Call for Creation of the National Center for Exhibition in France

Une salle de l'UCCA dans le District 798 de Pékin

On May 12, the XPO Federation published a column in Le Monde  calling for the creation of a National Centre for Exhibition on the model of the CNC, the CNL or the CNM. An autonomous public agency, at the crossroads of the ministries concerned. Its mission? To support the entire exhibition chain (private and public) at all levels: national and international monitoring, dialogue between trades, public/private, training, guidelines on good practices, pooling of resources, management of the sector’s international relations, etc.

The National Centre for Exhibition becomes the reference, the “French Expo”, a bridge between the players and, in fact, acts as an accelerator of the changes underway in the world of culture and education.

The role of the NCE (CNE)

The non-exhaustive and evolving list of professions concerned, in both public and private organizations, is as follows: cultural actors from local authorities, national institutions, museums, heritage sites, public and private exhibition producers, curators, exhibition curators, exhibition managers, mediators, historians, scientists, researchers, professionals in education and training in exhibition-related professions, architects, technical design offices, conservation specialists, interpretive planners, scenographers, exhibit designers, lighting designers, graphic designers, sound designers, audiovisual, multimedia and digital engineers, digital audiovisual producers, equipment operators, iconographers, documentalists, manufacturing and equipment companies, mount designers, translators, art transporters, insurers…

As an autonomous public agency, the NCE represents the entire exhibition ecosystem and defends its diversity and professionalism, both in France and internationally. It acts in concert with public and private cultural institutions, local authorities, federations, associations and unions in the trades concerned. It works in conjunction with the Ministries of Culture, Finance, Higher Education, Research and Innovation, Foreign Affairs and Territorial Cohesion.

The three missions of the NCE

1- The NCE supports and federates the French exhibition industry (cultural institutions, local authorities, designers, companies, training organizations, etc.) in order to boost it both nationally and internationally.  It promotes the sector’s societal, ecological and digital transition.

2- The NCE encourages and mutualizes exchanges between the different professions and territories. It defines and guarantees the good professional practices of all players.

3- The NCE monitors and supports research in the field of exhibition, particularly in terms of audience practices, innovation and experimentation in France and internationally. It collaborates with university and professional training organizations.

Are you also a supporter of the National Centre for Exhibition project?

Become a signatory of this call by sending us an email at

Indicate in the body of the email your first name, last name, function, employer (in this order, with commas in lower case on one line, thank you in advance)You can also share your ideas about the NCE in your email.

And spread the hashatg #CNexposition

Soft power and emerging museology

Text: Serge Renimel

Resplandor y Soledad de Cai Guo Qiang
Resplandor y Soledad de Cai Guo Qiang. Photo : Carlos Alcocer by-nc-nd –

How long further the new lords of the world will need our talents?

Since the end of the past century, museum professionnals witness, and sometimes take an active part in a kind of ‘museological conquest of Asia’ which is unambiguously moved by our cultural imperialism. Since a half millenium, the world conquest by the four major imperial powers of Europe launched and consolidated globalization, and financed their golden ages. Today the faithfully cloned historical pattern of trading and cultural colonization of the mid- and far-eastern areas stays, although on a much more symbolic scale.

Presently, european expeditions no longer roam the Indian Ocean onboard of kraekships or of galions, as their modest avatars ‘don’t rock the boat’: nowadays, they fly in business class and enjoy substancial fees, but they are still focusing mainly on the same continental areas. In the field of exhibitions and museums, the occidental governments or big institutions delegate museum professionals as diplomatic agents, mainly to facilitate the globalization of our cultural stereotypes. From China and the East Indies, up to the Arabian Gulf, many european freelance adventurers are hunting business profits as a first priority. They attempt to negociate deals for art exhibitions which were initially produced for a very restricted fraction of european and north american audiences, but whose financial balance on their domestic markets is increasingly risky now. Continue reading