Installation and De-installation

It is vital that the installation and deinstallation of a touring exhibition are well managed, and carefully scheduled. The physical and legal risks of damage or loss are greatest when objects are on the move, and objects are most vulnerable when they are unprotected by a packing case and handled during the installation or dismantling periods. Agreements between exhibition partners frequently include clauses designed to protect a partner’s liability should damage or loss occur to loans whilst in the care of another partner.

Other risks are also very high during this time, notably the risks to the organiser’s reputation, affecting its ability to secure important loans in the future. Visiting couriers will assess the expertise and performance of the transport companies at origination and destination. The choice of transport agents will be read as a reflection of the organiser’s standards and how expertly the organiser has made transport arrangements. The organiser’s loan administration, control of operations, in-house security arrangements, standards of handling and care, gallery readiness and overall professionalism will be under scrutiny.

Incoming couriers will evaluate everything that they see and experience, and their assessment will influence how the lenders deal with future loan requests.

In advance of the exhibition’s arrival, the organiser should agree a timetable for installation and deinstallation with each venue. This installation schedule should be flexible enough to accommodate last-minute changes to plans which a venue may need to make.

The ‘hang’ or display of the exhibition should be the result of a discussion of priorities and concerns between organiser and venue, to arrive at a solution which is satisfactory to all concerned. The organiser must remember that each venue is in the best position to know how its display area is used by visitors and will also need to take account of health and safety considerations.

The organiser’s role in installing and dismantling the exhibition at each venue can vary from a physical presence, overseeing and participating, to simply being available at the other end of the telephone. This role should be clarified with the venue at the outset, e.g. stating if the organiser is the only person to handle the exhibits, noting the responsibilities of any couriers who are to be present, specifying the extent of technical support required, etc.

The organiser should normally supervise the deinstallation of an exhibition if they have supervised its installation. If this is not possible, the venue should allocate at least two members of staff to work with the organiser on installation, so that they can subsequently dismantle the exhibition to the organiser’s standards.

A specialist transport agent can help to make successful installations possible. They are likely to be familiar with access to particular venues and with the staff there. They understand venues’ schedules, and are experienced in working around them. If they are used for more than one delivery, they also build up knowledge of handling the exhibition. From the organiser’s point of view, it is invaluable for one company to undertake all of the transport arrangements for a touring exhibition, but many venues prefer to use their own transport for financial reasons. This option can be discussed with venues at the briefing during the initial showing. Discussions can involve solutions such as distances being averaged during the tour, so that each venue pays the same proportion of the overall transport cost.

A successful touring exhibition means success throughout the whole tour. Perfection achieved at the first venue is only a small contribution to the complex process of maintaining the well-being of individual exhibits and ensuring the success of the exhibition as a whole, in terms of its communication and appeal to visitors.

A proactive role on the part of the organiser is essential to ensure that an exhibition is hired to appropriate venues and is then designed with flexibility, anticipating the need for accommodation in a variety of spaces. The organiser of a touring exhibition should then take all possible steps to ensure that, at each of the venues, the exhibition is displayed to its best advantage, so that aesthetic and interpretive statements are reinforced, visual impact maintained and conservation and security requirements met.

The organiser should establish and maintain lines of communication with venues from the earliest planning stages. Regular communication maintains the exhibition’s profile in the venues’ planning. Exchange of information will minimise friction between organiser and venue arising from any disparity between an exhibition’s requirements and each venue’s resources. Installation is greatly facilitated if venues have been informed and prepared by the organiser in advance of their showing.

The organiser should bear the following considerations in mind:

• All material advertising the exhibition to potential venues should state requirements and responsibilities for display (e.g. floor area, wall space, light levels, environmental conditions and security), for installation and deinstallation (e.g. number of days, number of venue staff required, insurance values, equipment required, consumables), for storage and for transport
• Until the tour begins, the organiser is responsible for providing each venue with regular updates on the development of the exhibition and the tour, e.g. new work created by an artist for an exhibition may be a radical departure from previous work, and a dramatic change of scale may affect display and storage requirements and may have cost implications
• When showings are being discussed or when they are confirmed, floor plans and access information – dimensions and capacities of loading bays, lift, doorway, etc. – should be obtained from each venue, and used to inform both the design of the exhibition layout and the size and weight of transit crates
• Ideally, when exhibits have been selected, venues should be visited to ascertain:
  • The feasibility of the proposed exhibition layout; gallery style, colour scheme and the visual strengths and weaknesses of the display area not evident from a plan
  • Suitability of screens, plinths, display cases, etc.
  • Relationship of the display area to the entrance and other galleries
  • Visitor access and signposting plans
  • Access arrangements to the display area, particularly for exhibits which are large and/or heavy
• A venue should be advised in good time about any extra costs likely to be incurred in installing and removing an exhibition, e.g. accommodation and subsistence for artists or couriers supervising the installation of particular exhibits, or paint, fittings, packing, other material and equipment costs, and additional staff

