This year marks a significant milestone for our company: ten years of activity, swiftly passed through numerous artistic productions, collaborations, and the constant pursuit of new ways to narrate culture through exhibition spaces.
Years of friendship, dedication, and, above all, growth.

We Exhibit was born from a shared vision, but above all, from a bold challenge: to create a space where design, research, and culture could intersect and transform into experiences that leave a lasting mark. It has been a journey of trials, insights, and evolution, built on the energy of those who believed in it from the very beginning and those who enriched its path along the way. Ten years of exhibitions, yes—but also of connections, ideas put to the test, sleepless nights before an opening, and the unparalleled satisfaction of seeing a concept come to life.

With this interview, we want to open an album of memories and visions: retracing the milestones that have brought us here, through the voices of those who gave We Exhibit its name, its identity, and its soul. Because our story is not just made of projects—it is, above all, made of people.

Our journey begins in Venice in 2011, within the evocative halls of Palazzo Bembo.
Nicolas arrives at the entrance and stops to chat with the ticket office attendant. At that very moment, Davide, who works in the exhibition space, rushes past. The attendant calls him back to ask how to handle the résumé Nicolas had just dropped off.
Giovanni also works in the space. By sheer coincidence, both he and Davide sit in on Nicolas’s interview—and the very next day, he begins his job at Palazzo Bembo.

From an intersection of ordinary moments, a solid reality was born—one that has grown with vision and determination. Today, we celebrate a path shaped by creativity, design, and innovation, looking to the future with the same energy as on that very first day.

What was your first thought, reaction, or feeling when you realized the company was officially registered?

Giovanni Dantomio: That day, the notary told us how great it was that we were so young and eager to build something together—but he also warned us that the hardest part would be getting along in the long run. At that moment, I realized that this seemingly simple idea of "getting along" actually held the key to success. I suppose we’re still working toward that long run.

Over the years, there have certainly been times when we agreed more and times when we agreed less. But in the end, every decision led us here because each of us, when it truly mattered, was able to set aside personal vision for the greater good of We Exhibit.

At that moment, I realized that this seemingly simple idea of "getting along" actually held the key to success.

We Exhibit: From a Request to an Opportunity

Once we moved past the initial panic, launching the company was not just an act of passion—it was a necessary choice. The drive to structure highly diverse processes effectively and the ambition to change the game by embracing a cross-disciplinary approach to design and production were the forces that led to the creation of We Exhibit.

What motivated you to found We Exhibit ten years ago? Was it a dream, an intuition, or a necessity?

Nicolas D’Oronzio: It all started with observation. It was during the preparation phase of the architecture exhibition at Palazzo Bembo in 2012. We were gathering information from exhibitors, navigating the complexities of working in Venice, and managing the setup at the exhibition venue. Communication and diplomacy were crucial to the success of the projects.

At the time, we had no structured operational framework—it was up to us to develop methodologies and procedures. It was a kind of controlled chaos. The phrase we heard most often from our supervisor was: I don’t care how you do it, just get it done. On one hand, it was stimulating; on the other, frustrating. That’s where the idea was born—to create an organization that could manage exhibition projects with care, empathy, and attention to process. Because the quality of the final outcome is always a direct result of the quality of the process that precedes it.

It was August 2012, and I was in the second-floor office at Palazzo Bembo. I remember randomly purchasing a few domain names for a future project. It took another three years to bring We Exhibit to life, and even now, there are still countless possibilities for growth.

I realized how essential it was for exhibitors to have reliable and well-prepared on-site production contacts, how high the expectations were for those bringing projects to Venice, and how complex the logistics could be for people managing everything from thousands of kilometers away.

Becoming an entrepreneur is never an easy path.
The responsibility toward the people who work with us and the fear of not being able to evolve present daily challenges.

What scared you the most, and what motivated you to keep going on this entrepreneurial journey?

Davide De Carlo: The time taken away from loved ones and self-care, the constant effort to achieve and maintain that elusive work-life balance—these are aspects that every entrepreneur, sooner or later, has to confront. And not without a fair share of inner turmoil.

Over time, these factors have carried significant weight in the balance of energy, both for me and my partners. What drives me to continue is seeing that, slowly but steadily, we are creating the conditions—both for ourselves and our collaborators—that allow everyone to find fulfillment, both in their work and beyond.

Pavilion of Mexico, Venice Arsenale, 2018

What drives me to continue is seeing that, slowly but steadily, we are creating the conditions—both for ourselves and our collaborators—that allow everyone to find fulfillment, both in their work and beyond.

If you think back to the early years of We Exhibit, what is the most significant memory you carry with you?

Nicolas D'Oronzio: The burnout I experienced in 2013. I consider it a pivotal moment because, for the first time, I had to confront my own limits and acknowledge a part of me that, for months, had been ignoring the signals from my mind and body urging me to slow down and work in a more sustainable way.

The day after the exhibition openings concluded, I remember feeling a complete physical and mental collapse—one that stayed with me for several months. It was a tough but valuable lesson for the years to come.

Ten years of work, ten years filled with projects that have brought our company into collaboration with countless people and personalities from around the world.
Each project, with its unique value, has represented not only a professional challenge but also a journey of personal and collective growth. Among them, some remain particularly vivid in our memories.

Is there a project you consider especially emblematic? What makes it special to you?

Nicolas D'Oronzio: Xu Bing’s Phoenix installation at the Gaggiandre in the Arsenale, in 2015. It was an incredibly complex project, and at the time, I had neither the experience nor the preparation for something of that scale. But that didn’t stop me. If anything, it showed me how much you can learn quickly when actively engaging with challenges and working alongside specialized professionals.

I vividly remember one particularly reckless decision—I drove all the way to Milan to pick up materials needed for suspending the sculptures. I spent at least 15 minutes on the phone with an engineer, trying to figure out how to distribute the load in my car so it wouldn’t literally break in half during the trip, given that the weight far exceeded its capacity.

Giovanni Dantomio: The Mexico Pavilion at the 2015 Biennale, with Tania Candiani and Felipe Ortega.

In December 2014, Tania saw us working at the Venice International Performance Art Week at Palazzo Mora. Knowing she had this project in the works, she simply said, "I need the guys in the red t-shirts!"

Davide De Carlo: The Teaching Tree by Muhannad Shono, for the Saudi Arabia Pavilion at the 2022 Biennale.

It was an intricate process of co-design and co-production to create a large-scale site-specific installation—one that brought together metal structures, pneumatic systems, electronic controls, palm leaves, paints, engineers, a warehouse that caught fire, instruction manuals, destruction manuals, air compressors, cables, sketches on paper, tiny wires, technical drawings, and assistants of every possible kind.

And yet, both the journey and the final result were nothing short of perfect and breathtaking.

Stories of Anecdotes and Unforgettable Moments

Over the years, we’ve had the pleasure of working with so many people—not just within our team, but also across a vast network of clients, suppliers, and collaborators.

Together, we’ve shared unforgettable experiences, tackling both triumphs and challenges with mutual understanding, camaraderie, and solidarity—always maintaining a strong team spirit.

Is there a funny anecdote or an unforgettable moment that perfectly captures the essence of these ten years?

