To ensure the survival of exhibition galleries, they must demonstrate that they have a social value, that is, they have to improve their service function to the public, with a greater knowledge of the needs and a willingness to offer rewarding and useful experiences.

The exhibition galleries should examine the models they have to follow to enhance their communicative functions. The best way to do this is to be clear about the objectives you want to communicate with your exhibitions. It is significant to emphasize the importance of knowing the specific needs of its public i.e. schools, families, people with different capacities, among others, and propose different exposure, education and marketing policies geared to these needs.

Thus, to carry out an exhibition, it is important to know the strategies of cultural marketing. Instead of viewing marketing as an antagonistic element to culture, it is important to use it to increase income, public and resources, respecting and fostering the mission of exhibition galleries. The strategic and marketing tools allow us to define and achieve objectives, increase the quality and number of supports, and build economically sound and vibrant exhibition galleries.

To make an exhibition, you must also think about the public. The indifference of many artists to society is revealed in their unconcern for the public. Many artists are not bothered to exhibit in empty exhibition galleries for a few promoters, critics and artists. They do not care to remove their pieces two months after the exhibition was inaugurated, once only their friends visited it and they do not care to give clues to the understanding of their works. Essentially they expose to a small group of people.

See also  How to Control Dog Barking?

For the realization of an exhibition, it is important to think of the public as an active recipient, as an actor, someone who contributes and translates the work. The public should not be underestimated.

Of course, thinking about the public, it is not only the responsibility of the artist, cultural institutions must have consumer policies and convene audiences. They have to play an active, non-compliant position, but to promote and link creators with the widest possible audience.

Seen in this way, an exhibition is a dialogue, a relationship between people and collectivities, and that dialogue has a form, in the deep sense of the term, along with drawings, sculptures, paintings or performances, and that form is a social metaphor.

Good exposure is also the result of good cultural policy. More than a thing, an exhibition is a bond. A relationship between people. Because when exposed, the artist makes connections with a community that acts, is alive, and that deposits and consumes emotional charges that call for it, which forces a response from the audience and the artist.

Leave a comment