Each venue should:

• Expect to receive regular communication from the organiser and help to keep open lines of communication
• Work closely with the organiser to ensure that a touring exhibition is displayed to its best advantage, that aesthetic and interpretive statements are reinforced, visual impact maintained and conservation and security requirements met
• Provide details, usually in the form of a standard facilities report, of gallery spaces and access routes (e.g. loading bay, lift and doorway widths, heights, ceiling heights etc.
• Take into account the organiser’s stated requirements for display (e.g. floor area, wall space, light levels, environmental conditions and security), for installation and deinstallation (e.g. number of days required, number of staff required, insurance values, equipment, consumables) and for storage
• Any changes in these requirements, which may occur as the exhibition develops and which may be notified by the organiser
• Budget for any extra costs likely to be incurred in installing and dismantling an exhibition, e.g. accommodation and subsistence for artists or couriers who will supervise the installation of particular exhibits, or paint, fittings, packing, other material and equipment costs, or additional staff
• Inform the organiser of any relocation of the exhibition from the display area originally proposed, or any planned building or redecoration work which might change the display area, the environmental or security conditions, or access
• Arrange to paint or refurbish the exhibition space in good time. Most painting and drawing exhibitions will not involve elaborate design or display structures, but will depend for their effectiveness on the sensitive hanging of the exhibits. The decorative condition of the display area will be of great importance, and painting and refurbishing should be seen as an essential part of preparing for an exhibition and should be costed into the venue’s budget
• Inform the organiser of any relevant staffing changes, especially changes in curatorial staff and reductions in technical staff or invigilators

Once the exhibition is open at its first place of showing, it is a tangible entity. Venues should be strongly encouraged to visit this first showing, so that they become more familiar with the exhibition and can better prepare for its arrival and promotion. It is extremely valuable for the organiser to arrange a briefing for the venues during this first showing, addressed as much to technicians – especially for large or complicated installations – and to education staff, as to the curator or exhibition officer managing the reception of the exhibition.

The briefing should allow the organiser to do the following:

• Reinforce the respective responsibilities of organiser and venue
• Discuss the rationale of the actual exhibition in relation to the original concept
• Draw attention to vulnerable exhibits or to those which involve complex mounting or assembly
• Show how display cases are erected and what fittings are used
• Demonstrate procedures and techniques, e.g. for handling, packing and checking condition
• Discuss the educational package provided by the organiser (perhaps seeing evidence of actual programmes)
• Recap and confirm arrangements for transport, insurance, couriers, etc. and to discuss implications including costs for the venues
• Provide the venues with samples and specifications, e.g. fabric, British Standard for any paint, information where fittings can be obtained, etc.

The visit would enable the venues to:

• Fully understand the needs of the exhibition
• Build confidence in, and enthusiasm for, the reality of the exhibition, through shared ideas and response, allowing venues to promote knowledge and shared ownership of the exhibition within their institutions
• Visualise the exhibition in their venue, anticipating possible access and installation problems, which may not have already been considered and for which action can be agreed
• Consider and discuss how exhibits might be placed to maximise the impact of the exhibition. It is often easy to place single exhibits as dramatic centrepieces, but more care may be needed with smaller items which might, for example, be crowded into a corner or concentrated in a display case which is only visible from one side
• Help to avoid congestion, e.g. where display cases are placed a short distance in front of a number of framed items on a wall, or where an audio-visual presentation or introductory texts might stop visitors for long periods
• Plan learning and participation programmes and communications strategies

The exhibition should be documented and labelled to be understood by venues in three distinct and consecutive stages at installation (and at deinstallation in reverse order). At each of these stages, the appearance of the exhibition will be very different. The key to successful installation is for the organiser to make the transitions from the first stage through to the final one as simple and obvious as possible for the venue.

1. A copy of the list of each crate’s contents should be sent, together with a copy of the Transport Manifest, as part of the advance information to each venue, so it can be checked-off on arrival.

2. Display materials should be marked on undersurfaces. Components should be numbered, and parts to be joined together coded at junction with letters or symbols. Exhibits should be identified using adhesive or tie-on labels with full regard to conservation requirements. Exhibit labels should have sufficient information to enable easy and unambiguous identification, using at least two points of reference (e.g. the number and the title used in the catalogue), and should relate to the inventory of exhibits and individual. See the Objects Chapter for further information.

