Communicating
the arts 25
Lausanne
27 - 29 SEPTEMBER 2021

The Swiss sculptor, Yves Dana invites us in his studio in the Orangerie of Parc Mon Repos in the heart of Lausanne, for an exclusive evening reception.

Enjoy a drink and meet the other delegates. Please sign up here.

To attend the reception, guests are asked to bring one of the following COVID-19 proofs :

• Swiss COVID-19 certificate (QR code, electronic or paper)
• EU COVID-19 certificate(QR code, electronic or paper)

Please bring the above mentioned proofs as well as an ID card or passport.

Address:

The sumptuous nineteenth century Orangery was built in 1824 and is a Swiss national heritage building. This huge double-height space allows Dana to create his sculpture on any scale he chooses.

© Yves Dana | Lausanne, Suisse | 2020

Yves Dana was born in 1959, in Alexandria, Egypt.

In 1961, the Dana family left Egypt, settling in Switzerland.

He currently lives and works between two workshops, his primary workshop in The Orangery in Lausanne, and a second in the “sculpture capital,” Pietrasanta in Tuscany, Italy.

Dana has worked in iron, stone and bronze throughout the various stages and directions in the development of his sculpture practice. During the last 40 years, Dana has participated in more than 50 solo exhibitions and more than a hundred collective exhibitions, typically accompanied by publications. The artist’s work has been presented regularly in Switzerland, Spain, France, Italy, Belgium, England, Singapore, Japan, and the United States.

To enter the conference, participants are asked to bring one of the following proofs before entering the conference venues:

• Swiss COVID-19 certificate (QR code, electronic or paper)
• EU COVID-19 certificate(QR code, electronic or paper)

Delegates must bring the above mentioned proofs as well as an ID card or passport.

Pick up you badge and conference Programme at

PLATEFORME 10
Musée cantonal des Beaux-Arts
Place de la Gare 16
1003 Lausanne

THIS WORKSHOP IS FULLY BOOKED

Placemaking and artistic practices have at least one thing in common – imagination. In placemaking it is needed to (re)‐imagine a community and to transform spaces using a set of considerations such as inclusion and well‐being while providing a distinct sense of place. In artistic practice, imagination is located at the very heart of the matter.

For this experience the photographer Yury Toroptsov invites the participants to explore what constitutes their own notions of “My Place”. Each of us has a unique definition of what makes “our” place. We know it instinctually. It can be a safe secluded spot in the woods or a place in the sun to share with the others, etc. The goal of the experience is to translate the participants’ unique instinctual feelings of what each person perceives as “My Place” into images using smartphones.

We will use the site of Plateforme 10 as building blocks and prima materia to tell our individual stories and find ways to weave them into a collective narrative.

A collective work of art composed of individual contributions will be assembled at the end of the experience.

How it works:

We will start the session inside. You will be invited to introduce yourself and share with the group your personal notion of “My Place”.

Participants will be guided on a photo shoot in the vibrant neighborhood of Plateform 10. Equipped  with your smartphone you will be given the task to photograph things you feel correspond to your notion of “My Place.”

Upon return to the studio we will print the images and in a friendly exchange we will analyze photos searching for hidden patterns, connections and providing transformative insight. Each participant will then be asked to contribute one photo into a group fresco.

Duration: 10am – 12pm
Number of participants: 12 with smartphones

Discover the masterpieces of the permanent collection of the Musée cantonal des Beaux-Arts.

There are 2 tours, please sign up for one (places are limited).

A welcoming, open environment will benefit from a large complementary programme that enriches this cultural platform in the heart of the Lausanne.

We invite inspiring cultural leaders and experts from within and outside the arts to hear from international trends toward placemaking, new urban ideas and revitalising rural areas. We learn from their challenges in the past and discuss how cultural organisations can best serve their cities.

Colorado is an arid state with increasing demands for water as more people migrate to this region to live and work. The City of Thornton, along with other growing cities near Denver, are creating ways to educate the public about wise water use and appreciation for preserving natural habitats more native to the area with less demand on limited water resources. Some of the most effective ways to share this water-wise message is through art. Thornton Arts and Culture Division partnered with the city’s Water Resources office and Parks Department on a public information campaign that visually enhanced public drains with messages and created pollinator gardens designed by artists.

