it contains key information to understand the topic, the timeline, and to prepare your application.

If you feel BECC 2020 is for you, fill in the online application form before December 31st 2019.

Not sure? See our BECC FAQ page or drop us a line at kasia.skowron@encc.eu

ICOM ICEE Webinar: Rebuilding the National Museum of Brazil

Registration for the next ICOM ICEE (International Committee for Exhibition Exchange) webinar is open! After his emotional lecture at the ICEE off-site session in Kyoto last September, the ICEE board is happy to announce Dr. Alexander Kellner, director of the Museu Nacional (Rio de Janeiro, Brasil) as guest speaker in the upcoming Webinar on Wednesday 11th December 2019 at 15:00 GMT.

Dr. Kellner will present an update on planning and development for the rebuilding of the Museu after the devastating fire of September 2018, including how the tragedy has brought together a dedicated staff and international community with a common goal to develop a new museum of national history in South America. Registration is required and space is limited. Don’t miss it! Register now! 

ICOM ICEE webinars are free and available to members of the ICOM global community including national and international committees, regional alliances, and ICOM affiliated organizations.

Museum Diplomcay as New Pompidou Center Opens in Shanghai

This article was first published online by The New York Times https://www.nytimes.com/2019/11/05/arts/design/pompidou-center-shanghai.html

The French museum will curate the exhibitions and provide works from its collection. But Chinese officials are keeping a close eye on what gets shown.

When the Pompidou Center first floated the idea of opening a Chinese outpost more than a decade ago, skeptics back home in France were still fiercely debating the question of whether the country’s cherished national museums should have a role in promoting political and commercial interests abroad.

But with the opening in recent years of the Louvre Abu Dhabi and the Pompidou Málaga, the country’s strategy of using “museum diplomacy” to raise its profile overseas is well underway. That effort took a bold step forward on Tuesday when the Pompidou, the renowned Parisian museum of modern and contemporary art, unveiled an outpost in China. President Emmanuel Macron of France was in attendance at the ceremony.

Situated along the banks of the Huangpu River on Shanghai’s version of Museum Mile, the new outpost is a collaboration with the West Bund Group, a Chinese state-owned development corporation that together with the local government has reportedly invested more than $3 billion in recent years to transform a former industrial neighborhood into a 7-mile waterfront cultural corridor.

Called the “Centre Pompidou x West Bund Museum Project,” the new outpost is housed in the newly built West Bund Museum. Designed by the British architect David Chipperfield and featuring more than 27,000 square feet of exhibition space, the museum consists of three exhibition halls clad in a jade-like glass and linked by a central atrium.

The Pompidou is calling the project the “largest ever cultural exchange” between France and China. Compared to the Louvre Abu Dhabi, which is based on a 30-year agreement between the French and United Arab Emirates governments, the scale of the project is nevertheless modest.

Much like the Pompidou Málaga, which opened in 2015, the Shanghai project is a five-year contract in which the Pompidou Center curates shows specifically for the Chinese outpost using works lent from its vast collection, while also providing educational programming and vocational training for Chinese museum professionals. At the end of the five years, both sides will have the opportunity to end or extend the partnership.

In turn, the West Bund Group will cover the costs of the physical space and also pay the Pompidou a lump sum of about 2.75 million euros each year, excluding transport and insurance, according to a July interview with Serge Lasvignes, president of the Pompidou, in the French magazine Le Point.

But museum officials insist that the main motivation behind the Shanghai project is to foster dialogue, not to make profits.

“If we really wanted to make money, a better idea would be to sell shows one by one to major international museums,” Mr. Lasvignes said in an interview on Monday at the West Bund Museum.

But in China, even the high-minded mission of promoting dialogue comes with its own challenges. The opening of the Pompidou Shanghai outpost comes at an uncertain time in the West’s relations with China, and the art world is not immune to politics. Censorship and self-censorship are ubiquitous in China’s creative industries and even private museums and galleries must often submit their programs and exhibitions for approval by local authorities.

Pompidou Shanghai has already had its first encounter with censors. In “The Shape of Time,” the first of three planned semi-permanent exhibitions, the Pompidou introduces the history of 20th-century art using 100 works drawn mostly from its collection.