Nicolas D'Oronzio: A photo of the three of us co-founders—back when we were just former students searching for our future. Without any particular technical expertise, we built a wooden wall meant to support a very heavy artwork. To test if it would hold, we decided to hang onto the structure ourselves, quickly calculating the sum of our weights. Of course—it held!

Giovanni Dantomio: A client once explained their project to us, and I said, "Oh, you're producing it in that region? Just be careful with the voltage—over there, it's 110V, while here we have 220V, so make sure the equipment you buy can function here as well." Naturally, everything arrived in 110V.

Davide De Carlo: What better anecdote to reflect the seafaring spirit of Venice and its logistical acrobatics than the sheer joy of regularly receiving requests for truck access to some palazzo or some courtyard? And then, of course, exchanging a knowing glance with the nearest colleague before breaking into shared laughter.

If you had to describe We Exhibit with just one word, what would it be and why?

Davide De Carlo: Complicity. The deep sense of connection within our team defines the spirit of the company. It’s a key motivational factor that pushes us to challenge ourselves and continuously improve, turning collaboration into shared energy.

Nicolas D'Oronzio: I’d say innovation is the word that best represents our company. But I’d call it a human-centered innovation—meaning that our focus isn’t just on improving a product, but rather on enhancing the interactions between all the people involved in our projects.

Giovanni Dantomio: Resourceful, because in Italian, you’d need a whole sentence to explain it properly.

Looking at yourself in the mirror today, what makes you most proud of what you’ve built?

Nicolas D'Oronzio: Seeing how this company has been able to generate projects and create both professional and personal connections among people. Witnessing how many emotions—both positive and negative—fuel the company, and realizing that it’s a living entity, constantly evolving, where people can truly find their place.

Giovanni Dantomio: The fact that our clients become true ambassadors of our approach and are our greatest advocates.

Davide De Carlo: For every wrinkle and every lost hair, I see a challenge overcome—but also a person to thank. A person who is part of a vast network of respected professionals who align with our company culture.

10 Years: A Milestone and a New Beginning

In 2024, we embarked on a project of great significance: obtaining Gender Equality Certification. This initiative represents not only a continuous investment in our own growth and education but also a tangible commitment to those who work with us and collaborate alongside us.

We firmly believe that teamwork, cohesion, and mutual respect are the foundation of a culture that values the human aspect of every individual. That’s why we are dedicated to fostering an inclusive environment where everyone has the opportunity to grow and expand their skills.

A special thank you to all the people who have shared—and continue to share—this journey with us. Thanks to the contributions of each and every one of you, we are celebrating ten years of success, ambition, and evolution, with the goal of reaching new milestones together.

Ten Years of We Exhibit: 10 Years of Us
A journey of passion, growth, and innovation.

Are you seeking a unique opportunity to immerse yourself in art while exploring the enchanting corners and alleys of Venice? We have 16 recommendations for you.

In this guide, we’ll take you through the projects we have produced and coordinated for the 2024 edition of the International Art Exhibition - La Biennale di Venezia, titled Stranieri Ovunque – Foreigners Everywhere, curated by Adriano Pedrosa, running until November 24.

Before we embark on this journey together, we want to ensure your visit is unforgettable by sharing some practical tips for making the most of your cultural experience.

A guide full of useful tips for your visit path, curated by specialists in exhibition design and experts of the city of Venice.

Visiting the Biennale isn’t just about exploring a single exhibition space; it’s also about discovering the hidden corners of Venice. Many national pavilions and collateral events take place in magnificent historic buildings outside the main areas of the Arsenale and Gardens. We recommend taking the time to explore these fascinating locations, rich in history and culture, that are off the beaten path.

Be prepared to navigate open areas during your visit. Venice is an outdoor city with limited shelter from the elements, regardless of the season. You may encounter hot, sunny days as well as windy and rainy moments. The weather conditions contribute to Venice’s unique charm. When planning your visit, check the weather forecast to anticipate high tide, a fascinating phenomenon that can affect your itinerary.

Depending on the number and location of the exhibitions, your visit could take several hours. Some areas may lack seating or resting spots, so keep in mind that you might be walking for an extended period. We recommend wearing comfortable shoes to fully enjoy the experience without discomfort.

Some exhibition areas feature gravel paths and unpaved surfaces that may not be suitable for all types of footwear. Comfortable shoes will help you navigate between the various exhibition spaces and the city, which is known for its many bridges with steps.

Certain areas of Venice may not be easily accessible to all visitors, particularly those with physical disabilities or those traveling with wheelchairs or pushchairs. When planning your stay, we recommend checking the accessibility of the locations you intend to visit and preparing an itinerary that takes any potential access difficulties into account.

Venice’s numerous locations and exhibition spaces provide endless opportunities for photo shoots and video recordings. However, there are no specific charging points available. We recommend bringing a power bank or portable battery to ensure you can capture all your memories without worrying about your phone or camera battery life.

Now that we're ready, let's start our visit together. Take our map at your fingertips and let's go!

Pavilion of Saudi Arabia, Shifting Sands: A Battle Song, Biennale Arte 2024, Arsenale, Venice

Waterbus: Arsenale Stop

After a short walk to reach the entrance and time needed to capture panoramic shots, we can finally enter and start our tour with a visit to the Pavilion of Saudi Arabia and Shifting Sands: A Battle Song, a solo project by Manal AlDowayan, one of the most significant contemporary artists in the country. 
Entering the exhibition space, you will be fascinated by the imposing sculptures imitating desert roses, made of foam and raw silk, which evoke the delicacy and symbolism of the desert rose. Beyond its aesthetic beauty, the project involves the visitor with its content, which speaks of cultural transformations and the role of women in the country. Walking between one element and another, you will lose yourself in the discovery of silkscreened stories and texts that reflect the image of women through the media lens.

Open until 24 November 2024

Pavilion of Mexico, 'As we marched away, we were always coming back...', Biennale Arte 2024, Arsenale, Venice

Crossing the side entrance to the Saudi Arabia Pavilion, our visit continues with the presentation of the Pavilion of Mexico with 'As we marched away, we were always coming back...'. 
Inside the space, large screens narrate scenes of migratory life, framing a large table set with sparkling white porcelain. The colour of the objects lights up with the surrounding reflections, taking on different shades depending on the reflected image and the angle from which we observe them, underlining the opportunity to acquire experiences through interaction with different cultures. Erick Meyenberg, the main artist, invites us to reconsider migration as a constant in human experiences, revealing the importance and role of the migratory phenomenon as a source of contamination and enrichment.

Open until 24 November 2024

Pavilion of Turkey, 'Hollow and Broken: A State of the World', Biennale Arte 2024, Arsenale, Venice

Exiting the space, we head towards the building's stairs, where you can visit the Pavilion of Turkey with 'Hollow and Broken: A State of the World', an exhibition project that uses large-scale sculptural works to represent 'broken' and empty settings, symbolising a world hit by wars, migrations, environmental, and nuclear dangers. This project explores the country's complex contemporary socio-political issues through the personal and historical narratives of the artist, one of the most representative in the contemporary Greek panorama.

