Phil Aldrich
AldrichPears Associates, Canada
What makes successful museum exhibits successful? How does a museum achieve success, especially in transnational collaborations where distance and cultural differences must be accommodated? In this interactive presentation, Phil Aldrich, a widely recognized expert in institutional and interpretative planning, discusses the relationship between successful exhibits and museum audiences while revealing the process of achieving effective exhibit design and production.
In the final analysis it is the impact and the relationship we build with our audiences that determines whether exhibits succeed, so understanding and meeting the differences in audience needs with a variety and balance of techniques is paramount. Providing cues to content and theme; accommodating a variety of learning styles and interests; making the content relevant; and offering opportunities for personal reflection and social interaction are approaches that effectively satisfy the visitors’ motivations for visiting an exhibit.
The process of designing and building successful exhibits is explored with a focus on visioning, organizational planning and partnership development. Phil’s facilitated planning approach emphasizes collaboration and facilitated workshops to help museum groups create or advance their vision, exhibit design concept and thematic framework.
Within a transnational context, this process is modified to accommodate long distances, many players, cultural differences and diverse audiences.
As a principal of AldrichPears Associates and a Certified Professional Facilitator through the International Association of Facilitators, Phil brings to ICOM decades of experience in the exhibit design industry. AldrichPears Associates is a Vancouver-based firm that provides exhibit design and planning services to museums, science centers, zoos, and interpretive centers around the world.
Showing posts with label Abstracts for speech. Show all posts
Showing posts with label Abstracts for speech. Show all posts
Whose History Is It? Chinese New Zealanders And The Museum Community
Nigel Murph, New Zealand
Museums reflect the history and identity of the communities they represent, whether those communities be local, regional or national. They also tend to reflect the dominant or mainstream culture of those communities. National museums of the past were storehouses of the spoils of empire, and were used to display collections that showed the breadth, strength and power of both the nation-state and the empire at large. Such museums embodied the power and dominance of the mainstream culture of the nation, reinforcing and reflecting the dominant narrative. They symbolised and reflected the power and resources of the nation and the mainstream, in the same way that Parliamentary buildings and armed forces do. A vestige of this symbolism still adheres to them.
Because museums reflect their societies, they are also responsive to changes in their societies. In New Zealand, the national museum responded to the challenges of the democratisation of history, and the impact of biculturalism and multiculturalism, by physically moving from its lofty position on a hill overlooking the capital city to the downtown waterfront. It changed its name to Te Papa or ‘Our Place’ and attempted to reflect the different communities that made up New Zealand. How successful these initiatives have been is still open to debate. The question this paper asks is: are ethnic groups that have previously been excluded from the mainstream narrative able to be successfully represented in cultural institutions such as museums? How well can such institutions represent and reflect “other” communities and “other” narratives?
The Chinese New Zealand community has had a long history of marginalisation and exclusion from the national narrative, suffering considerable racism in the process. For such a group to give up its treasures, stories, histories, heritage and the spirit of its culture to institutions that have traditionally represented an oppressive history and culture is truly a challenge. Can such institutions store, nurture, represent and interpret the histories, narratives and identities of communities such as the Chinese New Zealand community? Can they also allow these communities significant control over how their heritage and history is stored, displayed and represented? To assume ownership and control of such communities’ history and identity, and to misrepresent it, merely compounds the hurt caused by the legacy of exclusion and racism.
This paper will explore these highly charged and political questions by focussing on the Chinese New Zealand community. It will also address the issues of differing national and community narratives, identity, ownership, representation and misrepresentation, and whether collaborations between museums and ethnic communities are possible and can be successfully negotiated.
Museums reflect the history and identity of the communities they represent, whether those communities be local, regional or national. They also tend to reflect the dominant or mainstream culture of those communities. National museums of the past were storehouses of the spoils of empire, and were used to display collections that showed the breadth, strength and power of both the nation-state and the empire at large. Such museums embodied the power and dominance of the mainstream culture of the nation, reinforcing and reflecting the dominant narrative. They symbolised and reflected the power and resources of the nation and the mainstream, in the same way that Parliamentary buildings and armed forces do. A vestige of this symbolism still adheres to them.