The exhibition features well-known works like Pablo Picasso’s “The Guitar Player” and Vasily Kandinsky’s “Gelb-Rot-Blau” alongside works by Chinese artists like Zhang Huan and Zao Wou-Ki. But despite being mostly pedagogical in nature, local officials requested before the project’s opening that a few works in “The Shape of Time” be replaced for what Mr. Lasvignes called “various” reasons.

“We discussed, we explained, and in most cases they agreed to keep the work,” said Mr. Lasvignes. He said fewer than five works were ultimately replaced in the exhibition for reasons that were “not only political,” though he declined to offer specifics.

“I really believe — maybe it’s naïve — that as long as you can make interesting things, as long as you can make things without betraying yourself, it’s better to be present than to not be there at all,” he said.

Mr. Lasvignes added that the limited scope of the partnership would allow the museum to evaluate the situation as the project progressed.

“For me the question is, ‘Are the rules that are being applied really changing the nature of a project?’” said Mr. Lasvignes. “If not, we go on. If yes, we will stop.”

A major reason the Pompidou does not want to see the Shanghai partnership derailed by minor censorship concerns is that the project was nearly two decades in the making. The French museum had been close to opening an outpost in Shanghai about a decade ago, but the deal collapsed at the last minute.

By the time Mr. Lasvignes arrived at the Pompidou in 2015 and re-initiated talks with officials in China, the country had become a much greater player in the art world. Buoyed by a booming middle class, China last year was the world’s third-largest market for art, according to the annual Art Basel and UBS art market report. It also boasts a growing network of art enthusiasts and professionals including curators, collectors and artists ranging from well-known names like Ai Weiwei to younger, rising artists like Cao Fei, who recently received a solo exhibition at the Pompidou in Paris.

As Pompidou officials looked around for locations, the West Bund emerged as a natural choice. Located not far from the former French Concession, the district was already home to several emerging private museums, including the Yuz Museum and the Long Museum, co-founded by a former taxi driver-turned-billionaire and his wife.

The deal received the highest-possible official blessing in January 2018 when President Macron came to China on a state visit and personally discussed the matter with China’s leader, Xi Jinping. The project will open to the public on Friday.

Experts say China’s motivation in creating the project can be explained partly by its desire to soften its global image, which has been marred recently by revelations about its mass internment of its Uighur Muslim ethnic minority and what many see as the country’s growing assertiveness abroad.

“China is very ambiguous,” said Jean-Philippe Béja, research professor emeritus in Chinese politics at the National Center for Scientific Research in Paris. “On one hand it is becoming more and more totalitarian and closed, and on the other hand it wants to represent itself as a very modern, avant-garde country.”

On Monday morning, the scene at the West Bund Museum was frenetic as a small army of workers scrambled to put the finishing touches on the installations in time for President Macron’s arrival. (As if to drive home the point about the need for greater professionalization, one rogue Chinese museum worker was seen napping peacefully amid the frenzy, basking in the soft glow of a video work.)

For Mr. Macron, the museum opening will likely be a rare kumbaya moment in what is otherwise expected to be several days of tough discussions with Chinese officials about trade and climate change. The Sino-French relationship has been further strained in recent months by tensions over France’s decision to grant asylum to the Chinese wife of the former Interpol head.

For the Pompidou, Shanghai is just the start of what promises to be a busy international schedule in coming years. Last year, the museum signed on for another five-year commitment with its partner in Málaga. A project in Brussels is also underway and the museum is currently in negotiations for outposts in Seoul and the Czech Republic as well, according to Mr. Lasvignes.

Bernard Blistène, director of the National Museum of Modern Art at the Pompidou Center, waved away suggestions that the team was building a global Pompidou empire.

“This is for building something, testing something, experimenting with something,” Mr. Blistène said. “Otherwise you just stay inside your big chateau with your collection, always the same.”

SS Great Britain Trust CEO embarks on new endeavour as ICMM president

This article was first published by Museums + Heritage Advisor online https://advisor.museumsandheritage.com/news/ss-great-britain-trust-ceo-sets-sail-new-endeavour-icmm-president/

Matthew Tanner is set to embark on a four-year term as president of the International Congress of Maritime Museums (ICMM), following on from Steve White, president of Mystic Seaport in Connecticut, USA.  ICMM is one of 21 ICOM Affiliated Organisations.

ICMM represents around 120 member organisations, made up of institutions ranging from local nautical attractions through to national museums in every continent of the world.