Open until 24 November 2024

Pavilion of Senegal, 'Bokk - Bounds', Biennale Arte 2024, Arsenale

We leave behind the Turkey Pavilion and continue our tour, starting again with the spaces on the ground floor with a visit to the Pavilion of Senegal and 'Bokk - Bounds', a solo project by artist Alioune Diagne. Through contemporary pointillism, the artist presents scenes of everyday life in the country, marked by constant migratory phenomena, also due to climate change. In the centre of the space, a large broken canoe catches the viewer's eye, inviting them to reflect on this theme, which is more relevant than ever in today's life.

Open until 24 November 2024

Pavilion of Malta, 'I WILL FOLLOW THE SHIP', Biennale Arte 2024, Arsenale, Venice

We continue towards the Pavilion of Malta with I WILL FOLLOW THE SHIP by artist Matthew Attard.
Once inside the space, you will be immersed in the discovery of large interactive panels that narrate a series of sea routes through distinctive signs. This exhibition explores the relationship between the sea and religion, offering a powerful metaphor of hope and survival. The project invites visitors to reflect on the need to reformulate the ways of acting and living together, in order to successfully navigate the uncharted waters of the information society.

Open until 24 November 2024

Pavilion of Lebanon, 'A Dance with her Myth', Biennale Arte 2024, Arsenale, Venice

Passing through Malta, we come across the Pavilion of Lebanon, where artist Mounira Al Solh with 'A Dance with her Myth' has created a suggestive exhibition space halfway between myth and reality.
Her multimedia installation combines painting, drawing, sculpture, embroidery, and video, revisiting mythological tales and offering visitors alternative perspectives on the country's history.

Open until 24 November 2024

Philippines Pavilion, 'Waiting Just Behind the Curtain of This Age', Biennale Arte 2024, Arsenale, Venice

Finally, along the same route, our tour continues with the discovery of the Philippines Pavilion. Here we find the solo project 'Waiting Just Behind the Curtain of This Age' by Filipino artist Mark Salvatus, which invites reflection on daily politics and national historical narrative. Everything takes place in a mystical atmosphere, enriched by sounds and wind instruments, with projections of forest flora on a screen.

Open until 24 November 2024

Pavilion of Uzbekistan, 'Don't Miss the Cue', Biennale Arte 2024, Arsenale, Venice

We exit the exhibition corridor and cross the gravelled outdoor spaces of the picturesque Arsenale to reach the Pavilion of Uzbekistan.
Once inside, we immerse ourselves in the evocative installation by Aziza Kadyri, which recreates the atmosphere of a backstage inspired by the Houses of Culture of 20th century Eurasia. In the darkened room, we begin to explore the theatrical setting, featuring sculptures created from sketches of traditional costumes integrated with audiovisual materials produced by the Qizlar Collective. The artist invites us to 'Don't Miss the Cue', reflecting on critical themes such as migration, decolonisation, language, social invisibility, and the relationship between tradition and technology.

Open until 24 November 2024

Pavilion of China, 'Atlas: Harmony in Diversity', Biennale Arte 2024, Arsenale, Venice

The last project you can discover at the Arsenale is 'Atlas: Harmony in Diversity' by the Pavilion of China. This exhibition invites you to collect and bring together diverse identities, races, beliefs, concepts, and cultures, creating opportunities for mutual communication and understanding.
The idea of harmony and symbiosis in Chinese culture is represented by the character “集”, which shows three birds on a tree. As a verb, “集” means to gather and bring together, while as a noun, it indicates a collection of art or knowledge. Both uses emphasise the importance of integration and dialogue, fundamental values that the China Pavilion aims to convey through this exhibition.

Open until 24 November 2024

Pavilion of Finland,'The Pleasure We Choose', Biennale Arte 2024, Giardini, Venice

We leave the Arsenale exhibition space and head towards Giardini for a visit to the Pavilion of Finland and'The Pleasure We Choose'. This project features the work of three artists: Pia Lindman, Vidha Saumya, and Jenni-Juulia Wallinheimo-Heimonen. Their works, inspired by personal experiences, explore the structural, environmental, and social imbalances of the world through various techniques and media, celebrating the pleasure of the personal sphere as a powerful means to inhabit, imagine, and reinvent plural worlds.

Open until 24 November 2024

A moment of rest, because our tour continues.

As mentioned, the Biennale is not limited to hosting exhibition projects only in the spaces of the Arsenale and Giardini. Numerous events, including national pavilions and collateral events, take place in splendid palaces and locations in the city that are normally not accessible to the public, offering a unique opportunity to discover alternative heritage, beyond the traditional "walls".
After a break (and some reading), we resume our journey to explore the projects we had the pleasure of contributing to with our services.

Pavilion of Chile, 'Cosmonación', Biennale Arte 2024, Warehouse No. 42, Naval Station, Arsenale of Venice, Fondamenta Case Nuove 2738/C, Venice

Not far from the entrance to the Arsenale space, we head towards the Arsenale Warehouses. Here we can visit the Pavilion of Chile with 'Cosmonación' by artist Valeria Montti Colque. The focal point of the exhibition is a majestic sculpture over five metres high, depicting a mountain, a symbol of a safe haven for exiled and refugees. Around it, a multisensory environment is created with ceramic figures, textile pieces, and video projections, inviting visitors to immerse themselves in a unique and engaging experience.

Open until 24 November 2024

Tomokazu Matsuyama: Mythologiques, Biennale Arte 2024, Warehouse No. 41, Naval Station, Arsenale, Fondamenta Case Nuove, 2738/C, Venice

Close to the Chile Pavilion, it is also possible to visit the exhibition 'Mythologiques' by the artist Tomokazu Matsuyama. This exhibition is a journey through vibrant images and colours that explore the complexity of globalised society. The works present fantastic scenes of contemporary life, combining the iconography of ancient Japan with Western canons in an original form of American pop art.

Open until 24 November 2024

Pavilion of the Sultanate of Oman, 'Malath-Haven', Biennale Arte 2024, Palazzo Navagero Gallery, Castello 4147, Venice

Returning to the National Pavilions, it should be noted that for its second participation in the Venice Biennale, the Sultanate of Oman has chosen to collaborate with us for the production of 'Malath-Haven', a collective project involving five artists: Alia Al Farsi, Ali Al Jabri, Essa Al Mufarji, Sarah Al Olaqi and Adham Al Farsi. Inspired by the concept of “malath” (port in Arabic), the exhibition invites visitors to embark on a metaphorical and artistic journey, exploring themes of multicultural heritage, identity, belonging, and diaspora. Through different art forms, the works reflect on Oman’s profound history of welcome and refuge, celebrating the richness of cultural exchanges and the strength of human connections.

Open until 24 November 2024

'About Us', Tracey Snelling for the The Human Safety Net, Biennale Arte 2024, Procuratie Vecchie, San Marco

If you are in Venice, you absolutely cannot miss Piazza San Marco and the magnificent bell tower. Turn your gaze towards the Clock Tower and under the arcades of this enchanting square, you will find the entrance to the Procuratie Vecchie exhibition space, which houses The Human Safety Net and the exhibition 'About Us' by the artist Tracey Snelling.
Upon entering the space, your gaze will be captivated by towers of small houses glued together to represent large modern cities. These somewhat alienated structures, designed by the artist, enclose a myriad of worlds and narratives in which each of us can find interpretations or identify with.