Because museums reflect their societies, they are also responsive to changes in their societies. In New Zealand, the national museum responded to the challenges of the democratisation of history, and the impact of biculturalism and multiculturalism, by physically moving from its lofty position on a hill overlooking the capital city to the downtown waterfront. It changed its name to Te Papa or ‘Our Place’ and attempted to reflect the different communities that made up New Zealand. How successful these initiatives have been is still open to debate. The question this paper asks is: are ethnic groups that have previously been excluded from the mainstream narrative able to be successfully represented in cultural institutions such as museums? How well can such institutions represent and reflect “other” communities and “other” narratives?
The Chinese New Zealand community has had a long history of marginalisation and exclusion from the national narrative, suffering considerable racism in the process. For such a group to give up its treasures, stories, histories, heritage and the spirit of its culture to institutions that have traditionally represented an oppressive history and culture is truly a challenge. Can such institutions store, nurture, represent and interpret the histories, narratives and identities of communities such as the Chinese New Zealand community? Can they also allow these communities significant control over how their heritage and history is stored, displayed and represented? To assume ownership and control of such communities’ history and identity, and to misrepresent it, merely compounds the hurt caused by the legacy of exclusion and racism.
This paper will explore these highly charged and political questions by focussing on the Chinese New Zealand community. It will also address the issues of differing national and community narratives, identity, ownership, representation and misrepresentation, and whether collaborations between museums and ethnic communities are possible and can be successfully negotiated.
The Great Wall of China: an exhibition
Dr Claire Roberts
Research Fellow, Research School of Pacific and Asian Studies, The Australian National University;
Senior Curator, Asian Decorative Arts and Design, Powerhouse Museum, Sydney
Abstracts:
The Great Wall of China exhibition, a joint project of the Powerhouse Museum, Sydney and the National Museum of China, Beijing, opened Sydney in September 2006 and is currently on display at the Melbourne Museum. It is the first exhibition to chart the 2,500-year history of The Great Wall of China, from the Warring States period 475-221 BCE to the present day.
The project was initiated by the Powerhouse Museum as a curatorial collaboration – with the National Museum of China and the Palace Museum, Beijing, to select the objects and develop a storyline that would suit the needs of an international audience, and with the China Heritage Project at The Australian National University, Canberra to produce the publication.
From the outset the Powerhouse Museum made a conscious decision to tell the remarkable story of The Great Wall of China (or rather the many walls that constitute what is referred to as The Great Wall of China) from its origin, as a series of military barriers built by successive dynasties, through to its transformation into a national icon and one of China’s most visited tourist destinations. The exhibition, based on striking objects drawn from museums across China, incorporates a wide range of interpretive media including inter-actives, videos, models, large screen panoramas, educational programs and a blog site. Themes such as tourism, popular culture and product branding are explored, as well as who built the walls and why.
In this paper, Claire Roberts, lead curator of The Great Wall of China exhibition, will discuss the institutional collaborations and some of the challenges associated with the development of the project.
Research Fellow, Research School of Pacific and Asian Studies, The Australian National University;
Senior Curator, Asian Decorative Arts and Design, Powerhouse Museum, Sydney
Abstracts:
The Great Wall of China exhibition, a joint project of the Powerhouse Museum, Sydney and the National Museum of China, Beijing, opened Sydney in September 2006 and is currently on display at the Melbourne Museum. It is the first exhibition to chart the 2,500-year history of The Great Wall of China, from the Warring States period 475-221 BCE to the present day.
The project was initiated by the Powerhouse Museum as a curatorial collaboration – with the National Museum of China and the Palace Museum, Beijing, to select the objects and develop a storyline that would suit the needs of an international audience, and with the China Heritage Project at The Australian National University, Canberra to produce the publication.
From the outset the Powerhouse Museum made a conscious decision to tell the remarkable story of The Great Wall of China (or rather the many walls that constitute what is referred to as The Great Wall of China) from its origin, as a series of military barriers built by successive dynasties, through to its transformation into a national icon and one of China’s most visited tourist destinations. The exhibition, based on striking objects drawn from museums across China, incorporates a wide range of interpretive media including inter-actives, videos, models, large screen panoramas, educational programs and a blog site. Themes such as tourism, popular culture and product branding are explored, as well as who built the walls and why.
In this paper, Claire Roberts, lead curator of The Great Wall of China exhibition, will discuss the institutional collaborations and some of the challenges associated with the development of the project.
