Van Gogh Museum presents Meet Vincent Van Gogh
Meet Vincent van Gogh is the official touring experience of the Van Gogh Museum in Amsterdam.
Meet Vincent Van Gogh offers local promoters an award-winning blockbuster exhibition based on one of the world’s most recognised artists and strongest museum brands. Interactive installations, high quality setworks and an intriguing narrative let visitors explore the world of Vincent van Gogh as never before.
Both entertaining and educational, the experience is perfect for families, schools, and beginners and experts alike.
Exhibition control: Trends in touring expos
After a scheduled detour in 2016 (spurred in part by the runaway success of the Rolling Stones’ Exhibitionism) to focus solely on music expos, normal service is resumed this year, with IQ quizzing the innovators behind some of the world’s leading family, film, sports and – yes – music exhibitions for our annual health check of the global market for touring expos.
Our latest examination of the sector comes as blockbuster shows such as Pink Floyd: Their Mortal Remains, Star Wars Identities and Harry Potter: The Exhibition continue to pull huge audiences worldwide… and as rival producers plan to emulate their success with new exhibitions drawing on hitherto untapped IP, such as recently announced events based on HBO’s Game of Thrones and ITV’s Downton Abbey. But what does it take to be successful in a sector where shows run for months, not hours – and how are those on the front line making sure their exhibitions stand out amid a swell in both demand and supply?
A large part of the boom in the popularity of touring expos is down to the shows becoming increasingly more immersive, suggests Sophie Desbiens of Canada’s X3 Productions, with technological innovation rapidly obliterating the stereotype of museum exhibitions as reserved affairs attended by people standing in silence and looking politely at the collections.
“People want and expect highly immersive and innovative entertainment experiences”
Montreal-based X3 focuses on major, blockbuster-style exhibitions – specifically those licensed from Lucasfilm/ Disney – which Desbiens says appeal to a “broader audience than traditional exhibits”. The result, then, is that the “visiting public is changing”, with exhibitions such as X3’s Indiana Jones and the Adventure of Archaeology and Star Wars Identities “starting to interest people who wouldn’t normally go to a museum” by building interactivity into their design.
“Technology now delivers interactive experiences, so the days of exhibitions being mainly about artefacts and inanimate objects are no longer the main offering,” agrees Geoff Jones, CEO of Australian live entertainment giant TEG. “People want and expect highly immersive and innovative entertainment experiences, which also opens up new, younger audiences who might not have previously been seen dead in an exhibition.”
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Eamonn Forde discovers the latest string to the touring exhibitions’ bow…
There is a post-Napster and post-Spotify maxim in the music business that touring used to be the loss-leader to sell albums, and now that has been inverted so that albums are the loss-leaders to sell tours. How can that revenue be maximised if the act splits up, has passed away or fancies a few years lazing around in one of their multiple homes? By putting everything around them – clothes, artwork, instruments, scribbled lyrics, old contracts, unseen photos – on the road as they slipstream the boom in the touring exhibitions space.
Music is, relatively speaking, late to the party here but, as with most things in his career, Bowie was the innovator. His exhibition that opened at the V&A in London in 2013 (David Bowie Is…) proved a watershed moment for music-centric exhibitions, selling out its run, garnering critical praise, and now touring the rest of the world. The Stones’ Exhibitionism has left the Saatchi Gallery in London and go on the road, starting in New York from November. A major Pink Floyd exhibition will open next year, as will one around Abba (whose ‘touring’ since their split in 1982 was confined to the Mamma Mia! jukebox musical). It is suddenly getting very busy here.
What can music exhibitions learn from those already in the field? What can they do right? What are the mistakes they are likely to make? And how much money can they generate? IQ spoke to experts from around the world (dealing in family exhibitions, celebrity exhibitions, museum exhibitions and more) in order to understand what they do and how they do it.
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