Open until 24 March 2024

'Jim Dine: Dog on the forge', Biennale Arte 2024, Palazzo Rocca Contarini Corfu

We head towards the Ponte dell'Accademia to admire one of the most beautiful views of the city and the Grand Canal. After dedicating ourselves to a few shots to capture the moment, we continue our cultural visit in the city.
Only until the end of July, don't miss the exhibition  'Jim Dine: 'Dog on the Forge'  hosted inside the marvellous Palazzo Rocca Contarini Corfu. Here the artist Jim Dine presents large installations created specifically for this edition of the Biennale, along with paintings and sculptures never before exhibited. The exhibition includes 32 works of art, including paintings, drawings, bronze and wood sculptures.

Open until 21 July 2024

'ULYSSES, we are all heroes', Biennale Arte 2024, Fondacion Valmont, Palazzo Bonvicini, Venice

What fascinates us about contemporary art is its ability to offer opportunities to review the classics and present new perspectives. This is evident at the Fondacion Valmont at Palazzo Bonvicini, which presents with our contribution 'ULYSSES, we are all heroes', a fascinating project that brings together the works of four international artists: Gayle Chong Kwan, Stephanie Blake, ISAO and Didier Guillon. These artists reinterpret and revisit the classic tale of the Odyssey in a contemporary key.
Exploring this project means embarking on a conceptual journey of wonder and contemplation.

Open until 23 February 2025

Our tour of the city of Venice and the projects we curated for this edition of the Biennale ends here. 
We hope that our editorial guide has been to your liking and can enrich your experience during the live visit.

We also invite you to take us with you and consult our map available at this link, to further explore the city and its heritage. 
Don't forget to take photos and tag us along your journey: we will be happy to share your moments on our social channels. 

#ArtIsInTheProcess and now enjoy your visit!


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Giulia Barigelli
Communication Manager


Exploring Art Biennale 2024: A Journey Through Exhibition Design

How many times have we entered an exhibition space and been captivated by the power of the colors in the setup? Visiting an art exhibition is an immersive experience, a journey through sensations and inspirations. As our eyes wander, admiring the artworks that fill the walls and rooms of museums, galleries, and exhibition spaces, we often overlook the essential role that color plays in shaping the surrounding environment.

While artworks are the heart of the scene, the color context adds value and enhances the visitor's experience.

Studies on the psychology and perception of color highlight the significance of this element in shaping our emotions and worldview. Colors go far beyond aesthetics; they are powerful tools of communication that influence our behavior and mood, functioning as a universal language that speaks directly to our subconscious.

In the art world, colors carry meaning and associations, reflecting the artist's symbolism and distinctive style. Think of the famous 'Klein blue' or the vibrant 'Titian red.' Each color evokes deep emotions and stirs powerful sensations, contributing to a unique and memorable visit.

As Josef Albers (Bottrop, Germany 1888 – New Haven, United States 1976), one of the foremost figures in 20th-century geometric abstraction and known for his explorations of color 'interactions,' once said: 'In visual perception, a color is almost never seen as it truly is, but as it appears in relation to its surroundings and our individual experiences.'

Indeed, color is intimately connected to our personal perceptions and environment, creating a unique emotional and sensory dialogue that enriches the experience.

“Colours are living beings, highly evolved individuals who integrate with us and with everything in the world.” 
Yves Klein 
(Nice, France 1928 – Paris, France 1962)

In the world of exhibition design, understanding the properties of color is essential for creating engaging projects. In fact, careful color design can truly revolutionize the visitor experience, transforming it into something extraordinary. 

Beyond the artwork

Exhibition design goes far beyond simply arranging artworks; color choices are never random but carefully and strategically planned. Colors can enhance the exhibition's theme, create immersive atmospheres, or draw attention to specific works.

Warm tones can create an intimate, welcoming ambiance, while cooler tones may suggest a larger space—though sometimes at the risk of making it feel sterile. Brightly colored corridors can guide visitors, indicating the exhibition's progression. Similarly, varying colors across different sections can help distinguish themes or highlight key works, ensuring a cohesive journey through the exhibition. Bold colors, on the other hand, can evoke feelings of alienation or tension, shaping the visitor's emotional experience.

Given the complexity of this subject, we invite you on a special chromatic journey through some of the projects we've worked on over the years, offering a deeper understanding of this approach.

Imagine crossing the threshold of a space filled with bright and vibrant colours: what feeling would it evoke in you?

Pavilion of Mexico, Utopian Infrastructure: The Peasant Basketball Court, Venice Biennale, Architecture 2023

In 2023, we collaborated on an extraordinary installation for the Pavilion of Mexico: a rural basketball court, painted in bold shades of yellow and blue, set against the picturesque backdrop of the Salone delle Armi at the Venice Arsenal. The vibrant colors immediately capture the audience's attention, drawing the eye to this striking scene. This project was designed to provoke reflection on significant themes in the country’s social history.

A vibrant, dazzling yellow also featured in the Pavilion of Turkey of 2021. Here, the wall color and intense lighting flatten the surrounding space, creating a disorienting effect. This installation was designed to emphasize the connection between the everyday and the global context, advocating for a more active role for architecture in the contemporary world.


Pavilion of Turkey, Architecture as Measure, La Biennale di Venezia, Architettura 2021

Speaking of disorienting sensations, we must mention the 2022 Venice project, Alice in Doomedland, a thematic exhibition held at Palazzo Bonvicini by the Fondation Valmont and curated by Luca Berta and Francesca Giubilei. This contemporary reinterpretation of Alice in Wonderland was designed to guide visitors on an inner journey, featuring oversized objects, neon text, and striking color contrasts. It’s a sensory-rich experience, where the deep purple symbolizes the hidden realms of the unconscious, while the yellow represents light and self-awareness.

Alice in Doomedland, Palazzo Bonvicini, 2022

Finally, our journey brings us to a sea of bright blue, reminiscent of the Pavilion of Belgium in 2018. A large amphitheater fills the entire building, inviting reflection on the pressing issues faced by the European Union at the time, many of which remain relevant today. The blue, both calming and inspiring, imbues the space with the atmosphere of a sanctuary. It is an environment suited for hosting large crowds, yet intimate enough for individual visitors to embark on their own personal journeys of discovery.

Pavilion of Belgium, Eurotopie, La Biennale di Venezia, Architettura, 2018 

As we've seen from the examples provided, the use of specific tones can be a powerful tool to enrich and elevate the overall experience of an art exhibition, helping visitors connect more deeply with the works and share a meaningful, memorable encounter.

Have you ever visited an exhibition or project that particularly impressed you with its color choices?

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Giulia Barigelli 
Communication Manager

Colour Curatorship: Guiding the Visitor Experience through Exhibition Design

To celebrate the 10th anniversary of the Venice International Performance Art Week, we presented the collective performance opera Under Scars at Palazzo Mora, the historical premises of the European Cultural Centre in Venice, on Saturday, December 17, at 7:00 pm (admission free). Under Scars was envisioned and devised by the artist duos VestAndPage (Verena Stenke & Andrea Pagnes) and Andrigo & Aliprandi in collaboration with Irina Baldini, Sabrina Bellenzier, Giorgia de Santi, daz disley, Nicola Fornoni, Marisa Garreffa, Fenia Kotsopoulou, Ash McNaughton, Aisha Pagnes, Enok Ripley, Sara Simeoni, Mauro Sambo, Joseph Morgan Schofield, Marcel Sparmann and Emily Welther.

