Good stories can be ambiguous—so intricate they make our brains crackle with effort, or so shimmering they send us drifting through a web of associations. Some people find these kinds of stories absolutely fascinating. But for many, they feel like riddles—confusing and overwhelming.
That’s why, in my workshops, I share tools that help a broad audience connect the dots in exhibitions. Tools that make it easier for visitors to understand what they’re seeing.
And no—crafting narratives that are easy to follow and as clear as possible doesn’t mean patronizing the audience. It’s not about telling people what to think.
It means recognizing that exhibitions are a demanding medium.
Cinema: Ticket – popcorn – curtain up.
Museum: Ticket – um, where does it start? – oh, there’s an audio guide – hmm, this text is long… do I have to read it? And which object is it even for?
It means respecting that, for many people, a meaningful cultural experience is one where they can easily follow the content or storyline. Thomas Renz came to this conclusion in his study on occasional theatre-goers. “The need to interpret on one’s own is perceived as a negative burden,” he writes. His findings provide compelling reasons for this.
It also means embracing the fact that many of us—curators, museum directors, cultural policymakers, and so on—enjoy accessible, entertaining media ourselves: Netflix, true crime, Harry Potter—you name it. The broad audience? That’s us.
Renz, Thomas (2016) Nicht-Besucherforschung: die Förderung kultureller Teilhabe durch Audience Development. Bielefeld: transcript.