It is the organiser’s responsibility to regulate the processes of installing and deinstalling the exhibition at each of the venues, either through direct supervision or – when this is not possible – through providing a comprehensive installation manual and images as guidelines for curators and technicians. The majority of venues may see the exhibition only once before their own showing, which may be some months later. Even if they attend a briefing, they cannot be expected to remember complex points or to make detailed notes. Where possible, the organiser should supply a copy of the manual during the briefing, in addition to the copy which should be sent to each venue before its showing.

Identifying and labelling individual exhibits does not tell the venue how they should be installed or how they relate to one another. Labels must be supplemented by full installation instructions, informing venues of the way in which exhibition sections work together, and giving detailed information on the finer points of the display of individual exhibits. The instructions should vary the means of communication, using the best form for the purpose, e.g. the best means of providing a list is in written form, whereas photographs or film is the ideal way of showing how sections of an exhibition should look, and a diagram most clearly indicates how two display surfaces slot together. Particularly if the exhibition includes a number of display units, a proposed floor-plan will illustrate the preferred layout, indicating relationships between exhibits whilst allowing sufficient space between display cases for the expected number of visitors and providing visible and unobstructed exits from the display area.

The organiser should clearly indicate all installation procedures, and should not presume that the venue has any prior knowledge of conservation requirements or condition reporting. The use of acid-free tissue paper or cotton gloves should be specified where necessary. Cleaning methods should be described, and appropriate utensils and materials provided, e.g. it is crucial to identify Perspex and to provide a suitable cleaner. Details of fittings should be given, e.g. whether mirror-plates are provided for exhibits that are to be hung on walls or screens and what size of screws should be used with them.

The order and sense of the instructions should follow that of the intended process of installation, e.g. assembly instructions for display structures should always precede information about unpacking crates which contain exhibits. It should be clear from the outset if display structures cannot be moved once erected.

The paint colour for plinths should be specified, preferably as a British Standard colour. The types of any standard display fittings and consumables should also be specified and possible suppliers identified. It is important for spare screws, fittings and light bulbs to travel with the exhibition itself and to be replaced as necessary.

The following assumes that the venue can meet any particular requirements demanded by lenders, e.g. control of temperature, humidity and light levels in the exhibition spaces or security stipulations.

As part of its curatorial and design processes, the venue will need to decide on the amount of space available and how many objects can be displayed. It may not have enough space to be able to exhibit all of a touring exhibition, or it may even wish to close off some areas of the exhibition space to show a smaller version of the exhibition. This process should have resulted in detailed plans of the gallery space showing the position of display plinths or cabinets and the position of each exhibit.

A detailed installation schedule should be prepared. The best way of doing this is to produce a spreadsheet so that changes can easily be made. The schedule should list all packing crates, exhibits, what is due to happen on a particular day (broken down into time slots), who is due to be present and what particular members of staff will be doing on each day. If the exhibition has already been at other venues, then the organiser can be consulted about their previous experience.

The time that the exhibition space is closed will need to be kept to a minimum. The process can be broken down into three stages:

1. The deinstallation of the previous show
2. The deinstallation and setting up of display equipment
3. The installation of the exhibition material

The three operations can take place simultaneously in different rooms of the gallery as long as this is organised well. This will involve strict separation of the activities, often with physical barriers to prevent paint fumes or dust particles from entering the areas where exhibition material is being installed. The space may need to be repainted, display plinths or cabinets constructed or brought into the building. Any building of walls, plinths or other display material should be completed in each room before the exhibits arrive. The rooms should be dust and fume-free: paint can take longer than expected to dry, and the fumes produced could damage the exhibits. Exact schedules for this part of the work should be drawn up so that progress can be monitored against the schedule.

The order in which the exhibits arrive will need to be planned carefully, particularly for the initial venue in a tour where objects are arriving from many different locations, all packed differently by their lenders and some without any packing instructions. Departure from the final venue should be more controlled, but it may still be necessary to schedule the groups of objects that are to depart together. Between these two moments, many different scenarios are possible, but in general the exhibits will arrive in crates, and there will be someone involved in the installation process who is familiar with the objects and their packing, handling and display requirements. (These considerations are, of course, a good starting point for putting a transport schedule together and for making an accurate costing based on labour, materials and transport for each movement).

The venue should check the details of packing crates that are to arrive, to assess whether any are likely to present problems. Measurements of all relevant door openings in the building should already be on file, so it ought to be a simple matter to check whether the crates can get to the exhibition space. If they cannot, the venue will need to see if it is possible to unpack the crate as close as possible to the space and then move the unpacked exhibit in. The venue should also check the weights of the crates, to make sure that any equipment to be used is suitable, and that the weight does not exceed the safe working load of lifts and floors which you will be moving the crates over. If the venue has to hire handling equipment, it must ensure that all staff using it are suitably trained.