The experience of the collective performance opera Body Matters: Anam Cara – Dwelling Bodies in 2018 made us imagine a radically different direction for the Venice International Performance Art Week. We realised that the production of collective performance operas should be nurtured by artists-in-residences that provide time and space for the needed intensive co-creation processes. Under Scars grew from this insight as a collective performance opera and work-in-progress. It developed from Body Matters: Co-Creation Residency, a shared artistic research and a co-creative path undertaken by 15 performance and sound artists organised in June 2023 at C32 performing arts workspace in Forte Marghera (Venice).

Under Scars is a gathering of experienced artists and performers who challenge their practice to attempt novel perspectives on art and society. It is a collective work that gravitates around the themes of disability, severe diseases, addiction, patriarchy, capitalism, abuse and discrimination. The wounds and stigma they cause are dealt with poetically through performance actions and art making rituals of kinship and togetherness. On this occasion, Palazzo Mora’s main hall and six adjacent rooms transform into a dwelling site of interconnected performance installations, where temporary, intensive co-creation processes aim to reveal the qualities of existence. The hosting space functions as a social-narrative incubator wherein performance methods are intertwined for coagulating inclusive and expansive life stories. The collaborative performance unfolds as it builds on sustained encounters of different artistic research combined with performative practices. As the title suggests, the artists now gather to unveil precious experiences of vulnerabilities, hesitations, fragilities, hopes, the unspoken they carry under their cicatrices, and wounds healed by performing. Memories and experiential transformation processes entwine and collide to respond poetically to present emergencies.

Young performance artist Nicola Fornoni has a core role in the performance opera, alongside artists and performers who supported the ten years of activities of the Venice International Performance Art Week to today or have previously collaborated with us. Passion, creativity and enthusiasm are the primary resources that allow us to perform and experiment. All of us participating artists are producers of ourselves. We have reconstituted a cluster of performers who offer live art to create reflection and dialogue on the present urgencies and emergencies. Over the past five months, developing a sense of community and belonging, we have been working together to assemble the performance opera, aware of its complexity and duration of almost three hours.

After six successful editions of the Venice International Performance Art Week, seven Summer Classes of its educational program, and the two-year interruption due to the pandemic, Under Scars is now an opportunity to understand today’s audience for performance art in Venice. Finally, it also signifies returning to my origins in social theatre and applied drama. That is, I envision this work as a form of collective care.

We Exhibit for The Venice International Performance Art Week 2022

Art projects

Museums

Accessibility

Sharing what we have learned, telling behind-the-scenes stories, and the reasons behind display and design choices: welcome to our magazine. The articles we propose are a way to develop a more attentive, critical, but also curious gaze that begins  with the reflections of those who work at We Exhibit, and other professionals and experts we esteem.

Our articles are a way to develop a more attentive, critical and curious gaze that begins with the reflections of our team, and other professionals and experts we esteem. 

Magazine | Exhibit Design | We Exhibit

Education

A green museum is a museum that incorporates concepts of sustainability into its operations, programming, and facility. Many green museums use their collections to produce exhibitions, events, classes, and other programming to educate the public about the natural environment. Many, but not all, green museums reside in a building featuring sustainable architecture and technology. Green museums interpret their own sustainable practices and green design to present a model of behavior. Green museums strive to help people become more conscious of the limitations of their world, and how their actions affect their world. The goal is to create positive change by encouraging people to make sustainable choices in their daily lives. They use their position as community-centered institutions to create a culture of sustainability.

Green museums aim to promote a culture of sustainability, which can be defined in two parts: culture, which includes the values, practices, beliefs and aspirations of a society. Whilst sustainability asks people to adapt at a cultural level, changing their beliefs and behavior.

Museums are in a unique position to establish and promote a culture of sustainability as they are arenas that simulataneousy preserve and create culture. As a result, museums are now considered to have a key role in shaping a sustainable future. These changes can be achieved through their exhibitions as well as their active engagement in debates surrounding climatic and environmental changes.

Museums have the capacity to influence visitor attitudes toward their local environment that can have a positive impact, for example, on the preservation of local biodiversity. Bristol Museum & Art Gallery joined a global coalition to raise awareness about the protection of biodiversity and launched its exhibit Extinction Voices which aimed to highlight the threat of wildlife extinction and gather ideas for collective action. Another aspect of museums role in the culture of sustainability is getting their visitors to engage in climate change and sustainability issues more widely.

Museums are taking a more active approach to the project development of their exhibits. Children's museums initiated the green museum movement, mainly out of health concerns for the young visitors. Using toxic materials and chemicals on structures intended for children became a high worry for both the museum staff and parents. "In its 2004 expansion project the Children's Museum of Pittsburgh used only adhesives, sealants, paints, carpets, and composite wood that are certified formaldehyde free with near-zero off-gassing."

Before the reduce, reuse, recycle mantra became mainstream, a small number of museums had already begun promoting sustainable decision making through exhibits. The Boston Children's Museum, developed a concept known as "The Recycle Shop".

Organizations are working to develop a standard rating system for the specific needs of green exhibitions. In 2008, the Oregon Museum of Science and Industry (OMSI) developed the OMSI Green Exhibit Certification guide to assist museums in assessing the environmental sustainability of their exhibits, and to help develop more sustainable forward plans. Based on the U.S. Green Building Council (USGBC) Leadership in Energy and Environmental Design (LEED) rating system, the OMSI Green Exhibition Certification guide simplified and adapted the LEED system to cater to the specific needs of the museum sector, especially in view of the limited financial and human resources found in many museums.

The guide provides a checklist for organizations who follows eight elements regularly used in exhibit design.

After evaluation, they are awarded 0-4 points:

1. Rapidly Renewable Materials
2. Resource Reuse
3. Recycled Content
4. End-life Assessment
5. Low-Emitting Materials
6. Certified wood
7. Conservation
8. Regional Materials

Through the project, Sustainability: Promoting Sustainable Decision Making in Informal Education, funded by the National Science Foundation (NSF), OMSI also developed Exhibit Social Environmental and Economic Development (Exhibit SEED) in collaboration with multidisciplinary professionals across the United States. Exhibit SEED is a toolkit designed to help museums create holistically sustainable museum exhibits. The guide is based on "Three Pillars of Sustainability for Museums," considerations based on environmental sustainability, economic sustainability, and social sustainability, and provides multiple examples of how a museum might reasonably adjust their practices to incorporate these pillars. Many museums across the globe has since developed and shared their own guidelines for sustainability in museums. The Madison Children's Museum in Madison, WI developed their own "green guide" for sustainable museum practice; their green initiatives in sustainable materials, community outreach, and museum programming led them to become the first Wisconsin museum to receive LEED certification.

Discussions within museums about environmental sustainability began in the 1990s and have continued to grow. Green museums are receiving a lot of attention from academia and the mass media. Some scholars believe that a focus on sustainability is a way for museums to be relevant in the 21st century.However, most conventional museums are not engaged in sustainable practices.