“Maritime museums are in their very nature international institutions, and in these challenging times, maritime museums reach across the oceans to help foster international friendship and collaboration,” Tanner stated as his presidency was announced. “They celebrate the coming together of the world today and fostering an appreciation of our maritime past can only help with improving all our futures.”

Tanner’s predecessor, Steve White, said he was “honoured to pass the leadership responsibility for ICMM to Matthew Tanner, who has distinguished himself in the global museum community.”


ICOM INTERCOM – new website and Twitter account

ICOM INTERCOM (International Committee for Museum Management) has a new website and Twitter account.

Website: http://intercom.mini.icom.museum/

Twitter: @intercom_icom

As part of your ICOM membership, you can join one International Committee (IC) with voting rights, and register an interest in up to three more ICs.  View the full list of 32 IC’s on the ICOM website https://icom.museum/en/network/committees-directory/?type=137

You can update your chosen ICs by contacting us at uk.icom.museum@gmail.com  

Announcing TEO – the new global travelling exhibitions platform

New digital one-stop resource brings the travelling exhibitions world together.

26 November 2019 – Broceliande, France. The past decade has seen major growth in the travelling exhibitions industry, with a continuously developing and diversifying landscape of cultural experiences and touring practices. Within this dynamic environment, Teo, the new global platform dedicated to travelling exhibitions, has built on combined expertise in exhibitions partnerships and web development to create a new easy-to-use and interactive resource dedicated to the touring world.

Teo is designed to help bring together producers, venues, promoters and specialist providers from the travelling exhibitions community with a mission to foster the sharing of knowledge and new international collaborations on exhibitions.

The new platform fully launches today with the announcement of its founding members and international partners.

A new open and collaborative resource for the touring community

Teo is a new open platform that supports stakeholders of the travelling exhibits industry.  It is designed to help cultural venues worldwide find relevant information, curatorial projects and partners while providing exhibition producers and specialist suppliers with new visibility internationally.

Teo features a variety of resources for the touring community, including a directory of exhibitions available for hire, a community directory, a calendar and a journal sharing original touring stories, best practice insights and industry news.

Founded by Manon Delaury, a specialist in international touring exhibitions, and Fabian Niel, an experienced digital sciences engineer, the platform has been developed as a one-stop resource in close consultation with touring experts from around the world and will grow with a collaborative approach actively involving its members.

Major international productions and collaboration opportunities

Teo launches today with a large selection of international exhibitions available for hire, including major art, contemporary art, history, civilisations, science and technology, nature, and popular culture projects.

With an inclusive approach, Teo facilitates the search for new content and new partners for international venues seeking new experiences for their audiences, from museums, galleries and science centres to libraries, exhibition centres and attraction venues,” says Manon Delaury, CEO and Founder of Teo.

Designed as an interactive resource, Teo encourages new dialogue and collaborations with flexible tools such as calls that members can send out to share specific requirements for projects, equipment, solutions, staff or expertise.

Teo presents its founding members

Major international institutions have joined Teo as founding members for the launch of the new platform. Original member organisations include leading international producers as well as new stakeholders of the touring world, bringing together museums, science centres, art institutions and private companies. Many specialist providers also feature, all offering touring exhibition-specific solutions and expertise in areas ranging from display cases and logistics to consultancy, design and production.

International partnerships

Teo has formed partnerships with major international networks to foster success and best practice in travelling exhibitions.

The new organisation partners with Ecsite, the leading European network of science centres and museums dedicated to science engagement and communication. Teo will notably sponsor EXTRA, Ecsite’s marketplace for scientific touring exhibitions. Teo also partners with ICEE, the ICOM International Committee for Exhibition Exchange, a major network dedicated to the circulation and exchange of exhibitions in all disciplines.

“We are honoured to partner with these international organisations, which are both leading lights when it comes to touring, and which continuously contribute to stirring creativity and collaborations in the travelling experiences world,” says Manon Delaury. “Teo will work in dialogue with these organisations, nurturing synergies contributing to the achievement of our respective missions.”

