CURATORSHIP

VS.
MANAGEMENT
Agenda

Curatorship Vs. Management

UNESCO
Tangible and Intangible Heritage
What Is Art Management?
ICOM and the Functions of a Museum
Art Consumption
Service Management
UNESCO

UNESCO is the United Nations Educational,

Scientific and Cultural Organization which was
founded in 1945.

Mission
to contribute to the building of peace;
the eradication of poverty; and sustaining
development and intercultural dialogue
through education, the sciences, culture,
communication and information.
Cultural Heritage: Innovation and Tradition

INNOVATION TRADITION

Study the OLD to discover the NEW

Understand the PAST to invent the FUTURE
Cultural Heritage: The Current Challenges

• Politically motivated destruction Need for:

• Climate change - New forms of management
• Looting and/or theft - New resources
• Natural disasters
• Mass tourism

Innovation
Cultural Heritage: The Role of Technology

The use of ICT has helped and facilitated the

discovery of new masterpieces and new forms
of art consumption:

• 3D creation
• Scanning of images
• HD reproduction
• Online access
Cultural Heritage: Curator Vs. Manager

Curators and managers represents two

different approaches for the management
of museums.
CURATOR Optimal MANAGER
Curators value the masterpieces and many
times forget management.
Managers value daily management and
sometimes forget about the masterpiece.
Cultural Heritage: Types of Management

Diarchy One-Person Clan

UNESCO

Sectors Education, Natural Sciences, Social and Human

Sciences, Culture, Communication and Information

Global priorities Africa, Gender equality

Overarching objectives Attaining quality education for all;

mobilizing science for sustainable development;
addressing emerging social and ethical challenges;
fostering cultural diversity, intercultural dialogue and
a culture of peace; building inclusive knowledge
societies through information and communication
UNESCO: Main Functions

• Laboratory of ideas
• Reinforcing the global agenda
• Setting norms and standards
• Fostering international cooperation
• Developing policies and capacities
UNESCO Normative Action

Declaration Moral or political commitment,

linking States on the basis of good faith

Recommendation Intended to encourage member states to adopt a

particular approach or to act in a given manner in a
specific sphere. A recommendation does not create a
legally binding obligation for the member states.

Convention Synonymous with a treaty, it implies the joint will of

the parties upon whom the convention imposes
binding legal commitments.
Definition of Cultural Heritage by UNESCO

UNESCO provides a regulatory and conceptual framework for States to act upon their tangible
and intangible forms of heritage.

Cultural Heritage Natural Heritage

Tangible cultural heritage: (e.g. natural sites with cultural aspects
• Movable cultural heritage such as cultural landscapes, physical,
(e.g. paintings, sculptures, coins, manuscripts) biological or geological formations)
• Immovable cultural heritage
(e.g. monuments, buildings, archaeological sites)
• Underwater cultural heritage
(e.g. shipwrecks, underwater ruins and cities)

Intangible cultural heritage

(e.g. oral traditions, performing arts, rituals,
traditional craftsmanship practices)
UNESCO Conventions

• Protection of Cultural Property in the Event of Armed Conflict (1954)

• Prohibiting and Preventing the Illicit Import, Export and Transfer of
Cultural Property (1970)
• Protection of the World Cultural and Natural Heritage (1972)
• Protection of the Underwater Cultural Heritage (2001)
• Safeguarding of the Intangible Cultural Heritage (2003)
• Protection and Promotion of the Diversity of Cultural Expressions (2005)
The 1972 Convention
• 192 member state parties united under a common
mission to identify and safeguard our world’s most
significant natural and cultural heritage
• In a single document, they linked the concepts of nature
conservation and preservation of cultural properties
together
• Sets out the duties of member state parties in
protecting their national heritage
• Establishes the World Heritage Lists, recognizing that The Convention Concerning
certain places on Earth are of "outstanding universal the Protection of the World
value" and should form part of the common heritage of Cultural and Natural Heritage
humankind, and defines the kind of natural or cultural http://whc.unesco.org/archive/
convention-en.pdf
sites which can be considered for inscription.
The 1972 Convention
Article 1

For the purposes of this Convention, the following shall be considered as "cultural heritage”:

Monuments architectural works, works of monumental sculpture and painting, elements

or structures of an archaeological nature, inscriptions, cave dwellings and
combinations of features, which are of outstanding universal value from the
point of view of history, art or science;