Building Cultural Literacy, Museums as spaces for shaping the political world of the future
Samuel Jones
Demos
We live in an age of globalisation, an age in which culture is more important than ever before. Recently, along with Kirsten Bound, Rachel Briggs and John Holden, I published a pamphlet that discussed the importance of ‘cultural diplomacy’. More than the opinion columns and leaders in our broadsheets, it is culture by which you and I engage with people from other countries. Culture has emerged not as a subsidiary to politics, but as a space in which politics must be conducted. It is not a case of culture being put at the service of politics, but rather of culture being a determinant part of politics. Recently, twin developments have set a vital new agenda that governments and others have to address. This paper will outline what skills we need to navigate this world, and what this means for museums, and the future of the museum profession.
The first is the amplified frequency of culture: we have the opportunity to experience, see, feel and hear a wider range of cultures and cultural forms than ever before. Tourism, television and, above all, new technology allows us to determine what culture we access, where and when. Writing this, I can switch to my Web browser, download a podcast from MoMA in New York, and when I get the train later today, I can listen to a narration of Jasper Johns’ Flag.
The second development is that, while we can access far more cultures than ever before, we can also shape the way that we engage with them and inflect our own opinion. For example, when I get off the train later today, I can record my own podcast and send it back to MoMA; after listening to the curator, what do I think? It is this expectation that makes culture so powerful a force: culture matters globally because we can see immediately how it matters to us, and how we can shape it to get and say what we want.
Such freedom of approach and inflection might seem threatening to the museum. I argue that, in fact, it points to a new role. The skills and expertise of museums professionals are vital to the new world in which culture, experienced and shaped in more individual ways, is central to how we are going to communicate with each other. As we encounter cultures, we need to understand and relate to them. The realisation of global diversity is one of the major achievements of our age, but it can often bring with it confusion. We need instead to focus on a global conversation.
Museums will be vital to developing the skills by which we can participate in that conversation. Specifically, the knowledge that they impart will be integral to an age in which the voices in that conversation have proliferated and each one can reverberate around the world. The problem is the that in an age of globalisation, our ability to experience, encounter and engage with culture has far outstripped our ability actually to relate to it.
Where then does this leave the museum professional? Heritage, both living and past, and history are more important than ever before because they give context and quality to cultural experience. Museums are not just about the past, they are about the present and the future. The objects and artefacts that they contain and share are the way that we will navigate and communicate the world. In this paper, I will make the case for museums being a central part of how we prepare ourselves for the future. However, I will also set out some of the challenges that this poses to the profession. Perhaps most of all, how we can use new models of cultural engagement and apply the lessons of new technologies to developing environments in which resources are not so easily found. Where, in part, this is a story about developing cultural understanding between cultures and nations, it is also about developing opportunity.
Demos
We live in an age of globalisation, an age in which culture is more important than ever before. Recently, along with Kirsten Bound, Rachel Briggs and John Holden, I published a pamphlet that discussed the importance of ‘cultural diplomacy’. More than the opinion columns and leaders in our broadsheets, it is culture by which you and I engage with people from other countries. Culture has emerged not as a subsidiary to politics, but as a space in which politics must be conducted. It is not a case of culture being put at the service of politics, but rather of culture being a determinant part of politics. Recently, twin developments have set a vital new agenda that governments and others have to address. This paper will outline what skills we need to navigate this world, and what this means for museums, and the future of the museum profession.
The first is the amplified frequency of culture: we have the opportunity to experience, see, feel and hear a wider range of cultures and cultural forms than ever before. Tourism, television and, above all, new technology allows us to determine what culture we access, where and when. Writing this, I can switch to my Web browser, download a podcast from MoMA in New York, and when I get the train later today, I can listen to a narration of Jasper Johns’ Flag.
The second development is that, while we can access far more cultures than ever before, we can also shape the way that we engage with them and inflect our own opinion. For example, when I get off the train later today, I can record my own podcast and send it back to MoMA; after listening to the curator, what do I think? It is this expectation that makes culture so powerful a force: culture matters globally because we can see immediately how it matters to us, and how we can shape it to get and say what we want.
Such freedom of approach and inflection might seem threatening to the museum. I argue that, in fact, it points to a new role. The skills and expertise of museums professionals are vital to the new world in which culture, experienced and shaped in more individual ways, is central to how we are going to communicate with each other. As we encounter cultures, we need to understand and relate to them. The realisation of global diversity is one of the major achievements of our age, but it can often bring with it confusion. We need instead to focus on a global conversation.
Museums will be vital to developing the skills by which we can participate in that conversation. Specifically, the knowledge that they impart will be integral to an age in which the voices in that conversation have proliferated and each one can reverberate around the world. The problem is the that in an age of globalisation, our ability to experience, encounter and engage with culture has far outstripped our ability actually to relate to it.