Once the crates are in the exhibition space, they may need to be acclimatised before they can be opened. This may be a stipulation of the lender, and will depend on how the objects have travelled, the environmental changes that the crate had been subjected to, and whether there is a possibility of damage due to rapid changes of temperature and/or humidity. The process of acclimatisation will allow the object to adjust slowly to the environment in the exhibition space. Because the object remains crated, changes will be slow due to the insulating properties of the crate and are less likely to cause damage to a sensitive object.

The dimensions of the crates should also be used to work out how much space is required for their storage while the exhibition is in progress. In most instances, packed crates containing valuable items will not be allowed to be stacked, while empty crates can be. Consequently, transport of empty crates to an off-site store should mean significantly fewer truck loads than when the packed crates arrived, and storage itself should also require less volume than the volume of the trucks in which they were delivered.

After unpacking, a crate should be re-assembled so that when stored it does not lose any of the internal packing and none of the panels become separated. In order to save time, not all the fixings which attach the lid or other removable panels of the crate need be used to reconstruct the empty crate. For small crates, only four fixings on each panel should be used with the remainder being placed into an envelope inside the crate. Fixings should not be left loose in the crate, as it may be difficult to find all of them when the re-packing takes place, and damage could be caused by a loose screw. Once the crate is empty, it should be labelled as such (vinyl tape with ‘EMPTY’ in green letters is very useful), to avoid any confusion between packed crates being confused with those that have been unpacked (there is also tape, which has ‘PACKED’ in red letters on it, which can be used in the same way for the re-packing process).

Unpacking is a time of high risk for the object or objects inside a crate, and it is vital that whoever carried out the initial packing describes the correct unpacking and repacking process.

Before opening the crates, any instructions should be studied. These will either be written directly on to the crate or in a plastic sleeve fixed to the crate, or details may be in a separate file prepared for the whole exhibition. Ideally, someone who knows how the crate is packed will be present. This may be a courier that has travelled with the crate or someone involved in putting the exhibition together who is familiar with the packing process.

If there is no file on the packing of each item, it is important to compile one. Notes and ideally pictures should be taken to assist with the re-packing, in particular what each item was wrapped in. This ensures that the same procedures are followed that were used previously.

If the packing is below standard and potentially unsafe, follow the notification procedure in Condition Reporting.

The position of the crate for unpacking should be as close to the display position as possible. Ideally the object should be lifted from the crate and then moved the smallest possible distance so that the risk to the object is minimised. In some cases, e.g. for a delicate but heavy piece of sculpture, a crate might be constructed so that it dismantles totally without any need to touch the sculpture.

Where multiple objects are packed into trays, it is very important to label each foam cut-out and to have pictures or diagrams to show the correct orientation of objects within their cut-out. Packing only works well, when it fits the object exactly with some compression of the packing material (usually from above when the lid is positioned) to hold it so that shock and vibration are minimised. An object that is forced into a cut-out which is too small puts it under stress, whilst objects too small for their compartments are free to move about during transport.

Once the objects have been removed from their crates, they will need to have their condition checked to ensure that any changes are noted.

Scheduling of unpacking must be organised so that couriers arrive, view their items being unpacked, condition reported and installed without having to wait around. Ideally when one courier is finished the next will arrive. In practice this is difficult to achieve, but will be the most efficient way of organising the installation. It may be a good idea to contact couriers to ask them how long the process will take for their items.

All staff should be trained in the correct procedures for handling exhibits. There are various types of mechanical devices which can be used to assist with their installation, particularly relevant where the objects are heavy. The use of such equipment can make the whole process of lifting an object very smooth and controlled, which is preferable to lots of technicians straining to lift it. Equipment ranges from hydraulic lifting tables to forklifts and gantries. Some equipment such as large gantries will need other equipment just to set them up. This is generally an area where specialist art handling teams, who have experience and training in using the equipment, should be involved.

For heavy items that are displayed on plinths, consideration must be given to the way in which the object is to be moved onto the plinth. An example would be a stone object that weighs too much for it to be installed by jacking it up and sliding it across on slips onto the plinth. Machinery able to handle a higher safe working load would be required. If the floor is not able to support a forklift or similar equipment, then an ‘A’ frame gantry may be the only suitable lifting equipment. The main problem with such equipment is that it will not be possible to use it to position the object on a plinth that is close to a wall. There are other possible solutions but an awareness of which equipment is to be used and its limitations is necessary before deciding its display position.