Groups of buildings groups of separate or connected buildings which, because of their

architecture, their homogeneity or their place in the landscape, are of
outstanding universal value from the point of view of history, art or science;

Sites works of man or the combined works of nature and man, and areas
including archaeological sites which are of outstanding universal value from
the historical, aesthetic, ethnological or anthropological point of view.
The 1972 Convention
Article 2

For the purposes of this Convention, the following shall be considered as "natural heritage":

• Natural features consisting of physical and biological formations or groups of such formations,
which are of outstanding universal value from the aesthetic or scientific point of view;

• Geological and physiographical formations and precisely delineated areas which constitute the
habitat of threatened species of animals and plants of outstanding universal value from the
point of view of science or conservation;

• Natural sites or precisely delineated natural areas of outstanding universal value from the point
of view of science, conservation or natural beauty.
The 1972 Convention: World Heritage List

The World Heritage List is a list of properties

forming part of the cultural heritage and
natural heritage, as defined in Articles 1 and
2 of this Convention, which are considered
as having Outstanding Universal Value
in terms of such criteria.

An updated list is to be distributed at least

every two years.
Outstanding Universal Value Criteria #1
1. to represent a masterpiece of human creative
genius;
2. to exhibit an important interchange of human
values, over a span of time or within a cultural
area of the world, on developments in
architecture or technology, monumental arts,
town-planning or landscape design;
3. to bear a unique or at least exceptional
testimony to a cultural tradition or to a
civilization which is living or which has
disappeared;
4. to be an outstanding example of a type of
building, architectural or technological ensemble
or landscape which illustrates (a) significant
stage(s) in human history;
5. to be an outstanding example of a traditional
human settlement, land-use, or sea-use which is
representative of a culture (or cultures), or
human interaction with the environment
especially when it has become vulnerable under
the impact of irreversible change;
Outstanding Universal Value Criteria #2
6. to be directly or tangibly associated with events
or living traditions, with ideas, or with beliefs,
with artistic and literary works of outstanding
universal significance. (The Committee
considers that this criterion should preferably be
used in conjunction with other criteria);
7. to contain superlative natural phenomena or
areas of exceptional natural beauty and
aesthetic importance;
8. to be outstanding examples representing major
stages of earth's history, including the record of
life, significant on-going geological processes in
the development of landforms, or significant
geomorphic or physiographic features;
9. to be outstanding examples representing
significant on-going ecological and biological
processes in the evolution and development of
terrestrial, fresh water, coastal and marine
ecosystems and communities of plants and
animals;
10. to contain the most important and significant
natural habitats for in-situ conservation of
biological diversity, including those containing
threatened species of outstanding universal
value from the point of view of science or
conservation.
How to Get on the List

• Meeting at least one of the ten criteria

• Authenticity and integrity
• Management: availability of a project plan to
manage and take care properly of the site
World Heritage List - UNESCO

As of the latest update, the World Heritage List

currently comprises 1036 sites in 164 member
state parties:

807 cultural
197 natural
32 mixed
31 trans-boundary
55 in danger
2 de-listed
Protection and Management
Designated properties must ensure:

• Legislative, regulatory, and operational measures for protection

• Delineation of boundaries for effective protection
• Management systems/plans, to also allow for sustainable use

Each nominated property should have an An effective management system depends on

appropriate management plan or systems the type, characteristics, and needs of the
specifying how the Outstanding Universal nominated property and its cultural and natural
Value of the property is to be preserved. context.

The purpose of a management system is to

ensure the effective protection of the nominated
property for present and future generations.
The Three Pillars of Outstanding Universal Value

OUV

Property meets Property meets

Property meets criteria of requirements
one OR more integrity and for protection
OF THE W.H. and
authenticity
criteria (if relevant) authenticity

Statement of Outstanding Universal Value

Periodic Reporting

Every six years, the member states parties

are invited to submit, to the World Heritage
Committee, a periodic report on the
application of the World Heritage Convention
(legislative/administrative provisions
adopted and other actions taken), including
the state of conservation of the World
Heritage properties located in their territory.
Benefits of Nomination

• Attracting resources (attention, visibility, funds, etc.)

• Better management
• Capacity-building / International cooperation
• Attracting tourists
The 2003 Convention

Definition (Art. 2):

The “intangible cultural heritage” means the practices,

representations, expressions, knowledge, skills – as well as
the instruments, objects, artifacts and cultural spaces
associated therewith that communities, groups and, in some
cases, individuals recognize as part of their cultural heritage.