Where then does this leave the museum professional? Heritage, both living and past, and history are more important than ever before because they give context and quality to cultural experience. Museums are not just about the past, they are about the present and the future. The objects and artefacts that they contain and share are the way that we will navigate and communicate the world. In this paper, I will make the case for museums being a central part of how we prepare ourselves for the future. However, I will also set out some of the challenges that this poses to the profession. Perhaps most of all, how we can use new models of cultural engagement and apply the lessons of new technologies to developing environments in which resources are not so easily found. Where, in part, this is a story about developing cultural understanding between cultures and nations, it is also about developing opportunity.
Transnational work at the V&A Museum
Beth McKillop
Keeper of the Department of Asia
Victoria and Albert Museum
Abstracts:
The Victoria and Albert Museum is the world’s leading museum of art and design. Our international work traces its origins to London’s first global gathering, the Great Exhibition of the Works of Industry of All Nations, which took place from 1 May to 15 October 1851, attracting 6 million visitors, equivalent to a third of the population of Britain at the time. A healthy profit was made from ticket sales, part of which was used to fund the museum that became the V&A. From beginnings as a museum with a mission to exhibit the best international art, craft and design to the Britain public, we have grown into an institution that transmits knowledge, exhibitions and ideas and receives objects, inspiration and support from all over the world. If to be transnational means to transcend national boundaries, then the V&A has been transnational since before we knew what the term means.
Henry Cole (1808-82), whose determination and convictions shaped the new museum, wrote in a report to his political masters, the Board of Trade, ‘A Museum presents probably the only effectual means of educating the adult, who cannot be expected to go to school like the youth, and the necessity for teaching the grown man is quite as great as that of training the child. By proper arrangements a Museum may be made in the highest degree instructional.’ This didactic mission, this high idealism, must surely remain at the heart of museum work in the 21st century. To use language of a more modern kind, we can say that museums are part of the movement to change the asymmetry of power and knowledge which exists between the privileged and the underprivileged, between the educated and the ignorant. With seven day a week opening and free access to the permanent collections, the V&A (like Britain’s other national museums) is delivering excellent value to the citizens of Britain and to others who visit us.
Between Henry Cole’s time and now, probably the two biggest changes to the context of museum work have been the growth in international travel since the 1960s, and easy universal access to the internet from the 1990s. Today, the V&A website, like all the others, just keeps on growing. Between April 2006 and March 2007, it attracted 19.4 million visits. As well as our institutional main site, we collaborate in electronic projects such as the ‘Institute of Jainology’ website (a resource for Jain believers and for students of Indian art and culture) and the innovative ‘Discover Islamic Arts’ site, operated by the Brussels-based ‘Museum with no Frontiers’ consortium which displays Islamic art from collections around the Mediterranean Sea, opening up curatorial and web-specialist conversations between colleagues working in very diverse institutions.
In these ways, we are networking our products to reflect the networked world we live in. For example, over 20,000 images from our collection, with short descriptions, are published on our website, and these digital images are free to all, for personal and education use.
In addition to building up our virtual resources, the V&A has been a trail-blazer for UK regional and international touring exhibitions. We’ve found that when we work abroad, we have to adapt and to interact. Each country has its particular way of working, its assumptions, its audiences and its expectations – which colour and modify the way the V&A is perceived. We believe our exhibitions do a lot to showcase British design, culture and history in ways that enhance Britain’s reputation, but we recognize that international touring exhibitions in particular need a stronger funding framework in which to thrive. As successors to the business-like founders of the early V&A, we are keenly conscious that a solvent museum is a thriving museum. We’ve recently worked with colleagues in a number of cultural organizations in London, commissioning the British think-tank Demos to write a report about cultural diplomacy -http://www.demos.co.uk/publications/culturaldiplomacy. Through the Demos report we hope to stimulate a lively and wide-ranging debate about the place of culture in international relations and to draw attention to our successes: this month for example the V&A has five exhibitions touring (Vivienne Westwood – Modernism – Cinema India – Japanese prints – Mediaeval and Renaissance Treasures), and our last 12 month total for visitor numbers in international venues (2006-07) is 295,000 people.
Transnational work takes place as much on home ground as in distant places. The V&A’s Chinese New Year celebrations – attended by thousands of Londoners and tourists every winter – are as much part of the V&A’s world profile as are the exhibition tours. Creative approaches to the funding and operation of international programmes are the key to sustaining and developing the transnational work. I hope to contribute to, and learn from the debate at the ICOM Shanghai conference.
