Exhibitions Archives - The Heritage Management Organization

New Training Calendar: Online Workshops for Heritage Managers

HERITΛGE — Fri, 23 Aug 2024 07:18:06 +0000

The Heritage Management Organization (HERITΛGE) is happy to announce a series of online training workshops for heritage professionals and caretakers for 2024-2025. A variety of scholarships and funding opportunities are available. As places are limited, candidates are advised to apply as soon as possible.

Online Workshop Calendar 2024-2025

Introduction to Heritage Interpretation for Site Managers | 01–03 October 2024

Master the principles of high-quality heritage interpretation and gain hands-on experience in implementing them at your site/organization in order to create meaningful and unforgettable experiences for visitors.

Engaging Communities in Cultural Heritage | 11–13 October 2024

Understand the community engagement process, a key heritage management strategy. Master the challenges of working with local communities discern between communities and audiences and understand audience segmentation, get introduced to ethnographic approaches to creating collaborative research-based programs, and learn the methods and techniques of oral history to elicit and document tangible and intangible heritage.

Conservation III: Preventive Conservation (pilot) | 15-17 November

A pilot workshop only open to heritage managers that have previously completed Conservation II: First Aid for Finds.

Interpretive Writing for Natural and Cultural Heritage | 25–27 November 2024

Learn how to write text that grabs and holds the reader’s attention. Discover and practice a wide range of techniques to engage visitors and master the techniques of interpretive writing. Participants will work to become a HERITΛGE-accredited Interpretive Writer, after successfully completing, and being assessed on, the exercises and activities.

Project Management for Heritage Managers | 13-15 December 2024

Gain the skills and knowledge to run a successful project from inception, through the planning and implementation phases to closure. Create a work breakdown structure, a critical path diagram and a Gantt chart. Research potential funders and write a grant application. Improve personal time management skills. Learn to think critically, identify risks and create solutions.

Organising Temporary Exhibitions from your Collections and Touring Strategies | 14–16 February 2025

The focus of this workshop is to give you the skills to ensure temporary, touring and partnership exhibitions can enhance and promote your institution’s mission, create new audiences and mutually beneficial partnerships. Attendees are encouraged to bring their own exhibition ideas to the workshop for discussion and development.

Communication Strategy and Strategic Marketing for Cultural Organizations | 07-09 March 2025

Join a focused learning experience that provides a systemic approach to successfully attract key audiences’ attention through traditional, new, and social media. Acquire a working guide to effectively communicate news, initiatives, and announcements of your organization and manage communication around a crisis or issue.

Successful Fundraising for Heritage Managers: Strategies and Best Practices | 28-30 March 2025

Start-up and build an organization’s contributed revenue to increase its impact in the world. Participants learn best practices and apply them to create the case for support and letter of inquiry for their own organization or project. Workshop sessions combine live and asynchronous lectures, case studies, class discussions and interactive exercises.

Conservation I: Introduction to the General Principles of Cultural Heritage Conservation | 4-6 April 2025

Learn the fundamentals, the ethics, the evolution, and the contemporary international context of conservation. At the end of the course, participants will be able to understand the potential of conservation, together with the processes which are necessary to maximize it.

Strategic Planning for Heritage Managers | 9-11 May 2025

Successful strategy can lead to success and this course will provide participants with the tools and methodologies to successfully formulate and implement strategy in organizations managing cultural heritage. Learn the methods and tools of strategic analysis that will enable you devise and evaluate alternative strategic choices and comprehend the demands of a strategy implementation project.

More workshop dates will be announced soon. To apply visit our Executive Leadership Training page.

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Organizing an Art Exhibition

administrator — Wed, 23 Aug 2017 19:40:21 +0000

Heritage Management is a discipline which refers to those who are in fact madly infatuated with all cultural aspects of the past, present and future. It is very difficult to put in words what it is that a Heritage Manager does, however all of us who decided to “make heritage our business”, have something very specific in mind for our future endeavours.
Having practical experience on the matters which are taught during any course is of prime importance. Engaging in an activity is the only way of gaining real experience, and everyone knows that experience counts more than any theoretical background.
So that’s what we did, we put theory into practice in the form of an art exhibition. From finding the space to host the exhibition, contacting the artists, getting sponsors, creating educational activities, curating the show to managing all social media and press releases, we did it all. A small group of MA students managed to organise an exhibition.
Needless to say, we are really excited, but also scared at the same time, as this is for many of us, the first time we get to do something which we really love and believe in.
Hopefully the results will be rewarding and the experience will be a proper way to start our journey in the field of Heritage Management.