Riga is a city full of culture & history. However, over time it became the place for stag dos, enticed by the cheap flights and beer. So how do you change the perception of a city and redefine what it means in people’s minds?

Wiedemann Lampe used culture as the catalyst for change, embedding it into the placemaking plans for the city. Helping set up a contemporary art biennial & a classical music festival to shift Riga to a cultural destination.  Developing tools that would help visitors navigate locations, information & interpretation. Today, Riga is named the no.1 destination for classical music and is listed as the ‘essential’ art destination of Europe. A new path has been laid down for the city’s future.

To what extent has the pandemic been beneficial to streaming? Will subscribers renew their subscriptions? What digital content have cultural institutions put in place during the pandemic? How do cultural institutions see their future? The cultural marketing agency L’Oeil du Public conducted two surveys in April 2021, one among the Swiss population and one among 400 Swiss cultural institutions. Fabien will give the key takeaways from these surveys. With a focus on digital content, the surveys highlight some important drivers of cultural activities. They also give some insights on what can make a post-Covid strategy successful.  Fabien is CEO of L’Oeil du Public (Suisse).

Since the escalation of the COVID-19 pandemic, digital programming has taken on new importance across museums. Many organizations have begun to monetize these digital programs, through fixed-fees, suggested donations, or including them as membership benefits. With the rise of digital programs, there are many new questions: how many organizations are offering and monetizing digital programs? What types of virtual initiatives are delivering impact? What is the return on investment for digital programs? To understand how museums are generating revenue through virtual programs and the long-term outlook of digital, this session will share the results of a 2021 study of 500+ cultural professionals.

Recently, and more poignantly during the pandemic, it has become clear that cultural organisations have a new role in society. Through the work they produce and present, their synergies, the stance they adopt in the public sphere, their activities in public spaces and by applying principles of sustainability, diversity and inclusion to their own practices, they are powerful agents for social change. The increased significance of multifarious broadcasting within their activities over the past year has also brought them closer to media organisations in terms of their potential influence. Onassis Stegi is a fascinating case study in the realms of sustainability and social inclusion.

This case study will demonstrate how Designmuseum Danmark uses their event program to strategically reach out to local stakeholders with the aim of developing content and activities offering local, national and international audiences’ possible ways to engage with and explore the issue of sustainable design.

Designmuseum Danmark will share their key learnings in the process of establishing this annual event, that has become popular with audiences and participants and how they tackle limited budgets and many different needs – from audiences and stakeholders. And they will share how the covid-19 pandemic has changed the program, moving forward from 2021, adding new dimensions and challenges to the participatory focus.

Join this discussion that explores how museums can develop programs that deal with global issues and can become a platform for debate, dialogue, and community driven activities. This case study will share experiences and raise questions through Design for change, as an example, to inspire others.

Esme Ward is leading a transformative project at Manchester Museum, the UKs largest university museum, renewing its creative civic mission. It is the world’s first carbon literate museum with a mission to build a more sustainable world.

She explores the impact of the recently opened Manchester Museum Zero Waste Hub – a hub for ecological imagination, thinking and action. Developed in partnership with local businesses, researchers, students and environmental activists – this hybrid shop-display-workshop is transforming how the whole museum operates, communicates, collects and plans for the future. She reflects on wider lessons learned and the role of museums as pro-social spaces.

Join the presentation of Kurt Tong’s new project, winner of the fourth edition of the Prix Elysée, enjoy a great conversation about photography over a drink, meet new people and enjoy an exclusive behind-the-scenes tour of PLATEFORME 10.

To enter the conference, participants are asked to bring one of the following proofs before entering the conference venues:

• Swiss COVID-19 certificate (QR code, electronic or paper)
• EU COVID-19 certificate(QR code, electronic or paper)

Delegates must bring the above mentioned proofs as well as an ID card or passport.

The Olympic Games represent an accelerator of urban and societal change. There are many positive examples of cities which, because they have become Olympic cities, have been able on the one hand to position themselves on the world map and on the other hand to transform both their image and their urban planning. This year, an entire historic district of Tokyo will showcase Olympic culture in the broadest sense, thus contributing to a new dynamism. This experience will also be available to global audiences digitally, bringing central Tokyo to the world.