The green museum movement began in science and children's museums. Science museums found that environmental advocacy and education fit easily within their missions and programming. Children's museums saw that using green design in their inside environments created a healthy playground for their young visitors. Once sustainability became a topic of discussion in museum circles, zoos and aquariums realized that their existing missions and programming of species conservation was in essence sustainable education. Recently, the Association of Zoos and Aquariums revised its accreditation standards to include a requirement of environmental advocacy.

With the green museum movement beginning in children's museums, The Children's Discovery Museum in Normal, Illinois, became the first LEED certified children's museum on October 3, 2005, when it received a Silver certification. The Wild Center in Tupper Lake, NY became the first LEED certified green museum in 2008, followed by The Brooklyn Children's Museum, who achieved the LEED Silver certification in 2010. In addition, this museum used rapidly renewable and recycled features such as bamboo and recycled rubber flooring to construct the building as well as used photovoltaics to generate electricity. Other good examples of green museums include The Boston Children's Museum who earned a LEED Gold certification in 2007, and Pittsburgh Children's Museum, who received a LEED Silver certification in 2006.

Science museums and zoos were quick to follow children's museums in the green movement. One of the first science museums to adopt green initiatives was ECHO, Leahy Center for Lake Champlain in Burlington, Vermont, which was the first LEED certified building in Vermont. The Natural History Museum of Utah is another museum that has taken charge in the green museum movement. The Rio Tinto Center of the museum has been certified with a Gold LEED Certificate.

Zoos and botanical gardens have also become leaders in the green museum field. The Denver Zoo, Woodland Park Zoo, and Cincinnati Zoo all received Green Awards at the 2011 Association of Zoos and Aquariums conference. The Phipps Conservatory & Botanical Gardens was given a LEED silver certification for its new Welcome Center, which "is designed to evoke the geometry of the historic glass houses behind it." It has 11,000 square feet of lobby, ticketing, gift shop, and cafe space with a 34 ft high glass dome that is insulated to control glare and heat. Architects partially built the structure into the terrain, with 14th feet of usable space below ground. It was determined that by doing this, Phipps would save 40-50% of annual energy costs compared with an entirely above ground structure, and demonstrated that sustainable design could be created in ways that were still sympathetic to historic settings. Phipps will also be opening the Center for Sustainable Landscapes, which will house a center for education, research, and administration. It is scheduled to open in the spring of 2012, and is planned to exceed the LEED platinum certification, and achieve the Living Building Challenge. Art museums are now also joining the movement. The Grand Rapids Art Museum became the world's first LEED certified art museum complex in 2008 when it received LEED Gold certification, with such innovative features as a heat recovery ventilator, CO2 sensors, and on site grey water reuse.

One specific example of a green museum is The Toledo Zoo in Toledo, Ohio. In 2007, the institution redefined its mission statement to focus on informing the public about conservation. As part of its mission, the Toledo Zoo committed to green construction, which was shown in the parking lot renovation project. The main parking lot was redesigned in order to increase parking capacity and aid traffic flow, and the project incorporated green elements such as rain gardens and reusing concrete. The renovation also included a residential-sized wind turbine and three solar panels to power the ticket booths at the park's entrance. The wind-turbine and solar panels generate 3600 kilowatt hours per year, which can be redirected into the zoo's main power grid when the booths are not in use and reduce the zoo's carbon footprint by 5600 pounds annually.

Another project at the Toledo Zoo is the Solar Walk, which opened in November 2010 and includes over 1400 solar panels that produce 104,000 kilowatt hours per year, the same amount of energy used by ten typical homes in Ohio. The Toledo Zoo and the Solar Walk's design team wanted the project to be a visual reminder to all zoo visitors and traffic from nearby highway of the zoo's commitment to conservation. In order to accomplish the project, the Toledo Zoo turned to a local companies, and used funds from private contributions and an energy grant from ODOD to cover the $14,750,000 price.Also, The Toledo Zoo, in keeping with their mission statement, included informational panels on how the Solar Walk works and the amount of energy produced to date, so that visitors can be informed on the conservational value of the project. The Solar Walk will reduce the Zoo's carbon footprint by over 75 metric tons each year, which is equivalent to 15 medium-sized cars. The Toledo Zoo has further committed to incorporate green construction into its building plans through geothermal wells, environmentally friendly insulation and other renewable energy and green construction materials.

During the lockdown, more and more museums around the world are offering digital tours online: they could be virtual tours, live guided tours or even tours accompanied by a robot. For many, with museums closed, these opportunities provide access to a world of content from the safety and comfort of their homes. For others, it would be even better to calibrate them to meet human needs. Both virtual and real experiences hosted by the museums, in fact, have something in common: their visitors’ needs are always the same, online and live. For this reason issues such as cognitive bias, learning accessibility and universal design principles, that take into account visitors’ behaviours and motivations, are key factors for any effective experience. 

What is your purpose? Do you want visitors to learn more about the significance of the works of art? Do you want them to have fun? Do you want to involve people who don’t usually attend museums? Do you want them to discover new strategies to approach artworks or to critically question their role as audience?

If you notice, the objectives of the virtual tours offered by museums are rarely made explicit and most of the time it doesn’t seem to be clear to the museum either. This generates a dissonance that makes it impossible to find coherence between visitors’ gestures and expectations. The most evident example: is a visit in which the artworks can be focused hardly will certainly not allow to deepen their value from the point of view of art history even if they could improve the interest for museums’ routes and architecture: in any case, it would be enough to know. As for the objective, it is a widespread misconception to think that a virtual visit could tempt you into actual attendance if you’re not already intrinsically motivated. Take a walk on “Google Street”: albeit there are some places in the world you would like to visit, it will not be because you simulated a walk through their virtual streets that your desire wil increase. 

Tip: set clear goals and share your intention with your visitors on the website to orient their path and understanding. 

In the last few weeks I have interviewed people with different interests and experience, and while the research is empirical, it leads me to think that those who appreciate virtual tours are usually people of medium cultural level, used to visit museums; they are used to traditional approaches of visit for which the interpretation is not open, the visit is passive and does not raise other questions. In other words, for them the museum is only a space where specific and in-depth content is offered in relation to the objects, especially for artworks. The choice to discover the museum from home is often motivated by their desire to learn something new, to see places already visited in the past, to deepen their knowledge or to see unexpected details, hoping to be surprised. 

Generally, visits especially when they are autonomous, as in virtual tours, tend not to last longer than what is considered the average concentrated attention span of about 7-10

minutes. In this sense, time should be observed following a qualitative and unprejudiced approach but more hooks to renew involvement and time would need to be included. About this topic, John Veverka (an expert in heritage interpretation), reminds us that a visit is not simply a matter of going from A to B, but of accompanying the visitor through the discovery of different and overlapping sensations and stimuli. In contrast, for many of the existing virtual tours the experience is nothing more than getting lost in a flat space, like a computer screen, unless it provides different strategies for interaction: the interface should be able to accommodate differentiated learning styles, to end up useful both in terms of accessibility and attention renewal. The opportunity to build connections and paths made by different types of stimuli and interactivity (music or perhaps open questions could be some examples) would increase engagement as well. 