Hasmik Altunyan has studied Political Science and History at Panteion University of Social and Political Sciences and is interested in the modern representations of historical heritage traits in European and Eastern societies.

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Reflections on the Temporary Exhibition Workshop

administrator — Sat, 26 Mar 2016 10:30:00 +0000

The Heritage Management Organization’s mission supports the interests of professional development cultural institutions in Athens and abroad. The HMO hosted the Temporary Exhibitions workshop as part of its Executive Leadership series of workshops and seminars in November 2015 at the Benaki Museum in central Athens. Two of the MA students attended the workshop; here are some reflections.

Rosie Wanek, Senior Exhibitions Manager of the Victoria & Albert Museum in London, who has considerable experience in thematic traveling exhibitions, led this workshop on Temporary Exhibition Making, which took place at the Benaki Museum over the course of three days. Ms. Wanek began with the simple questions of: Why have an exhibition? A temporary exhibits serves the apparent reasons of attracting new visitors and making old ones return—however, a traveling exhibition serves a host of other reasons: making long-term partnerships with other institutions, creating extra income, promoting the collection to the general public, and hopefully procuring new, long-term donors and supporters.
Storytelling is in everything, from the creation of a work of art to the discovery of a unique artifact. How we convey each object’s value is grounded heavily in the historical and contemporary details that allow an object to take on a life of its own. The challenge becomes making this value universally appealing so that a broad audience can be exposed to and subsequently attach their own personal values on an object. This is where the importance of an interesting narrative comes in.
So, what is an exhibition? Well, it begins with a story.
Rosie Wanek from the V&A was the master storyteller. The workshop explored every detail involved in the creation of a temporary touring exhibition, from start to finish, but the one overarching theme that prevailed was the significance of a strong narrative and how to keep it engaging. Each participant came with an exhibition concept that needed some strategic and critical thought to take it to the next level. Ms. Wanek provided an engrossing yet practical introduction to the chronological steps in planning a touring exhibition and used real-life experiences from previous Victoria & Albert exhibitions as examples in illustrating the concepts.
As a Heritage Management student, it was interesting to see all the theory and management framework that we’ve been learning about in classes click into place through their active applications. Some ‘a-ha’ moments were definitely had over the course of the three-day workshop.

Discussion and collaboration create new ideas

When entering an exhibition, what’s the first thing you notice? The exhibition logo? The wall text? The most eye-catching object on display? The color of the walls? The sounds of an exhibition score? The lighting? Or do all these elements blend together into one pleasantly all-encompassing experience? It would seem that in the planning of a touring exhibition, a holistic approach is best. The most successful way of achieving this is through setting clear objectives with the Museum’s vision and mission in mind. “Why?” becomes the ultimate question. Why put on the exhibit and what does an institution accomplish through producing a touring show?
Though financial motivation can be a factor the answer to “why?” should always involve the fact that there is a great story waiting to be told. The first part of the workshop addressed the “why do we make temporary travelling exhibitions?” in two parts: because it supports our mission statement and because we value our audience and appreciate the role of museums in society. In addition, it helps strengthen partnerships with other institutions and increases our audience and potential donors, essential to a museum’s survival and success.
So you have a story and objectives. Now what? The next step is where the logistical and financial details of an exhibition, risk assessment, and strategic partnerships come into play. Ms. Wanek titled this section “Making it Manageable” where we addressed such questions as: What is the budget for the exhibition? What institutions should we approach to host this exhibition in order to achieve some financial gain while establishing a symbiotic relationship? How do the curated objects get from Qatar to London and back again, all in one piece? What safeguards should a hosting institution have in place in order to feel secure in the lending? Who do we get to design the cool coffee cups and other merchandise that will be found in the gift shop, and how do we get it made? The particulars go on and on. We had fun exploring solutions to some potential problems the good old fashioned way: jotting them down on poster-sized sheets of paper taped to various walls. It was great to observe other groups’ ideas and gain keen insight into possible issues we may not have thought of. Ultimately, this exchange of both ideas and institutional practices fostered a better understanding of how you can make a good exhibition great for the benefit of both audiences and organizations alike.