Fact sheet

Teo founding members

  • AHHAA Science Centre – Tartu, Estonia
  • APEX Association – Grez-Doiceau, Belgium
  • Australian Museum – Sydney, Australia
  • Australian National Maritime Museum – Sydney, Australia
  • Barbican Centre – London, United Kingdom
  • Blue Tokay – Durham, United Kingdom
  • Cap Sciences – Bordeaux, France
  • Cité de l’Espace de Toulouse – Toulouse, France
  • COFO Entertainment – Passau, Germany
  • Contemporanea Progetti – Firenze, Italy
  • eu – Evergem, Belgium
  • Design Electronics – Ontario, Canada
  • ESI Fine Art – Saint-Denis, France
  • EVE Museos – Guadalajara, Mexico
  • Exhibition Site Management – London, United Kingdom
  • Expona – Bolzano, Italy
  • Fortecho – London, United Kingdom
  • Fundación Yannick y Ben Jakober, Museo Sa Bassa Blanca – Alcudia, Spain
  • Grande Exhibitions – Port Melbourne, Australia
  • Guide ID – Deventer, Netherlands
  • IJIT Export – Nairobi, Kenya
  • Imagineear – London, United Kingdom
  • Ingenium – Ottawa, Canada
  • International Touring Exhibitions – London, United Kingdom
  • KRE8 360 – Atlanta, USA
  • La Sucrière – Lyon, France
  • Landau Traveling Exhibitions – Los Angeles, USA
  • Lee Davidson – Lower Hutt, New Zealand
  • Leticia Pérez Castellanos – México, Mexico
  • lililillilil – Lyon, France
  • Logic Gate – Warszawa, Poland
  • Meyvaert – Gent, Belgium
  • Museum d’Histoire Naturelle de Toulouse – Toulouse, France
  • Muséum National d’Histoire Naturelle – Paris, France
  • National Geographic – Washington, USA
  • National History Museum – London, United Kingdom
  • National Museums of Scotland – Edinburgh, United Kingdom
  • Nomad Exhibitions – Edinburgh, United Kingdom
  • PAN Art Connections – Weston, USA
  • Philharmonie de Paris – Paris, France
  • Sandro Debono – Ghaxaq, Malta
  • Science Museum Group – London, United Kingdom
  • Science North – Sudbury, Canada
  • SEED Interactive – Atlanta, USA
  • Semmel Concerts Entertainment – Bayreuth, Germany
  • SPL Lascaux international exhibition – Périgueux, France
  • Studio TK – Berlin, Germany
  • Tempora – Brussels, Belgium
  • The National Museum of Finland – Helsinki, Finland
  • The Shipping Monster – Atlanta, USA
  • Travel Photographer Of The Year – Earl Soham, United Kingdom
  • Universcience – Paris, France
  • Van Gogh Museum – Amsterdam, Netherlands
  • Wellcome Collection – London, United Kingdom
  • Xi’an Qujiang Museum of Fine Arts – Xi’an, China

About Teo

Teo is the new global platform for international touring exhibitions.

Created for hosts, producers and suppliers of international touring exhibitions, Teo is a global living resource to share, learn and connect. Teo enables an open and free exploration of travelling projects and specialist profiles available around the world and continuously shares in-depth content and industry updates with the community.

Teo is an inclusive initiative that offers museums, science centres, galleries, libraries, cultural venues and partner specialists a comprehensive entry point into the world of touring.

The platform is designed to become the one-stop resource for the international touring exhibitions community.

Website: https://www.teo-exhibitions.com/



  • Host membership (free)
  • Non-profit producer membership (annual subscription)
  • For-profit producer membership (annual subscription)
  • Supplier membership (annual subscription)

Key solutions

  • Directory of exhibitions available for hire worldwide
  • Directory of community members
  • Journal featuring articles and interviews
  • Job sharing board
  • Calendar of industry events
  • Calls for projects, assets, equipment, solutions and expertise


About Ecsite

Ecsite is the European network of science centres and museums. Active in the field of science engagement, it has 320+ members including science centres, museums, research bodies, festivals, universities, planetariums, foundations and learned societies, companies offering products and services to the field and local authorities.

About ICEE

ICEE is the International Committee for Exhibitions and Exchanges of ICOM, the International Council of Museums. The Committee’s mission is to provide a global forum for the exchange of ideas and experiences related to the circulation and exchange of exhibitions in all disciplines – building bridges within the community of exhibitions and museums.

Contact Details

Manon Delaury, CEO and Founder: +33 6 777 26126, manon@teo-exhibitions.co