Olympism is a philosophy of life, combining sport, culture and education. In this perspective, for the first time ever and at the Olympic Games in Tokyo 2020, the Olympic Foundation for Culture and Heritage created the “Olympic Agora” with the aim to blend sport and culture. Here, the local public and digital audiences worldwide will be able to visit an exhibition of iconic Olympic symbols and treasures and art installations inspired by Olympism commissioned specially for the Olympic Agora and on view in the heart of the Japanese capital as well as online. Thanks to the involvement of renowned artists, the audience, and young people in particular, we will experience Olympic culture like never before; encouraging intercultural dialogue between Japan and the world.

The Olympic Agora is a project that demonstrates how art and culture can become an incubator to foster encounters and develop a social experience.

Through participatory public art, Mural Arts Philadelphia inspires change in people, place, and practice, creating opportunity for a more just and equitable Philadelphia.

Mural Arts envisions a world where all people have a say in the future of their lives and communities, where art and creative practice are respected as critical to sense of self and place; and where cultural vibrancy reflects and honors all human identities and experiences.

Community engagement, collaboration, and the co-powering of projects, programs, and partnerships is central to our work. We are in service to a larger movement that values equity, fairness and progress across all of society.

Mural Arts programs generate impact within individuals, communities, and systems with a focus on the following five areas: youth development, criminal justice reform, wellness, environmental sustainability, and civil discourse.

Through the Mural Arts Institute, we bring the transformative power of creativity to other change-oriented cities across the globe, building their capacity to sustain community-driven public art projects, and advancing opportunities for a more just and equitable world.

All cultural organizations have in common their efforts to attract new audiences: more visitors and new communities to empower. The International Film Festival and Forum for Human Rights in Geneva has taken place each year since 2003, parallel to the UN Human Rights Council. It is the main event for cinema and human rights, with guests including Angelina Jolie or Ai Weiwei. The Festival offers screenings, exhibitions and debates in 65 locations : theaters and the UN, but also community centres, museums, sports clubs, hospitals, prisons and shelters. It has also screened films and debates in 60 countries.

East Bank is the UK’s largest cultural and educational infrastructure investment and a key legacy of the London 2012 Olympic Games.  It will include a home for BBC Music’s Studios, a new Sadler’s Wells dance theatre, a new Victoria & Albert Museum, the V&A Collection and Research Centre, University of the Arts: London College of Fashion’s brand new campus and University College London’s East Campus.

Years in the making, and 3 years from full opening, how has this cluster of world-leading organisations engaged with local arts and community organisations and the local residents?  How have we fostered new communities of interest?

Engaging early, with purpose and with experimental spirit have been our recipe so far – and that approach has started to demonstrate real benefit.  The proof of our collective impact will be in what the East Bank community looks like on opening, the opportunities created, the quality of the cultural experience and the partnerships, the work showcased there, and the innovation ecology that emerges.

Temporary shutdowns and reopenings are sometimes due to happier reasons than the pandemic we all endured, one of them being the construction of a new building and the move into its walls of an entire institution, from its archives and offices to its workshops and library. In such a case, how does an institution keep in touch with its local, national and international publics? What does its staff do? Are projects still on? We, at the Musée de l’Elysée, Lausanne, think about our temporary closure as an opportunity to boost our dialogue with our publics and professional users, and even expand it through on and offline new means of action. Inviting our community at large to dialogue and interact with us and unveiling to all our behind the scene activities during that particular time tickles its curiosity and brings forward whole new fruitful dynamics. It is also a good time to lean back in time as a team into the history of our museum to set its course into the future, and to reinvent a new name matching its new coat.

This case study will share with the participants the creativity and foresight spirit museums dispose of to challenge important changes and to negotiate successfully with the unexpected.

Florida Museum of Photographic Arts (FMoPA) is a museum in Tampa, FL, USA, dedicated to exhibiting photographic art as central to contemporary life and culture. In Spring 2021, FMoPA produced The Chef’s Special, a community art project that featured over 80 portraits of the men and women behind the Tampa Bay area’s eating and drinking establishments. Zora Carrier, Ph.D., Executive Director of Florida Museum of Photographic Arts, will present the case study of The Chef’s Special and share specific success indicators, such as increased awareness, social media engagement, ticket sales, and new memberships. She will also share her experience of building a community-centered art institution.