Keeper of the Department of Asia
Victoria and Albert Museum
Abstracts:
The Victoria and Albert Museum is the world’s leading museum of art and design. Our international work traces its origins to London’s first global gathering, the Great Exhibition of the Works of Industry of All Nations, which took place from 1 May to 15 October 1851, attracting 6 million visitors, equivalent to a third of the population of Britain at the time. A healthy profit was made from ticket sales, part of which was used to fund the museum that became the V&A. From beginnings as a museum with a mission to exhibit the best international art, craft and design to the Britain public, we have grown into an institution that transmits knowledge, exhibitions and ideas and receives objects, inspiration and support from all over the world. If to be transnational means to transcend national boundaries, then the V&A has been transnational since before we knew what the term means.
Henry Cole (1808-82), whose determination and convictions shaped the new museum, wrote in a report to his political masters, the Board of Trade, ‘A Museum presents probably the only effectual means of educating the adult, who cannot be expected to go to school like the youth, and the necessity for teaching the grown man is quite as great as that of training the child. By proper arrangements a Museum may be made in the highest degree instructional.’ This didactic mission, this high idealism, must surely remain at the heart of museum work in the 21st century. To use language of a more modern kind, we can say that museums are part of the movement to change the asymmetry of power and knowledge which exists between the privileged and the underprivileged, between the educated and the ignorant. With seven day a week opening and free access to the permanent collections, the V&A (like Britain’s other national museums) is delivering excellent value to the citizens of Britain and to others who visit us.
Between Henry Cole’s time and now, probably the two biggest changes to the context of museum work have been the growth in international travel since the 1960s, and easy universal access to the internet from the 1990s. Today, the V&A website, like all the others, just keeps on growing. Between April 2006 and March 2007, it attracted 19.4 million visits. As well as our institutional main site, we collaborate in electronic projects such as the ‘Institute of Jainology’ website (a resource for Jain believers and for students of Indian art and culture) and the innovative ‘Discover Islamic Arts’ site, operated by the Brussels-based ‘Museum with no Frontiers’ consortium which displays Islamic art from collections around the Mediterranean Sea, opening up curatorial and web-specialist conversations between colleagues working in very diverse institutions.
In these ways, we are networking our products to reflect the networked world we live in. For example, over 20,000 images from our collection, with short descriptions, are published on our website, and these digital images are free to all, for personal and education use.
In addition to building up our virtual resources, the V&A has been a trail-blazer for UK regional and international touring exhibitions. We’ve found that when we work abroad, we have to adapt and to interact. Each country has its particular way of working, its assumptions, its audiences and its expectations – which colour and modify the way the V&A is perceived. We believe our exhibitions do a lot to showcase British design, culture and history in ways that enhance Britain’s reputation, but we recognize that international touring exhibitions in particular need a stronger funding framework in which to thrive. As successors to the business-like founders of the early V&A, we are keenly conscious that a solvent museum is a thriving museum. We’ve recently worked with colleagues in a number of cultural organizations in London, commissioning the British think-tank Demos to write a report about cultural diplomacy -http://www.demos.co.uk/publications/culturaldiplomacy. Through the Demos report we hope to stimulate a lively and wide-ranging debate about the place of culture in international relations and to draw attention to our successes: this month for example the V&A has five exhibitions touring (Vivienne Westwood – Modernism – Cinema India – Japanese prints – Mediaeval and Renaissance Treasures), and our last 12 month total for visitor numbers in international venues (2006-07) is 295,000 people.
Transnational work takes place as much on home ground as in distant places. The V&A’s Chinese New Year celebrations – attended by thousands of Londoners and tourists every winter – are as much part of the V&A’s world profile as are the exhibition tours. Creative approaches to the funding and operation of international programmes are the key to sustaining and developing the transnational work. I hope to contribute to, and learn from the debate at the ICOM Shanghai conference.
The British Museum - a Museum of the world for the world
Jane Portal,
Curator of Chinese and Korean Collections,
Asia Dept,
British Museum
Abstracts:
The British Museum's collection is worldwide in origin and is intended for use by the citizens of the world. The museum collaborates on skills sharing and research with many international partners. These partnerships bring insights into the collection and help create new understandings of our changing world.