This intangible cultural heritage, transmitted from generation

to generation, is constantly recreated by communities and
groups in response to their environment, their interaction with
nature and their history, and provides them with a sense of
identity and continuity, thus promoting respect for cultural
diversity and human creativity.
The 2003 Convention

Intangible cultural heritage is:

• Traditional, contemporary, and alive

• Community-based
• Inclusive
• Representative
The 2003 Convention

Intangible Cultural Heritage safeguarding at the national level:

• Measures to be taken by the member states to safeguard ICH in

its territory (inventories, general policy, research, training,
education, participation, etc.)

Intangible Cultural Heritage safeguarding at international level:

• Representative List of the Intangible Cultural Heritage of Humanity

• List of Intangible Cultural Heritage in Need of Urgent Safeguarding
• International cooperation and assistance
The 2003 Convention

Representative List of the Intangible Cultural Heritage of

Humanity-Criteria for inscriptions:

• Compatible with Article 2

• Fostering visibility, awareness, and intercultural dialogue
• Nominated ensuring community participation
• Part of the Party’s Intangible Cultural Heritage inventory
• Safeguarding measures elaborated upon
What Is Management?

MEASUREMENT
Accounting, Controlling,
Evaluating

ADMINISTRATION ORGANIZATION
Planning, Leading, Dividing and assigning
Marketing, Producing, tasks, Coordinating,
Logistics, Financing Managing people
Management for the Arts: Some Implications

The mission

The mission is the psychological and emotional

logic that drives an organization. It is why
people "get up in the morning and go to work" in
a nonprofit; it is why donors support nonprofits. PURPOSE VALUES
It is what causes workers to forgo the financial
rewards of higher-paying private sector jobs.

STRATEGIC
VISION
Why? ACTIONS
To guide, motivate, appeal, create
boundaries and coordinate
Management fot the Arts: Some Implications
Double Market System

Fundraising Service delievery

Metropolitan Museum
(Thomas Campbell)
International Council of Museums - ICOM
ICOM was founded in 1946 by and for
museum professionals. It is a unique
network of more than 35,000 members and
museum professionals who represent the
global museum community. There’s a
diplomatic forum made up of experts from
136 countries and territories to respond to
the challenges museums face worldwide. It
also has a consultative status with the
United Nations Economic and Social
Council.
119 National Committees and 30
International Committees dedicated to
various museum specialties
Over the years, ICOM has evolved in
accordance with international museum
professionals’ needs worldwide, always
keeping its main mission in mind. More than
60 years after its creation, the organization
continues to represent the global museum
community.
ICOM Mission and Purpose

Mission ICOM is the international organization of museums and

museum professionals that is committed to the conservation,
continuation, and communication to society of the world's
natural and cultural heritage: Present and future, tangible and
intangible.

Purpose ICOM establishes professional and ethical standards for

museum activities, makes recommendations on such issues,
promotes training, advances knowledge, and raises public
cultural awareness through global networks and cooperation
programs.
What is a Museum?

A museum is a non-profit, permanent institution

in the service of society and its development
which is open to the public. It acquires,
conserves, researches, communicates and
exhibits the tangible and intangible heritage of
humanity and its environment for the purposes
of education, study, and enjoyment.
Functions of a Museum

Conservation Social

Identity & Celebration Therapeutic

Aggregation/Social cohesion Management

Innovation and critical thinking Tourism

Education Economic development

Fundraising Recreation
(docere et delectare – "edutaintment")
ICOM Code of Ethics for Museums (2006)
1. Museums preserve, interpret,
and promote aspects of the
natural and cultural inheritance of
humanity.
· Institutional standing
· Physical resources
· Financial resources
· Personnel
2. Museums that maintain
collections hold them in trust for
the benefit of society and its
development.
· Acquiring collections
· Removing collections
· Care of collections
3. Museums hold primary evidence
for establishing and furthering
knowledge.
· Primary evidence
· Museum collecting & research
4. Museums provide opportunities
for the appreciation, enjoyment,
understanding, and management of
the natural and cultural heritage.
· Display and exhibition
· Other resources
5. Museums hold resources that
provide opportunities and benefits
for other public services.
· Identification services
6. Museums work in close
collaboration with the communities
from which their collections originate
as well as those they serve.
· Origin of collections
· Respect for communities served
7. Museums operate in a legal
manner.
· Legal framework
8. Museums operate in a
professional manner.
· Professional conduct
· Conflicts of interest
Management fot the Arts: Some Implications

Measuring Performance

Inputs Outputs Outcomes

quantity and quantity and quality Impact on
quality of tangible Efficiency of services Effectiveness customers/citizen’s
and intangible delivered needs and
resources used expectations
Why Service Management?