The diversity in European cities has changed drastically in the last 20 years. Changed demographics, the new media landscape, the abundance of leisure activities and budget cuts challenges the position of museums in their community.The Municipal Museum of Contemporary Art Gent, SMAK believes it’s essential to connect with the broad local community. Its present building is too small to be of good service to its community and show the extensive collection at the same time. The 20th anniversary collection exhibition “Highlights for a Future” was the ideal moment to involve the citizens of Gent and make them “own” their renowned collection of more than 2600 works of art. Did it work on a budget?

As audiences gather for this year’s Tokyo Olympic games (around their televisions and devices), it will be a very different experience – no roaring crowds and words of encouragement from the audience – no fans. The role of the U.S. Olympic & Paralympic Museum (USOPM) is even more important. It will act as a place to gather, celebrate our athletes, and share in their Olympic and Paralympic experience.

The USOPM is a symbol of perseverance in and of itself. The Museum opened in July 2020, at the height of the pandemic and has survived the past year despite tremendous obstacles. As of July 2021, the USOPM is nearly back to pre-pandemic attendance and approaching original projections.

Now what? What have we learned over the last year? What changes will occur (or not). The goal of this Case Study will be to illustrate how our observations, testing, and data collection strategies implemented throughout the design process have informed pivots in the design, new perspectives on visitor engagement and refinements to the visitor experience.

Please join John Christie, SVP, Business Planning & Strategy and Gretchen Coss, SVP, Strategic Partnerships as they take us through lessons learned and strategies implemented to make the USOPM a world class emotional journey worthy of our athletes!

Taking it’s closure for renovation as an opportunity to rethink its role, the Museum of Ixelles invites 10 residents biannually from the neighbourhood to exhibit an artwork in their home for a weekend. On Saturday, the viewing is restricted to the residents’ social circle as well as the other participants. On Sunday, the residents open up their homes to the public. 10 domestic spaces are thus turned into intimate micro museums, to be enjoyed one after the other. Midway through the project (2018-2020), it’s already possible to demonstrate how it opens up the art collection, enlarges the museum audience and strengthens community ties.

A project led in association with Patrimoine à Roulettes.

Since summer 2019, the Art Education of the Fondation Beyeler started a collaboration with the neighborhood Primary school, Erlensträsschen that connects directly with the new museum building site. Together they develop joint participatory art projects. The first joint project, an Art Parcour with numerous workshop stations all along the way from the School to the Museum and back, took place in Autumn 2019. All nine classes were involved and experienced the way from their place to the museum and back in an artistic and joyful way. Currently, new participatory projects are underway. These include a special 4-part offer for Kindergarten children and jointly developed Museum games. The collaboration not only offers the 200 children a self-determined and deeply engaging art experience that involves all senses, it also opens the doors to their families and the larger community.

The close collaboration makes sure that interaction and participation are fundamental for every new project, but also that the art of placemaking and inclusion for children, teachers and museum staff becomes a living reality.

The City and Tourism Boards of Geneva joined forces to promote the cultural offering to neighboring countries. Geneva has a diverse, rich and high-quality offer, but does not have a flagship institution to draw attention from potential travellers, and media. The goal of the project was to attract media and generate content that inspires travelers to spend several days in the city of Geneva. It consisted of a roadshow for 15 cultural institutions to meet media in Madrid, Paris and London, and was followed by a media trip four months later to discover the city and its territory. An unexpected dynamic started between the cultural institutions, where best practices and exchange projects started to take shape.

Carol Summerfield is the executive director at the History Center of Lake Forest and Lake Bluff, working within the museum to expand audience reach, incorporate new technology cost-effectively, and engage visitors through exhibit and programming. She supports strategic changes for educationally-focused clients as they connect with their audiences. Carol works to bring together the leading voices in museums, education, and cultural institutions to reach a wider audience.

Geneva is considered an international city thanks to the presence of the UN as well as over 100 international agencies and 400 NGOs. However, when you visit Geneva, there is no real place to learn more and experience the reality of multilateralism.

This problem will be solved in 2024! Thanks to a major donation from a Geneva philanthropist and the agreement with the UN, visitors will soon be welcomed into a new and dedicated Centre, the Portail des Nations. A place of immersive and interactive experience for visitors, through a permanent exhibition, educational workshops, cultural events and the increased possibility to visit the Palais.