Between 2002 and 2006, the British Museum initiated a series of reciprocal relationships with cultural organisations and governments worldwide, concentrating on research, mutual loans and professional exchanges. In many cases these relationships have been formalised in Memoranda of Understanding – signed agreements which express the desire of both parties to work together in particular areas for worldwide public benefit.
In Africa, a series of strategic partnerships resulted in MoUs signed with partners in Kenya, Ethiopia, Mozambique and Mali as well as Senegal. The MoU with Kenya led to the collaborative exhibition Hazina on East African cultures which opened in Nairobi in March 2006.
In the Middle East, the British Museum has long collaborated with colleagues in Baghdad in supporting the preservation of the cultural heritage of Mesopotamia, itself holding the greatest collection of Mesopotamian antiquities outside Iraq. John Curtis, Keeper of the British Museum's Department of the Middle East, has been closely involved with reporting on damage caused by looting and war damage to the site of Babylon, as well as initiating collaborative international conservation plans.
In the Far East, the exhibition Treasures from World Cultures has travelled to eight venues across three countries and been seen by over 2 million people.
In China, the British Museum signed the first ever cultural agreement between a British institution and the National Museum of China in September 2005. Signed in the presence of Prime Minister Tony Blair and Chinese Premier Wen Jiabao in the Great Hall of the People in Beijing, the agreement facilitated future collaborative projects. These include major loans from China and the loan by the British Museum of exhibitions of world cultures unrepresented in Chinese collections. In June 2006 a further MoU was signed with the Palace Museum Beijing, which will cover wide-ranging collaboration, including the exchange of exhibitions and personnel in the field of paintings, clocks and porcelain. In March 2006, the first British Museum exhibition in Beijing, Treasures from World Cultures – the British Museum after 250 Years, opened at the recently built Capital Museum, where it was also the first temporary exhibition in the new museum's programme.This was followed in June 2006 by the opening of the exhibition of Mesopotamian treasures Art and Empire at Shanghai Museum.
Further plans in China include exhibitions in Beijing,Shanghai and other cities, in the period between the Beijing and London Olympics, building towards realising the Games' cultural ideals.
Curator of Chinese and Korean Collections,
Asia Dept,
British Museum
Abstracts:
The British Museum's collection is worldwide in origin and is intended for use by the citizens of the world. The museum collaborates on skills sharing and research with many international partners. These partnerships bring insights into the collection and help create new understandings of our changing world.
Between 2002 and 2006, the British Museum initiated a series of reciprocal relationships with cultural organisations and governments worldwide, concentrating on research, mutual loans and professional exchanges. In many cases these relationships have been formalised in Memoranda of Understanding – signed agreements which express the desire of both parties to work together in particular areas for worldwide public benefit.
In Africa, a series of strategic partnerships resulted in MoUs signed with partners in Kenya, Ethiopia, Mozambique and Mali as well as Senegal. The MoU with Kenya led to the collaborative exhibition Hazina on East African cultures which opened in Nairobi in March 2006.
In the Middle East, the British Museum has long collaborated with colleagues in Baghdad in supporting the preservation of the cultural heritage of Mesopotamia, itself holding the greatest collection of Mesopotamian antiquities outside Iraq. John Curtis, Keeper of the British Museum's Department of the Middle East, has been closely involved with reporting on damage caused by looting and war damage to the site of Babylon, as well as initiating collaborative international conservation plans.
In the Far East, the exhibition Treasures from World Cultures has travelled to eight venues across three countries and been seen by over 2 million people.
In China, the British Museum signed the first ever cultural agreement between a British institution and the National Museum of China in September 2005. Signed in the presence of Prime Minister Tony Blair and Chinese Premier Wen Jiabao in the Great Hall of the People in Beijing, the agreement facilitated future collaborative projects. These include major loans from China and the loan by the British Museum of exhibitions of world cultures unrepresented in Chinese collections. In June 2006 a further MoU was signed with the Palace Museum Beijing, which will cover wide-ranging collaboration, including the exchange of exhibitions and personnel in the field of paintings, clocks and porcelain. In March 2006, the first British Museum exhibition in Beijing, Treasures from World Cultures – the British Museum after 250 Years, opened at the recently built Capital Museum, where it was also the first temporary exhibition in the new museum's programme.This was followed in June 2006 by the opening of the exhibition of Mesopotamian treasures Art and Empire at Shanghai Museum.
Further plans in China include exhibitions in Beijing,Shanghai and other cities, in the period between the Beijing and London Olympics, building towards realising the Games' cultural ideals.
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