Plinths and display cases should be designed so that they cannot be knocked over, usually by making the footprint large enough for them to be stable for the height required. If the object on the plinth is tall and heavy it may be necessary to add weight to the base of the plinth to give added stability, usually by fitting sand bags or metal weights into the bottom of the plinth. It is a legal requirement that there must be enough space between the exhibits and their plinths or display cases to allow for disabled access and escape routes in the event of fire.

If exhibits are to be hung on the wall or other vertical display surface, the organiser should supply sufficient hanging fixings or advise the venue about the type and quantity of hanging hardware that will be required to hang an exhibition. The hardware must also be sufficiently rated to ensure that it will support the weight of each object. Aesthetic decisions should also be made during this process: some hanging hardware will be visible when the object has been hung; this can detract from the impact of the artwork so generally fixings which remain hidden behind artworks should be used.

Lighting the exhibition should have plenty of time allocated to it, as effective lighting can be time-consuming. If there is natural lighting in the space, then two settings will have to be arranged so that when the natural light fades, the exhibits can still be viewed. Some lenders specify a maximum lighting level (Lux level), in which case both situations will need to be measured and adjusted accordingly. Ideally, the lighting would be arranged for each object or area as soon as it is installed or completed; in practice lighting will often take place in the evening when other staff have left the gallery and lights can be switched off without preventing other people from working. Because the full impact of an object cannot be fully realised until the lighting is in place, the process of lighting may result in objects being moved within the space.

Security during the installation period is important especially if members of the public are in other parts of the building. If the area cannot be totally isolated then there should be security guards on the door, signing staff and visitors into the installation area against a prepared list of who is allowed into the space. This should be in addition to any signing-in of visitors to comply with fire regulations.

A wide selection of security fixings is available that require a special tool to release them. These can be used where there is a danger of members of the public removing works, in particular small objects that are not otherwise out of the reach of the public.

Often sensors are fitted to objects, which sound an alarm when the object is removed or if someone moves too close. The fitting of many of these alarms is a two-stage process, often involving the temporary removal of the installed work so that the alarm can be fitted. If a courier needs to be present whenever an object is moved or if a display case is unlocked and opened, then this process will need to be accounted for in the schedule.

Barriers can be a very effective way of discouraging visitors from touching exhibits. However, they can be visually problematic, e.g. when the object on display is contemporary sculpture. Another solution is to design plinths with a wide base that keep an object out of reach.

Display cases can be a very useful way of displaying objects so that they are kept secure. This is especially the case when many small items need to be displayed, and allows the objects to be studied closely instead of being kept out of reach. Often the movement of visitors across the floor will cause vibration inside display cases resulting in movement of small objects inside. This can often be prevented by using a material such as ‘Museum Wax’, to fix an object in place. Museum wax is an inert wax that can be placed under an object and will stick it to its display position; the object can be released by twisting it slightly.

The final task of installation will be jobs such as painting any visible hanging fixings so that they match the wall colour and the positioning of labels, plaques or other explanatory text.

A ‘snagging’ period should be allowed in the installation schedule, for the final tasks that need to be carried out before the exhibition is ready. This may be extra cleaning or going round the exhibition with a small brush to paint out dirty marks on the display surfaces.

Once the exhibition is completely installed, a meeting of all interested parties in the venue should decide on issues of security (e.g. where invigilators should stand), maintenance (e.g. cleaning of the exhibits or show cases, mechanical maintenance of working exhibits), and the allocation of particular tasks to different members of staff. The monitoring of climate control in the exhibition space and microclimates within show cases should also be discussed. For light-sensitive exhibits, light levels will need to be assessed continuously because they can change dramatically with the season and time of day.

Some exhibitions may need certain elements to be replaced at set intervals, e.g. flowers, fruit and vegetables, live flies (and even kebabs in one instance) have had to be replaced on a regular basis in some exhibitions of contemporary art, following the artists’ instructions.

Lighting will need to be checked to ensure that it is working, and times should be allocated every day at time that a space is closed to the public, so that bulbs can be changed.

Regular painting or cleaning of scuff marks and dirty marks on walls (often caused by invigilators standing against the same bit of wall) will also need to be allocated.

There should be one person who on a regular basis walks through the gallery meticulously checking that everything looks immaculate and everything is working. This person should take into account the different perspectives of tall and short people, who will notice dirt that a person of average height may not. Whatever happens, the exhibition should always look as good as it did on the day it opens. There is nothing worse than going to see an exhibition where exhibits are not working or are dirty.

Author: Lizzy Cox (2005), updated by Charlotte Dew (2015)