The Foundation Portail des Nations is constructing, for the benefit of the United Nations Office in Geneva, its new Visitor Centre, called Portail des Nations, within the Palais des Nations campus. From 2024 onwards, the UN in Geneva will have a new infrastructure (Sq 3000m) fully dedicated to interactive and immersive experiences for visitors.  The initiative led and funded by Geneva-based philanthropist Ivan Pictet aims to support the UN public outreach and enhance the experience of the public visiting the United Nations in Geneva.

NADIA is an international education and theatre project led by the ETC focused on young audiences.
The origins of this project are the questions raised by an increasing extremism in all parts of the world and more particularly by the phenomenon of radicalisation that it engenders.

In Belgium, Fabienne Glowacz, Doctor of Psychology at the University of Liège, conducted an evaluation of the NADIA project to measure the impact of theatre as a medium for raising awareness and preventing violent extremism and violent radicalization. Isabelle will share the outcome at the CTA LAU.

Le Grand Théâtre de Genève and Arenametrix will discuss the benefits of using a customer data platform to communicate the arts to multiple audiences. The case study will include key learnings on how to develop new audiences (embasement, marketing automation) and build spectator loyalty (membership programs).

Community engagement, collaboration, and the co-powering of projects, programs, and partnerships is central to our work. Over the past 18 months we deepened our relationships and created new opportunities and public art in response to the challenges created by the pandemic.

From developing new city partnerships to growing our artist pipeline, we have continued to listen, create connections, and support the resiliency of the communities we serve while demonstrating the indispensability of art in all aspects of our lives, work, and spaces.

We aim to show how GRIMMWELT Kassel implemented aspects of placemaking from the start and has become one of the top three places in the city because of it. In its over 5 years of existence, GRIMMWELT has transformed from a project that initially caused civic unrest to one of Kassel’s top places for locals and tourists, and into one of the economically most important local institutions. Starting with its architecture, GRIMMWELT was set to be a place for people of various backgrounds to participate, experience and thrive from the onset. How do you evaluate this new kind of architecture and show how it opened up different aspects of participation for the city, its people and tourism.

One of the world’s largest cultural and heritage development programmes is currently underway in the deserts of north-western Saudi Arabia.  AlUla is a region of stunning natural beauty and a site of ancient Arabian civilisations.  Its fertile valley and oases were on the Incense Road and an important part of historical trade and pilgrimage routes.

Alongside several heritage locations, including the UNESCO World Heritage site at Hegra, a diverse cultural infrastructure is being developed by the Royal Commission for AlUla.  This includes the sensitive regeneration of the old town and a series of galleries, museums and arts centres.  An ambitious events programme has included high-profile concerts in the beautiful mirrored Maraya concert hall and Desert X AlUla, an exhibition of large-scale site-specific sculpture set in the remote desert landscape.  Contemporary arts programming aims to ‘pre-activate’ planned cultural assets and reflect the region’s historical role as a place of creative dialogue and the exchange of ideas.  A key challenge in AlUla is to create meaningful experiences that resonate with local people, national audiences, tourists and the global cultural community.

Sumantro Ghose, gives insights into the role of arts programming and audience development in the re-emergence of AlUla as a global centre for arts and creativity.

Join us for an exclusive evening reception at the fantastique Chateau Chillon located on Lake Geneva. Chillon is amongst the most visited castles in Switzerland and Europe.
Enjoy wine and food and discover the castle during a guided visit.

Departure of the bus for the evening reception at 6.45pm 

Copyright:
Vladimir Mucibabic – Shutterstock.com
OTV – L. Ryser

To enter the conference, participants are asked to bring one of the following proofs before entering the conference venues:

• Swiss COVID-19 certificate (QR code, electronic or paper)
• EU COVID-19 certificate(QR code, electronic or paper)

Delegates must bring the above mentioned proofs as well as an ID card or passport.

The integration of art into life is an ambition that has long-inspired artists and creative thinkers. Loosely modelled on the principles of the Bauhaus School, ‘applied arts’ disciplines like photography, design, architecture and film were central to MoMA from the start. These artforms are, more than ever, central to people’s lived experience everyday, yet the museum and the feeling it evokes continues to feel distant to many. In this presentation I will reveal detail from a recently commissioned audience study and share how we are starting to use these insights to reimagine our mission for the 21st century and bring our work into closer alignment with people’s everyday life.