• Make the offer available

• Stimulate the involvement of the customer
• Facilitate the accessibility
Service Management for Arts Organizations

Needs to take into account:

• Complexity of the work of art

• Goal / Mission of the institution
• Resources available
• Audience
Peculiarity of Art Organizations

Arts Organizations (along with

organizations such as banks, doctors,
and hair salons) are providing a service
(at least), not a physical product.

Services have characteristics which

such products lack.
Characteristics of Art Products as Service Vs. Goods

Good Service

Tangibility Intangibility Perishability

not perceived by the senses unused services
Separability
or physically possessed can’t be used at a future time
Imperishability
Homogeneity Inseparability Heterogeneity
being produced and No two performances
consumed simultaneously are ever the same
The Service Delivery System

• User of the service: (customer/visitor)

• Provider of the service: (cultural institution)
• Support: (servicescape/environment it facilitates
the accessibility of the service)
The Service Management Model
Customers’ participation

Complementary
Network service Servicescape

Core
service

Customer Secondary
segmentation service

Brand Communication
Benefits of a Cultural Institution’s Offer

Visitors/customers consume art to achieve a benefit

through it. In particular, some benefits could be:

- Explicit (declared by the visitor)

- Implicit (undeclared or unknown by the visitor)

The understanding of the benefit researched by the

customer/visitor is fundamental to properly organize
and manage the service’s delivery by the cultural
institution and set the proper servicescape.
Type of Services
Core services Core
(i.e. the cultural offer) service

Secondary services
(functional to the service offered; Secondary
needed by the customer but not the service
core service of the institutions: i.e. ticketing)
Complementary
Complementary services service
(i.e. guided tour; bookshop; restaurant; etc.)
Managing Secondary and Complementary Services

Secondary and complementary services increase

the accessibility of the cultural product,
contributing to the visitor’s overall satisfaction.

These services are critical for the management of

the cultural institution and to provide an adequate
offer to the visitors.

The visitors’ level of satisfaction has an impact of

the retention of the cultural content, on the good
name of the institution, and on the overall
reputation and on the possibility of renovating the
cultural offer of the institution.
Customer Segmentation

Customers/visitors can be divided

into different segments, based on:

• Benefits researched
• Availability to interact/participate
in the delivery of the service
• Attention to the quality
• Style and image
• Level of cultural awareness
• Etc.
Servicescape

Servicescape is the actual physical environment

where the service is performed, delivered and
consumed. It is also the place where the firm and
customer interact. It is considered to have an
impact on customer response, particularly
perceptions, evaluation and assessment.

The servicescape has an impact on the perception

that the visitor has of the cultural institution,
therefore the proper and correct use and
management of servicescape is critical for the
experience of the visitors.
Brand

The brand is constituted through the previous experience

of each visitor/customer within the same cultural institution
and through the communication of each cultural institution.

The brand:
• Defines the position of the institution in the visitor’s mind
• Facilitates the access to external resources
• Increase the involvement of the personnel
• Facilitates the process of selection of the
customer/visitor and helps making them loyal
Communication

Communication impacts on the perception of the customer/visitor.

When communicating, it is important to use the proper language
based on the segment of the public you aim to reach.

Communication ex ante (before the experience)

• Attracts the interests of the potential customer/visitor
• Sets expectations
• Influences the beginning of a deeper involvement of the visitor

Communication ex post (after the experience)

• Supports the creation of the brand
• Supports the continuous involvement of the customer
• Maintains the relation with the customer
Network

Each cultural institution has the opportunity to

interact with other institutions (other cultural
institutions; schools, public transport; private
business, etc.) in order to increase and enrich
their offer in terms of:

• Cognitive access
• Physical Access
• Emotional access
The Value of Experience

People consume art for a non-functional

need and in particular to achieve four
benefits:

• Inner satisfaction
• Sense of freedom
• Emotional involvement
• Novelty