Andriana Gilroy is a candidate for the MA in Heritage Management. After spending several years working in New York as a freelance marketing and brand consultant in the music and art industries, she decided to move to Athens to explore her family roots and test the waters of the Greek art and design world. She currently works for a cultural institution offering an experiential approach to Greek heritage.

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Brides: Tradition and Fashion in Greece

administrator — Fri, 14 Mar 2014 14:04:04 +0000

Looking for wedding dresses is not just an activity that only future brides can enjoy, at least not since the magnificent bridal exhibition has come to the Benaki Museum! This exhibition presents a large collection of wedding clothing from the 19th to the dawn of the 21st century and is organized by the Peloponnesian Folklore Foundation with the collaboration of the Benaki Museum.

Going around this exhibition, you can see the variety and change in traditional clothing: from the most traditional Greek wedding dress to the more widespread influence of European fashion. From the elegant and simple style of the 19th century to the most fascinating and eccentric wedding dresses of the 21st century, this exhibition shows how the style of wedding dresses is intrinsically linked and inspired by the latest trends in fashion.

The collection is rich with bridal artifacts and is accompanied by appropriate photographic material of the brides during their ceremonies. In these photographs, you can recognize the customs of a specific period of time and some of them show the groom’s fashion as well. Each dress is unique and has its own style; different shapes, textiles, colors, lengths, even the tiniest differences can indicate the background of the bride and the morals of the era. These dresses have been worn by actual brides and there are labels below each article clothing that identify the name of the bride along with the year and location of the wedding.

This exhibition is a big attraction, not only for “fashion lovers,” but for people that are interested in Greek tradition and history, as weddings are a telling indicator of culture!

Photo Credit: Villy Zafeiri

Villy (Paraskevi) Zafeiri is a student of the MA in Heritage Management 2013. She has studied Conservation of Antiquities and Works of Art and with a focus on stone conservation. She has worked in museum conservation laboratories, in the public sector and on excavations as well. Besides conservation of antiquities she is an ”art lover” mainly interested in modern art.

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The Ship , the Treasures, & the Mechanism: The Antikythera Shipwreck Exhibition

administrator — Fri, 31 Jan 2014 18:53:18 +0000

Display replicating the atmospheric context in which the wreckage was found. Photo by Brittany Wade

Recently, I attended the Antikythera Shipwreck exhibition at the National Archaeological Museum of Athens. The exhibition is set up in such a way as to see the ceramic pots, bronze/marble sculpture, glassware, and gold jewelry represented in the context with which they were found. The walls of the gallery were painted a deep blue with the ceramics displayed on sand that covered the ground against a backdrop of scuba divers. The light effects played against the walls like waves further adding to the visual illusion of an underwater landscape. Sculptures were shown only half preserved to better convey the state in which they were found: crystalized in centuries of coral, sand, and sea salt.The exhibition was open and easy to walk through. In the first gallery, a large flat screen television played footage of the underwater excavations. This was my favorite component of the exhibit.

As you reach the end of the collection, the famous Antikythera Mechanism is proudly on display with a three-dimensional digital replica rotating behind it. This enables the visitors to understand the individual components that were found to the Mechanism as well as their intricate functions. A documentary is screened also in 3D within the display room of the Mechanism, detailing its findings in the shipwreck and the methods used to uncover its highly advanced utility.
The exhibition was originally supposed to run from April 2012-December 2013 but has been extended through June 2014. Pictures are allowed to be taken without flash and with one other odd rule forbidding visitors from posing in any way that imitates the sculptures. Silly, but should not dissuade anyone from experiencing the one of a kind collection of this wreckage and its treasures.

Bronze original of the famous Antikythera Youth found in the shipwreck. Photo by Brittany Wade

Sabrina Nieblas is currently a student of the innovative MA in Heritage Management 2013. During her undergraduate career, she studied museum practices and public relations. Sabrina seeks to utilize her skill set in the expanding field of sustainable tourism, specifically in the region of Mesoamerica.

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