Join Behind the Scenes Tours and Workshops at :

• The Olympic Museum
• ECAL/University of Art and Design Lausanne
• Palais de Rumine
• Arsenic – Contemporary Performing Arts Center
• mudac – Museum of contemporary design and applied art

To answer this question The Olympic Museum is developing an interactive, modular space at the core of our permanent galleries. Our objective is to promote Olympic Heritage diversity and give visitors a first-hand experience of how we conserve our collections.
Combining hands-on and digital discovery of artefacts, images, and archives, this space encourages  exploration and interpretation, breaking with the current treatment of our collections in the permanent exhibition.
During the Safari Session we will discuss the importance of presenting our collections in different ways and the necessity of bringing our visitors behind the scenes.

Delegates will benefit from an exclusive visit of the Olympic collections storages by Yasmin Meichtry, Associate Director of The Olympic Foundation for Culture & Heritage.

ECAL Digital Market, the result of a collaboration between ECAL and Formlabs, a 3D printing technology company, tackles important design issues: sustainability in manufacturing, on-demand production, the role of designers and open access sources. An exhibition combining a production site and a retail shop, design students and practitioners engage with visitors on the impact of these concerns on our consumption. Presented in leading cultural institutions in Milan, Basel and Tokyo, ECAL Digital Market was, at last, acquired by the Victoria & Albert museum’s “Rapid Response Collecting” initiative “(…) because they advance what design can do, or because they reveal truths about how we live.”

In 2018, the Vaud state museums of the Palais de Rumine celebrated their 200 anniversary with COSMOS, an interdisciplinary exhibition. Opened as an encyclopaedic Museum in 1818 after the Independence of the Canton of Vaud, these Museums were initially housed under one roof in the Academy of Lausanne. Following the specialization of sciences and disciplines in the 19^th century, they separated and became increasingly independent from one another, relocating to different buildings in Lausanne. In 1906, they were regrouped at the Palais de Rumine along with the Fine Arts Museum (Musée cantonal des Beaux-Arts, MCBA), but continued to work independently of each other. With the departure of the MCBA for Plateforme 10, a new era is opening for science and history museums in Rumine.

With 5 million objects and specimens in storage from all over the world, including important local archaeological, zoological, mineral and paleontological series, the Rumine museums are building a new way of sharing and experiencing scientific knowledge with the public, addressing universal stakes with global and local collections.

The presentation will focus both on recent projects such as exhibitions (mixing arts and science to tackle global warming and mass extinction or about Swiss missionaries in Africa, about de-colonisation), inviting people outside the museum to make it (museomix) and future collaborations.

Join Behind the Scenes Tours and Workshops at :

• Musée de l’Elysée
• The Olympic Museum
• Collection de l’Art Brut
• Théâtre Vidy-Lausanne

To answer this question The Olympic Museum is developing an interactive, modular space at the core of our permanent galleries. Our objective is to promote Olympic Heritage diversity and give visitors a first-hand experience of how we conserve our collections.
Combining hands-on and digital discovery of artefacts, images, and archives, this space encourages  exploration and interpretation, breaking with the current treatment of our collections in the permanent exhibition.
During the Safari Session we will discuss the importance of presenting our collections in different ways and the necessity of bringing our visitors behind the scenes.

Delegates will benefit from an exclusive visit of the Olympic collections storages by Yasmin Meichtry, Associate Director of The Olympic Foundation for Culture & Heritage.

Cultural spaces and events are all places of ‘civic seeing’ which continually evolve through participatory practices
and visitor agency. The ‘voice of the visitor’ is now considered fundamental to co-creating experiences. ‘muse’ is a
world-first real-time evaluation tool that allows organizations to embody their audiences. ‘muse’ transforms
qualitative experiences into quantitative data, driving innovative programming and exhibitions while also redefining
value. The playful application scaffolds visitor experience using drawings, audio recordings, photography and
interactive graphics to gauge emotions and desires. ‘muse’ outlines new frameworks for the making of place
through case studies. The workshop will be partly  ran in the Deep Fakes: Art and Its Double exhibition.

Café Saint Pierre Pl.Benjamin Constant 1, 1003 Lausanne