Tip: Facilitate your visit by offering different learning approaches, diversifying the contents and disciplines, developing your interpretation broadly as a strategy. 

Expectations change according to the experience. As a museologist, for example, starting from the awareness that the museum is a learning device through which, hypothetically, everything is possible, I expect the spectrum of possibility to be further enriched by the online visit. 

Google Art has done a lot in this area and produced extraordinary results, especially when it suggests observation strategies beyond focusing only on content, as for example in the case of the Vermeer’s Milkmaid painting on the Rijksmuseum’s website. 

Life, of course, is easier if you are Google, but it’s not so much about resources as it is about learning objectives. In this case, in fact, the museum is suggesting the implicit

acquisition of skills which could turn out useful also in the real visit, as John Berger teaches in his famous book “Ways of seeing”. Moreover, the objective is clear and partly shifts from the more traditional proposal anchored to contemplation, effective only for a small number of visitors. 

What I would like to see: more strategies and suggestions for the visit which people can then use in the real world and more references to current issues and pop experiences: if the museum is a real space, why should the virtual try to simulate it badly? Maybe this is an opportunity to bring virtually back the Mona Lisa to Italy? Or even: could we finally talk with visitors about museology and history of collections? 

Peoples needs are always the same (Online and Offline) 

Lidwell, Holden and Butler, in their fundamental book “Universal Principle of Design” (2012) talk about the importance of addressing a “hierarchy of needs” in good design: in order to achieve the goals we have set, we must be sure that we have responded first and foremost to the basic needs. Using Maslow’s most famous scale, it is therefore a question of imagining a pyramid that develops from the bottom upwards able to meet people’s basic needs before satisfying higher level’s ones. As it relates to our topic it would mean to structure devices that at the most basic level include functionality (they should work), reliability (they should work well), usability (they should be easy to use), proficiency (they should enable people to do something better), creativity (they should enable people to envision something new) at the highest level of the pyramid. 

Tip: involve the whole staff with the question “What levels does our virtual tour reach?”, urging critical analysis and self-observation; test your virtual experience with different users, use UX and accessibility checklists or create your own.

Again, Veverka reminds us that to understand a part, you need to know the whole thing first. Try to think of a book: if the index was missing, wouldn’t you feel lost? Some of

 the virtual tours (especially those guided in real time) place our user experience at a predetermined starting point without clearly sharing a larger picture or destination. While in a real visit, one can guess the approximate size of the museum, or the possible route one would take (often thanks to a map), in the virtual visit these references are often missing completely. Sometimes the museum map is not even available online, which makes the experience more like a maze than anything else. This key concept should obviously not be confused with the Principle of progressive disclosure which suggests to provide only the relevant information at a given time without overloading the recipient. 

Tip: for any museum tours, especially those facilitated by a guide, allow visitors to always have a map available to frame the entire route from the beginning.

Tip: facilitate your visit by offering different learning approaches, diversifying the contents and disciplines, developing your interpretation broadly as a strategy. 

In a text still considered a classic in the field (Intrinsic Motivation in Museums: Why Does One Want to Learn?, 1999), Csikszentmihalyi and Hermanson described the flow experience as the optimal status that allows the visitor to feel completely involved and concentrated in the visit. According to their model, the flow is an intense and positive propensity to learning that occurs when we have just the right skills to face the challenges we meet. If our skills are higher than the challenges we get bored; if the proposal is too challenging, we end up anxious. In addition to the clear correspondence between skills and actions required, other aspects necessary for the activation of the

flow (and fatigue strength) should be: 1. clear objectives and defined rules 2. immediate unambiguous feedback 3. a positive state of mind 4. a sense of discovery and challenge, and no less important of all 5. intrinsic motivation. Some authors, such as neuroscientist Maryanne Wolf, say that since the digital age our flow experiences are inevitably compromised. She refers purely to reading, but I believe that this consideration can also apply to museums. Having said that, referring to flow as an ideal goal remains a good reminder for any projects audience-oriented. 

Tip: as people have different abilities, knowledge and previous experience, make sure that your online experience offers multiple levels of access and allows you to perform different tasks. 

It all depends on motivation. If visitors online and in person are first motivated by the idea of living a pleasant experience, maybe with company, even online we should meet the same expectations. The truth, as Tiina Roppola tells us, is that the museum experience responds in a multidimensional way to different needs that can be simultaneously educational, exceptional, social, leisure oriented or many others. 

Stephen Bitgood, a psychologist who has written a lot about the museum environment and its impact on visitors, describes motivation as a cognitive-emotional state to be strictly evaluated in a complex framework including the amount of perceived work and the number and intensity of distractions (2002). Motivation is powerful, not only because, when intrinsic, it is the key to activate the experience of the flow, but also because it allows us to overcome barriers. If I really want to do a virtual tour I will make every effort to understand how the computer works even if it is the first time I turn it on (of course, provided that this barrier is not impassable). Many hope that the virtual visit is a

worthwhile invitation to motivate non-visitors to go there: I have no data about it, but personally I doubt that those who have never been passionate about museums would become so now, unless the virtual experience is able to activate the construction of personal meanings. 

Tip: offer a friendly experience, involve the visitors offering a range of free-choice activities, support their own construction of personal meanings by engaging them and asking questions (as well as their opinion). 

As we mentioned in the case of the flow, there are many factors that limit our attention, especially if our motivation is not high. The Principle of Cost – Benefit is always valid: we will take an action only if we perceive that its benefits are equal or superior to the efforts. For example it can change a lot if we interact from a phone or a computer: the size of the screen has an impact on our effort, inversely proportional to accessibility. Moreover, if the attention is not stimulated (as it could be by an interactive activity or through the alternation of different learning styles) so many disturbing factors that can limit involvement, including things as simple as the table or work environment around the computer is in disorder. For facilitating attention, virtual visits (as well as the real ones) must be built with the importance of rhythm and timing in mind. For example, several authors, (including Falk, Koran, Dierking, & Dreblow, 1985) made clear that attention decreases over time: for this reason, if we assume visits of fixed duration, at least from the second half of the visit we should implement different strategies from the initial ones, just to avoid tiredness and fatigue. 

Tip: as Susan M. Weinschenk (2011) suggests “if you must hold attention longer than 7–10 minutes, introduce new information or a break”.

Autonomy: You have to know how to manage it 

On virtual tours visitors often rejoice in autonomy. As on Google Street they can move freely in space, but generally the euphoria fades away soon because the experience is always the same: after 10 minutes the experience doesn’t keep them engaged enough and boredom sets in. Unless they have a specific and personal interest to go deeper, their autonomy is limited because their actions cannot generate significant consequences. 

On the other hand, allowing visitors to make too many choices independently risks paralyzing them, as happens in those pages that offer too many resources (but even in this case there are many pros and cons). Once again it is about the flow theory.

Tip: facilitate the visitor’s experience by sharing with them some strategies or suggestions for the visit, according to their interests, expectations and time available. 

Of course, many considerations are still open. Above all, it is important to remember that there are no absolute solutions: everything lies in the quality and human-centred approach with which each proposal is structured. As was stated at the beginning of this analysis, human needs are the same whether the means of delivery are live or online, but on the contrary people may not always be the same, as they may experience the same visit more than once and perceive (and behave) differently each time. 

Other key issues to consider certainly remain: how to solicit social interactions between visitors, themselves or their families, how to build long-term relationships between the museum and visitors and above all how to expand research on this investigation. This last point, more than the others, deserves an in-depth examination especially with regard to the formative evaluations necessary to implement a product that tailors its function and satisfaction to the experience of different users.  There are many relevant projects that already allow us to approach the digital content of museums without virtuosity, especially when, as museums, we do not have the resources or skills to do so. But of course we also need new ideas, revealing the potential of this field, spreading new ways of interaction and also new interpretative approaches. Just remember to always ask for feedback from your visitors: they may seem to be only virtual people and instead they are not.

Do virtual tours in museums meet the real needs of the public? Observations and tips from a visitor.

I nostri musei messi al confronto con i visitatori: oggetti, opere, allestimenti. Testi. Architetture, ovviamente. Proposte educative: visite guidate, workshop, laboratori. Qualcuno nelle sale che ti ricorda di non usare il flash, sedute sparse nelle sale e i bagni in fondo a destra.

La prima domanda è sempre la stessa: che cos’è il museo? E se la risposta cambia a seconda dei suoi scopi (ben oltre anche i tradizionali concetti di tutela, valorizzazione, fruizione), un dato che emerge in modo diffuso, fisico persino, è la compresenza di parti che si sommano senza integrarsi. L’accezione positiva della parola contraddizione, in questo caso, ne assume i connotati dell’ambiguità: quella articolazione del falso che rifugge la norma (così come è permesso e spesso richiesto all’arte) si accompagna frequentemente ad una disconnessione di pratiche che, pure sovrapponibili, dovrebbero essere guidate dalla trasparenza di finalità condivise.

A dire, dunque, ben venga la provocazione che disarticola, ma solo quando dettata dalla volontà sperimentale di chi persegue un’indagine. Quella di chi si interroga e cerca risposte possibili, cercando di contenere (o tuttalpiù argomentare) i propri pregiudizi, a prescindere che riguardino le questioni espositive o, addirittura, gli stessi visitatori: questo è ciò che servirebbe.
 
La riflessione sempre più insistente, ancorché corretta, sulle modalità per il coinvolgimento dei pubblici museali rappresenta un dibattito aperto; la proposizione di strategie educative efficaci, complesse, non ovvie, una sfida che trae spunti da un portato culturale ben più ampio maturato, altrove, già qualche decennio fa. In Italia però, pare che in pochi abbiano deciso di occuparsi di quel che rimane nello scarto di un sovrapporsi comunicativo rivolto ai visitatori, nella consapevolezza mancata (seppure teoricamente sdoganata e implicita) per cui tutto comunica. In pochi credono di averne le risorse umane e economiche o forse, più semplicemente, si nascondono dietro scuse banali.

IRTH إرث, Padiglione Arabia Saudita alla 18ima Mostra Internazionale di Architettura - La Biennale di Venezia, Venezia. Foto: Venice Documentation Project

Il confronto più eloquente appare essere, di nuovo, quello fra curatela ed educazione in un dialogo tuttavia irrisolto che si nutre (anche) di gerarchie che affondano nell’immaginario comune: educare pare sempre cosa da maestre, tanto che la questione di genere, pure rintracciata nelle importanti riflessioni del duplice volume Documenta 12 Education, permane come un tratto distintivo della disciplina. E se nelle pratiche finalizzate all’apprendimento pare resistere un approccio di tipo affermativo (rispondente ad un museo tradizionale e non certamente di rottura) che pure tenta di aprirsi a nuovi audience, all’interno del sistema curatoriale, gli imprevisti concessi ad una traccia di tipo estetico tentano di fare propria la tanto citata “svolta educativa” (the educational turn) secondo la quale l’attenzione alle esigenze del visitatore si trasforma in un elemento da tenere in ferma considerazione. Curatela ed educazione sono dunque così due discipline che si rincorrono: spesso lungo linee parallele, però.

Nella definizione delle scelte, ci sarebbero molti discorsi da affrontare sulla scorta di una collaborazione rigorosa, a partire da un prospettiva di tipo sociale come quella indagata dal social design, ad esempio: dalle questioni legate ai temi dell’interpretazione (le didascalie in primis), all’articolazione dello spazio per il rinnovo della motivazione cognitiva; dalla riflessione sui tempi di attenzione dei visitatori a tutti i temi connessi all’orientamento dello spazio espositivo. Tutte questioni, queste e altre, ritenute marginali eppure valide per ogni tipologia di museo, rispetto alle quali la letteratura italiana è pressoché inesistente, così come pochi i modelli di riferimento.

Musei, musei, musei: cambiano le città, eppure le sale si ripetono. Si ripetono gli allestimenti, si ripetono le proposte. Spesso anche nelle mostre. Tutto procede in fila, ordinario. La stessa logica dei libri stampati in un percorso a tre dimensioni. Perché ci sono le mostre, ci sono i musei e poi ci sono le attività educative. Dopo, sempre successivamente. Perché se l’educazione museale, a prescindere dal rigore delle singole proposte, include solo attività basate sul confronto umano e relazionale, viene da chiedersi a chi spetta la mediazione di contenuti che pure mirano allo stesso scopo di facilitare coinvolgimento, e successivamente, comprensione all’interno dei percorsi espositivi?

Si tratta di un ambito che ha bisogno di nuove formule per le quali non si possono dettare soluzioni standardizzate, per quanto il modello di formulazioni alte sia già stato tracciato da diverse esperienze.

Questioni legate all’audience development e ai visitors studies, evidentemente: ambiti rispetto ai quali emergono anche da noi nomi e competenze ma che raramente trovano lo spazio necessario (nazionale, istituzionale) in virtù del loro portato di sapere. Per accorgersene basta andare per musei. E se questa affermazione pare tradire arroganza è solo in virtù di un desiderato ribaltamento dei ruoli e delle relazioni (paritarie, basate sul reciproco ascolto) così come dei metodi e dei processi (eclettici e user-oriented).

Viene da domandarsi di nuovo, qui come in altre pagine, perché in generale quella cura nutrita di ricerca, che restituisce rigore dei contenuti, non debba essere supportata da pari qualità di tipo comunicativo e dunque educativo.

Education

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Do virtual tours in museums meet the real needs of the public? Observations and tips from a visitor.

Il social design fra educazione e curatela museale.

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Education

Progettare per le persone: allestimenti accessibili

Museum Training: Investing in the Future

A new training program for museums and cultural sector professionals

Museums

What is a Green museum?

Do virtual tours in museums meet the real needs of the public? Observations and tips from a visitor.

Il social design fra educazione e curatela museale.

Art projects

Ten Years of We Exhibit: 10 Years of UsA journey of passion, growth, and innovation.

Exploring Art Biennale 2024: A Journey Through Exhibition Design

Colour Curatorship: Guiding the Visitor Experience through Exhibition Design

We Exhibit for The Venice International Performance Art Week 2022

Accessibility

La percezione della disabilità al museo.

Didascalie museali. Scelte che fanno la differenza.

Stati Uniti. Storie di musei e disabilità

Ten Years of We Exhibit: 10 Years of Us
A journey of passion, growth, and innovation.